Glittery simplifies elegance into one truly outstanding handwritten font. 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!

Fubrica is a whimsical and clean handwritten font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out!

So Much Love is an incomparable handwritten font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out!

Christmas Glee is a simple lettered handwritten font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out!

Loving Moment is a simple lettered handwritten font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out!

A truly stunning handwritten font is Harvest Joy. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out!

Easter Meadow is a striking, bold display font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out!

Express Christmas is a simple lettered handwritten font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out!

Doodle is a cool and friendly display font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out!

Nimble Bear is a simple lettered handwritten font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out!

With the display typeface Joogert, you can create stunning headlines that will grab attention with ease. The Joogert has everything you need to add creativity and personality to your design while being easy to read.

Ghazal is a display Arabic font with High contrast mainly used for headlines, it comes in single weight. This font is an excellent choice for all kinds of creative projects such as branding and advertising.

Introducing Hot Sunday, a fresh and playful font ideal for creative headlines. Whether you're designing a logo or crafting an eye-catching poster, this font will energize your designs with its fun personality. Thank You.

Changing nature of work FS Industrie is an extraordinarily versatile new type system, with 70 variants built around five different widths and seven different weights. Type in the future will be increasingly variable, and FS Industrie is specifically designed to address the changing needs of brands. As more of the things we make exist primarily in a digital space, so our need to create type that can adapt within that space grows. It is the spirit of variable design, adaptation and flexibility that drove us to create FS Industrie. A typeface for future work in a future world. FS Industrie is a response to the changing nature of type, for brands that are responding to the changing nature of work. Industrial style Stylistically, FS Industrie feels direct and simple without sacrificing its humanity. It takes inspiration from German fonts of the 1930s, with their roots in manufacturing and signage. A classic sense of functional utility combined with a progressive view of where type is heading. Expressions in width A fundamental challenge with variable type is to ensure that craft and precision is preserved at every interval. Each width and weight is drawn by hand, with subtle variations in terminals and angles as you progress through the system. This ensures each variant can play to its unique strengths, while also pairing perfectly with its siblings. From the closed terminals of the Condensed and the open terminals of the Extended. FS Industrie is a design system that maintains a practical, grounded and robust tone throughout every variable style. Variable nature The 70 styles offer a range of expression. Each width contrasts with the next to clearly define typographic roles in graphic layouts. Every glyph is crafted with adaptability and scalability in mind, creating a pliable design space for the user. The proportions of each letterform flex as weight scales up, stem weights increase as letter width broadens. These subtle design changes create an optically consistent visual impression.

Changing nature of work FS Industrie is an extraordinarily versatile new type system, with 70 variants built around five different widths and seven different weights. Type in the future will be increasingly variable, and FS Industrie is specifically designed to address the changing needs of brands. As more of the things we make exist primarily in a digital space, so our need to create type that can adapt within that space grows. It is the spirit of variable design, adaptation and flexibility that drove us to create FS Industrie. A typeface for future work in a future world. FS Industrie is a response to the changing nature of type, for brands that are responding to the changing nature of work. Industrial style Stylistically, FS Industrie feels direct and simple without sacrificing its humanity. It takes inspiration from German fonts of the 1930s, with their roots in manufacturing and signage. A classic sense of functional utility combined with a progressive view of where type is heading. Expressions in width A fundamental challenge with variable type is to ensure that craft and precision is preserved at every interval. Each width and weight is drawn by hand, with subtle variations in terminals and angles as you progress through the system. This ensures each variant can play to its unique strengths, while also pairing perfectly with its siblings. From the closed terminals of the Condensed and the open terminals of the Extended. FS Industrie is a design system that maintains a practical, grounded and robust tone throughout every variable style. Variable nature The 70 styles offer a range of expression. Each width contrasts with the next to clearly define typographic roles in graphic layouts. Every glyph is crafted with adaptability and scalability in mind, creating a pliable design space for the user. The proportions of each letterform flex as weight scales up, stem weights increase as letter width broadens. These subtle design changes create an optically consistent visual impression.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. Caslon Antique was designed by Berne Nadall and brought out by the American type foundry Barnhart Bros & Spindler in 1896 to 1898. It doesn't bear any resemblance to Caslon, but has the quaint crudeness of what people imagine type looked like in the eighteenth century. Use Caslon Antique for that old-timey" effect in graphic designs. It looks best in large sizes for titles or initials. Caslon Black was designed by David Farey in the 1990s, and consists of one relatively narrow and very black weight. It is intended exclusively for titles or headlines. Caslon Black has a hint of the original Caslon lurking in the shadows of its shapes, but has taken on its own robust expression. Caslon Graphique was designed by Leslie Usherwood in the 1980s. The basic forms are close to the original Caslon, but this version has wide heavy forms with very high contrast between the hairline thin strokes and the fat main strokes. This precisely drawn and stylized Caslon has verve; it's ideal for headlines or initials in large sizes."

Solido is a very versatile and usable type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact, in a total of 35 fonts with many of alternate characters.

This font is useful for all sorts of things (Sites, Gaming, Signage, Electronics, Logos, etc.) I wanted to create a Type Face like this, so I did, making sure to check for errors…

Crockstomp imitates misprinted, distressed or degraded type, containing internal distress and a degraded outline. It's probably best at larger sizes where the imperfections becomes more apparent. Also there are two "special effects" varieties.

Solido is a very versatile and usable type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact, in a total of 35 fonts with many of alternate characters.

Kenza is a serif geometric font, which is inspired by letterpress printing. Hand crafted wood letters used in the mid-20th century. It is characterized by being large, bold poster-block movable type.

Herbert Post’s (1903-1978) blackletter fonts redesigned for nowadays’ use. Both font styles contain adorning swash caps. Typing N, o, and period, and activating the OT feature Ordinals produces an oldstyle number sign.

Redotika is a versatile script font that has many alternatives for lowercase letters. This type of font is best used for logos, apparel designs, merchandise and whatever designs you need in the future.

Re-drawn from examples of vintage wood type, Primitive Tuscan JNL captures the essence of early letterpress printing of the 1800s; the styles of which were most closely associated with the Old West.

Solido is a very versatile and usable type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact, in a total of 35 fonts with many of alternate characters.

A revival of one of the popular wooden type fonts of the 19th century, a very useful design for display, lowercase missing, very narrow, unusual splayed serifs at top and bottom of strokes.

Solido is a very versatile and usable type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact, in a total of 35 fonts with many of alternate characters.

Blundell Sans is a type-hybrid that combines the precision and power of a sans serif with the elegance and humanism of a script. A resolutely upright font with a strong diagonal thrust.

Winnetka JNL was inspired by Cooley Antique Tuscan Condensed - a printer's wood type manufactured in 1859 by J.G. Cooley. Given an additional hand-made treatment, the lettering resembles characters made from cut paper.

Velourist is a bold display type that’s absolutely perfect for editorial headlines with retro looks. It’s unique, bold, and slim figure make it a great fit for t-shirts, posters, and magazine covers.

Is there anything more satisfying, alluring or mouth-watering than bacon? Comes with contextual alternates, which means that the font has got 8 different versions of each letter - this cycles as you type!

Big Display Sans JNL is an all-caps version of Ludlow’s metal type “Samson”, originally designed by Robert Hunter Middleton in 1940. This digital version is available in both regular and oblique versions.

One of the original nineteenth century designs, cut at Barnhart Brothers & Spindler in Chicago about 1880, passed on to us through ATF. Unlike most Circus types, the serifs of P.T. Barnum are bracketed.

Introducing our new product called Rastering | Elegant Calligraphy Font Manu script. Rastering fonts include uppercase and lowercase letters, numbers, various types of punctuation and ending. All lowercase including last swash and alternate fonts.