Originally designed in 1985 and released by Letraset for dry transfer Lettering, Kestrel has, until now, never been digitized. The face now has been completely re-drawn and digitized for all formats. It is a heavy formal script similar in form to Commercial Script.

Lionheart is the digitization and expansion of Saladin, a neo-gothic typeface designed by Friedrich Poppl, long after he established himself as one of the greatest German designers of all time with some of the most “ausgezeichnet” scripts and text faces to ever come out of Europe. This typeface, though lesser-known among Poppl’s other masterpieces, was one of the first in its genre to abandon blackletter influence and attempt letter variations based strictly on Roman alphabet shapes. Poppl’s idea spawned a whole generation of neo-gothics that can now be found on many a movie poster or book cover where the design must hint at secrets and dark sides. Lionheart succeeds with the idea of gradual curves leading to sharp concave or plano-concave terminals, to effectively build serious letter forms that speak of historical mystique and mystery. This font was was named after Richard I, King of England for a decade in the late 11th century. He reportedly exchanged many gifts of respect with Saladin, even though the two kings were on different sides of the Crusades. Lionheart comes in all popular font formats, with some alternates placed in accessible cells of the character set.

Italian type design master Aldo Novarese was not famous for making calligraphic designs, nor had he any interest in them. He is much better known for his text faces, and quite innovative sans serif and decorative designs which became the definition of what we now know as techno and modern. But in 1968, Novarese surprised everyone with a fantastic flowing deco script entitled Elite. Novarese's formula of simple soft curves and toned-down swashes makes for one of the most unique alphabets ever seen, not to mention one of the best flowing and most legible scripts. This is now its digital incarnation, named Fontella. Fontella's applications are virtually limitless. This is the sort of script that can feel at home pretty much anywhere; a sign, a fridge magnet, a bumper sticker, a greeting card, a movie poster, a book cover, music artwork, magazine ads, newsletter headlines, etc. Digitized from original specimen and expanded with a few built-in alternates and ligatures by Rebecca Alaccari, the font was named after the famed jazz singer Fontella Bass. These letters are just so sweet they had to be called Fontella.

This font began its life as a project to design a T-shirt for a student group on a large midwestern university. It has now grown up into a unicode font, including Greek and Cyrillic. It has that look and feel of the T-shirts that are ubiquitous on the campuses of colleges and universities over the world. It would make an ideal tool for designing them, as well as posters and banners. Characters in these fonts include Latin, for English and other European languages; small a and c for names like MacDonald; many fractions, including 0/3 needed in baseball; Latin with diacritical marks for Eastern and Western European, Turkish, and Baltic languages; thorn, eth, cedilla, AE, OE, and sharp S for French, German, Icelandic; Latin extensions for clicks of some African languages; Greek (with tonos); Cyrillic for Russian and many other Slavic and Asian languages that use it; most Runes (the full Futhark plus a few more); six-point Brialle; currency symbols for dollar, cent, pound, yen, euro; and a few other extras like the peace sign. Available styles are regular block letters, outlines, and bold.

Ariata™, from Malou Verlomme, is three typefaces in one. Like phases of the moon, they gracefully meld from one to the other. The “Text” weights are sturdy designs that perform as well in blocks of copy as they do in the occasional headline. The “Display” versions of Ariata are delicate but confident designs that shine in large sizes, while the “Stencil” typefaces are eye-catching and provocative. Each version is available in four weights, from a forthright regular to a robust black, making for a family that is comfortable taking on a wide variety of tasks. The individual designs can be combined with each other to create a distinctive, yet cohesive typographic statement, or stand on their own as confident communication tools. If you want a little more variety, Ariata’s solid glyphic shapes will serve as a dynamic counterpoint to just about any Humanistic sans. Space economical and distinctly original, Ariata easily creates commanding headlines, pull-quotes and subheads. Packaging, game branding, posters, book jackets and advertising design are all also within its comfort zone. While primarily intended for print applications, Ariata’s full-bodied x-heights, generous counters and clear apertures make for a design that is also at home in many digital environments. Verlomme is an award-winning Senior Type Designer at Monotype. He has a degree in graphic design from l'École Duperré in Paris, and an MA in Typeface Design from the University of Reading. He taught type design at several universities in Paris and still occasionally lectures and gives workshops. His typeface Camille has the honor of being part of the collection at France’s Centre National des Arts Plastiques (CNAP). Verlomme also designed Placard® Next, Madera™ and Johnston100, London’s new underground branding typeface. Click here to see all of https://www.monotype.com/studio/malou-verlomme Malou Verlomme’s typeface designs.

Monarda™ is Terrance Weinzierl’s take on the loud and splashy brush scripts of the 1950s. It’s energetic, playful, and equally at home in hardcopy headlines as it is in interactive banners. In addition to the basic alphabet, OpenType® fonts of Monarda are also awash in super-sized swash caps, contextual alternate characters and ligatures. Pair Monarda with a mid-century structural sans like Trade Gothic® or a sturdy slab serif like Egyptian Slate™ to create typographic counterpoint that’s confident, compelling and memorable! Named for a riotous bright red flower that attracts butterflies and humming birds, Monarda is a rare combination of flamboyance and effortless beauty. Weinzierl describes it as “casual yet precise: a stiff denim jacket or perfectly white sneakers at a formal event.” Monarda clearly stands out – and always fits in. Well, almost always. Drawn for print, the design’s robust x-height, open counters and wide apertures also make Monarda screen-friendly. Monarda can be perfect for a wide variety of food and lifestyle applications as well as travel, stationery and packaging projects. Advertising campaigns and product branding are also well within its reach. Monarda works best when used large – but economically. Two or three words are its sweet spot. Think: product name, print headline or the lettering on the side of a truck. It could easily become your go-to design for projects that call for a script with a bright personality and fearless demeanor. The excellence of Weinzierl’s work has been recognized by the Type Directors Club and Print Magazine. When not working on creating new typefaces, he augments his professional practice through calligraphy, lettering, and letterpress printing. Monarda is another winner from Weinzierl’s creative mind and talented hand.

Introducing our sophisticated modern serif ligatures font, crafted to add an extra touch of elegance and sophistication to your designs. With its intricate ligatures and unique design, this font is perfect for creating eye-catching headlines, logos, and branding.

Candycane is a cute and casual handwritten font with an incredibly friendly feel. Whether you’re looking for fonts for Instagram or calligraphy scripts for DIY projects, this font will turn any creative idea into a true piece of art!

Pullman is based on turn-of-the-century lettering reminiscent of the signage on some luxury Pullman-style train cars of that period. It is a heavy script font with a lot of character and an authoritative, elegant look.

Hillentone is a magical script font carefully created with a touch of elegance. Whether you’re looking for fonts for Instagram or calligraphy scripts for DIY projects, this font will turn any creative idea into a true piece of art!

Geostar is a magical script font carefully created with a touch of elegance. Whether you’re looking for fonts for Instagram or calligraphy scripts for DIY projects, this font will turn any creative idea into a true piece of art!

Midnight Glamour is an incredibly elegant and versatile duo font (script and serif). Whether you’re looking for fonts for Instagram or calligraphy scripts for DIY projects, this font will turn any creative idea into a true piece of art!

Our Guildford is based on the Stephenson Blake typeface, Guildford Sans. Guildford Sans is identical to Elegant Grotesque, the 1928-29 design by Hans Möhring. Guildford contains all the high-end features expected in a quality OpenType Pro font.

Yasashii is an art deco font based on Japanese designs for cosmetic packaging and posters used from the end of the 19th century to the early 20th. When you prefer more geometric letter form, please try our Diamond Ring.

Introducing our font called “REACH” – display typeface with 12 styles included (Fill-Fill Outline-Stamp-Outline). Perfect for branding projects, logos, labels, logotypes and more. Features: A-Z all caps characters (12 styles) Numbers, Symbols, and Punctuation Multilingual Support

Battelione is a magical script font carefully created with a touch of elegance. Whether you’re looking for fonts for Instagram or calligraphy scripts for DIY projects, this font will turn any creative idea into a true piece of art!

This is our newest product, we call it Sakola! Sakola is a hand writing font, with sweet touches and unique personality in each letter. Sakola is very good to use on: - Wedding invitations - Fashion magazines - Logos - Signatures - Photography watermarks

I saw an old logo for Giro d'Italia on telly, and was just smitten by the truly ugly type: just ruler and compass work, no intakes or optical corrections whatsoever. I just had to turn that into a font.

Inspired (in part) by a vintage photo of a storefront neon sign for Cushman’s Furs, Wireline JNL is a thin monoline font with the appearance of bent wire characters. The font is available in both regular and oblique versions.

Paradise Sunset is a cute and quirky handwritten font with an incredibly friendly feel. Whether you’re looking for fonts for Instagram or handwritten scripts for DIY projects, it will turn any creative idea into a true piece of art!

Nozomi is a cute and casual handwritten font with an incredibly friendly feel. Whether you’re looking for fonts for Instagram or calligraphy scripts for DIY projects, this font will turn any creative idea into a true piece of art!

Almonade is a cute and casual handwritten font with an incredibly friendly feel. Whether you’re looking for fonts for Instagram or calligraphy scripts for DIY projects, this font will turn any creative idea into a true piece of art!

Retorica, by Enric Jardí. With its simple geometry, Retorica stands out as our Art Déco typeface. Retorica has two styles: one solid version and one hollowed. In addition, each one has a Small Caps set, available by OT features.

This is our newest product, we call it Catalonia! Catalonia is a hand writing font, with sweet touches and unique personality in each letter. Catalonia is very good to use on: - Wedding invitations, - Fashion magazines - Logos - Signatures - Photography watermarks

We are glad to introduce a chalk version of our Dolce Caffè with a upright Script and Extras, containing swashes, ornaments and icons. The script contains opentype features with ligatures and alternates. We recommend to combine it with: Gessetto

TT Hazelnuts useful links: Specimen PDF | Graphic presentation | Customization options About TT Hazelnuts: TT Hazelnuts is a display sans-serif font family containing a set of elegant and delicate decorative elements. Initially the family was designed for highly specialized areas, but we've decided to extend the number of typefaces and to make the family more universal. Despite its geometric essence, TT Hazelnuts reflects a touch of human hand—you can take a calligraphic tool and, by turning it, draw pretty much the whole font. TT Hazelnuts font family is perfect for small text arrays, for instance, for fashion or advertising industries, and will also fit perfectly into layout of longer and more complex typographic systems thanks to a large variety of font weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Black, Heavy) and its true italics. It has already become a good tradition to include broad support of OT features into our new fonts. TT Hazelnuts is not an exception, it uses a large number of useful features: ordn, sinf, sups, numr, dnom, tnum, onum, frac, case. FOLLOW US: Instagram | Facebook | Website TT Hazelnuts language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Comenia Sans was designed in the framework of a unique typographic project for all types of schools. It is a complementary face for Comenia Serif, released by our friends at Storm Type Foundry. Comenia Sans has a lot in common with its serif sister: the height of both upper and lower case, the length of ascenders and descenders, and the general weight. This makes the two perfect partners which work well even when set side by side in a single line of text. Comenia Sans does, however, lack all serifs, ornamental elements and stroke stress variation. All these elements freshen up the feel of long texts, but for shorter texts use, they are not necessary. Despite that, Comenia Sans retains the soft, friendly character of its big sister, as well as a few tiny details which lend it its unique character without compromising legibility or utility. Open counters give all letters an airy feel and permit enough variation in construction. This is why the face works well even in multiple-page texts. All its letters are easily distinguished from each other, so the reader's eyes are not strained. Diacritics and punctuation harmonize with both upper and lower case. As usually, all diacritical marks fully respect conventional shapes of accents and they are perfectly suitable for Czech, Slovak, Polish and other Central European languages, where a lot of diacritics abounds. Similarly to the renaissance italics which refers to the cursive forms, Comenia Sans introduces novel shapes of some characters drawing from the hand-written heritage. This is most apparent in the single-bellied a, the simplified g, and the stem of f which crosses the baseline and ends with a distinct terminal. In the text, emphasized words are thus distinguished not only by the slant of letters, but also by the shapes of the letters themselves. All twelve styles contain set of small caps, suitable for the names, in the indexes or the headlines in longer texts. Legibility in small sizes under 10 points was at the center of designers' attention, too. This is why the counters of a, e and g are large enough to prevent ink spread in small sizes, both on-screen and in print. After all, the font was specifically optimized for screen use: its sober, simple forms are perfectly fit to be displayed on the computer screen and in other low-resolution devices. When used in the context of architecture, the smoothness of all contours stands out, permitting to enlarge the letters almost without limit. A standard at the Suitcase Type Foundry, each style of Comenia Sans boasts a number of ligatures, an automatic replacement of small caps and caps punctuation, a collection of mathematical symbols, and several types of numerals which make it easy to set academic and other texts in an organised, well-arranged way. For the same purpose, fractions may come in handy, too. Apart from the standard emphasis styles, the family also contains six condensed cuts (each set has the same number of characters), designated for situations where space is limited or the need for striking, poster-like effect arises. Comenia Sans is the ideal choice for the setting of magazines, picture books, and navigation systems alike. Its excellent legibility and soft, fine details will be appreciated both in micro-typography and in poster sizes. Although it was designed as a member of a compact system, it will work equally well on its own or in combination with other high-quality typefaces.

The now discontinued Brag & Brag Stencil are hereby available as Pro fonts, with an extended character set (Latin Extended A) and Oldstyle figures. All features of the original fonts are still there, but now you can talk with Brag's signature bold look in many more European languages.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Loraine was born in London. She was an ordinary, hardworking family person, with nothing to worry about beyond paying the rent at the end of the month or keeping the fridge full. Until in 2009 she came to Barcelona on holiday. Soon after she arrived her passport was stolen from her and she had a series of problems with the British embassy. Somebody had made illegal use of her passport. So Loraine found herself in a strange place, unable to get home. She didn’t know anyone there and her circumstances meant she couldn’t ask for help from England, either. She had to sell all her possessions and, in time, learn to speak Spanish. “Living in the street is a wonderful adventure,” she says. In the street she discovered a new city, a new country and a new culture. “There are lots of people who prefer to sleep under the stars.” She also made lots of friends who helped her in a completely unfamiliar world.

A neat face with pronounced spur serifs which several foundries have already digitized. We like ours better though, because we have drawn a lowercase which was lacking in the original. Barnhart Bros. & Spindler of Chicago introduced this type in 1888.

Tropicollo is a handwritten mono weight cursive font. Its super clean and tidy design will turn any idea into a true standout end result! Works great applied to logos, prints, quotes, magazine headers, clothing, advertisements, product designs, labels, and much more!

The ornamental ribbons come from our research at the 1490 font style of the 1882 George Bruce’s rare catalogue, from Intellecta’s collection of rare books and catalogues. The type here used to compound the work is the GrasVibertTwo from Intellecta.

This font is a collection of simple calligraphic ornaments suitable for invitations, gift tags, and anything that can benifit from a "spoonful of sugar" visually. This font includes fewer line fillers, and more "ferns and fans" than our previous swirlies.

Brostone Brush is a magical script font carefully created with a touch of elegance. Whether you’re looking for fonts for Instagram or calligraphy scripts for DIY projects, this font will turn any creative idea into a true piece of art!

Odeon is the kind of font you would have seen on theatre or concert posters around the turn of the twentieth century. It is based on Art Nouveau sign lettering and has a heavy, playful look that's hard to miss.