This font was inspired by the rare manuscript Roman Quadrata used by an unknown scribe to inscribe a copy of the Roman poet Virgil’s GEORGICS, somehwere around 161 to 180 AD. Only a few sheets have survived, now preserved by different libraries around the world. In creating this font, we have adapted it for contemporary users, making differences between U and V; I and J (which made no difference at all to ancient Latin scribes) and naturally adding the glyphs for Thorn, Oslash, Lslash, W, Y, as well as the usual accented characters and punctuation, none of which existed at the time. Only capitals are present in the original; but we have provided alternates: so alternating each character A-Z/a-z will give a pleasant appearance of manual script. We have added the Roman numerals “I V X L C D M” in the OTF/TTF versions usable as “Old Style Numerals” alternates.

A bit of Victoriana whimsy from this set of two fonts is heavily inspired by a variety of 19th Century faces without being a direct revival of any one in particular. Undulating curves, swirly terminals and bifurcated semi-serifs give these faces plenty of character. Both fonts include f ligatures and ct/st ligatures. Clementine Curly includes a full set of alternate curly caps as opentype alternates making it essentially a bonus font within a font!

A very cute cursive font! Porto is a beautiful script ~ its unique linework creates a distinctive look. Porto is extended, containing West European diacritics & ligatures, making it suitable for multilingual environments & publications.

The 1928 logotype for Sertal Toiletries consisted of a stylized woman's head, a very snaky S, and five fine, fat deco caps spelling out the rest of the brand name. From these five clues, designer Nick Curtis divined the rules" of the typeface and drew a complete alphabet, including a lower case. The result: ITC Scram Gravy. The finished product could be described as Bodoni on steroids. Tight curls in characters like the 'm,' 'r' and 'y' soften the lower case and give the design a light-hearted flavor. ITC Scram Gravy takes its name from one of many running gags in the screwball comic strip "Smokey Stover," which had folks alternately splitting their sides and scratching their heads from 1935 to 1973. Those familiar with Bill Holman's strip will recall Smokey's car, the Foomobile, and one of his famous nonsense declarations: "No foo-ling, that scram gravy ain't wavy.""

Katika is a sweet and cursive handwritten font. This gentle font will look gorgeous on a variety of design ideas. It will add a joyful and romantic touch to each of your projects!

The category of font type is Kaisho-tai(square style), but it is a similar design to a textbook style with a delicate control over the sharpness of Kaisho-tai. Kanais designed somewhat larger for better line alignment in typesetting. 書体カテゴリーは楷書体ですが、楷書体のメリハリをやや押さえた教科書体に近いデザイン。仮名をやや大きめにデザインし、組み版時のライン揃えを意識しました。L（細）・M（中細）・B（太）・UB（特太）と4 つのウェイトがある楷書体シリーズですが、太さによって性格が違い、厳密にはファミリーではありません。LとMは筆のかすれなど名残を簡素にした教科書体風デザインの楷書体、Bは筆のメリハリを抑えた見出し用楷書体、UBは筆の名残を生かし、極限まで太く力強くインパクトを求めた毛筆体です。Lについては、Mに比べ若干明るく、かながやや小ぶりにデザインされています。

Rhapsodie was originally developed from some freehand calligraphy that I used for a series of posters. It has proved effective in headlines and is remarkably legible and strong with some interesting, somewhat cursive capitals.

Pretty Berelly is a beautiful and cursive script font. It has a lively, elegant and modern look that can be used for logos, branding, invitations, stationery, wedding designs, social media posts, and much more!

This extra stout slab serif derives its inspiration from two Vincent Pacella designs: Pacella Barrel and Pacella Colossus. Essentially it’s an all-caps font, but there are biform variants of a, e, m, n and u, so you can mix things up to create more interesting headlines. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

This rollicking romp through the alphabet is based on an offering from the irrepressible M. Draim, seen in La Lettre dans le Décor & la Publicité Modernes, published by Monrocq Frères of Paris in 1932. Its animated and friendly demeanor will add personality to any headline it graces. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

This is a relaunch version of Joost, a milestone of the Type-Ø-Tones catalogue. This revival of Joost Schmidt’s typeface now has a capital set, a new weight and some OpenType features. Not to mention alternate glyphs for M, N, Ñ, and W characters. The inspiration came from the 'bauhaus dessau im gewerbemuseum' basel exhibition poster, designed in 1929 by Franz Ehrlich after a sketch by Joost Schmidt.

64-SRC is a condensed monospace font inspired by 1960s IBM Selectric type seen on HAL’s telemetric displays in 2001: A Space Odyssey. It is characterized by unique "double-space" alternates for the widest characters such as “w” and “m”. These alternates maximize legibility, improve the rhythm of readability and keep typographic color even. As a result 64-SRC is as well suited for extensive copy as it is display type.

PiPi is named after a happy Italian cat with a remarkable pattern, color and attitude. Designed by Andre Toet in 2011. Every letter is a different expression in itself although it has an identical base. It gives a joyful feeling to use this font in all your designs whether they be graphic or digital. M E O O O W ! Concept/Art Direction/Design: André Toet © 2017

This swoopy, loopy script was inspired by an “American roundhand” presented by John M. Bergling in his Art Alphabets and Lettering, first published in 1914. Bergling’s unique talent crafted uppercase letters which manage, at the same time, to be both elegant and ostentatious. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Flood was designed by Joachim M�ller-Lanc� and is not just another handwritten face. At smaller point sizes it exhibits the natural, dynamic, and spontaneous flow of felt tip marker writing. At larger sizes Flood is immediate, urgent, and provocative in its stylized detailing, without being overly dramatic. Flood�s energetic rhythm is well suited for informal menus, logos, and brief ad copy, as well as personal correspondence.

Briasantika is a cursive and natural handwritten font. It looks beautiful on a variety of designs requiring a personalized style, such as wedding invitations, thank you cards, posters, flyer, greeting cards, logos and so on.

Blacksign is a cursive brushed handwritten font, featuring a lovely style. No matter the topic, this font will be an incredible asset to your fonts’ library, as it has the potential to elevate any creation.

Chiara Script has a very simple origin. It's a highly stylized interpretation of Greater Albion's chief designer's handwriting! It combines legibility and cursive characters in a distinctive blend and includes a range of OpenType features.

Font with elegant cursive script initials to create two-letter monograms for letterheads. Includes 37 borders, each accessed by a single key-stroke on the computer keyboard.The borders will automatically line up with the initials.

Script Love is a connected cursive script appearing as hand written in three weights: fine pen, pen & marker. Script Love features extended characters, containing West European diacritics & ligatures, making it suitable for international environments & publications.

Alire is a cursive font and inspired from the famous retro typography design. It includes a total of 518 glyphs and includes several OpenType Features such as: Stylistic Alternates, Swashes, Ligatures, Contextual and Stylistic Set.

The Seol Sans design offers a fresh palette for designers working with the Korean alphabet, particularly those looking to pair Latin and Korean alphabet (or Hangul) forms without creating typographic friction. The choices for Hangul fonts that work well with humanist Latin typefaces are limited. As Monotype’s first original Korean design, the Seol Sans typeface is a humanist take on the traditional rigid and hard designs of Hangul characters. The Seol Sans design more closely resembles the natural curve of hand-written characters. Seol Sans features Neue Frutiger for its Latin glyphs, and works harmoniously with Neue Frutiger World and Monotype’s CJK typefaces Tazugane Info (Japanese) and M XiangHe Hei (Chinese). Seol Sans is a great choice for global brands using a Sans Serif design looking to maintain their visual identity, and communicate with a consistent tone of voice in the Korean market.¶

Are you looking for a true cursive sans serif? Stile is a true cursive with moderate inclination. Its cursive character has mainly to do with writing-speed. Therefore it may serve also as copy font and not only for emphasizing purposes. Stile has a good readability and is really flexible and universally applicable. Stile is a sans serif and renounces to an excessive use of ligatures and other explicit calligraphic shapes in order to ensure a contemporary style and a homogenous text color. The whole font family consists of 8 weights (from ultrathin to black) and offers a wide range of Western and Eastern European special characters, typographical ligatures, uppercase, oldstyle and fraction figures. In addition Stile features a very complete and specifically tailored range of numberings and arrows. Bring a personal style into the artwork, with Stile. Download a free trial version of Stile with a reduced character set. Check it out!

Oxford Street is a signage font that began as a redrawing of the capital letters used for street nameplates in the borough of Westminster in Central London. The nameplates were designed in 1967 by the Design Research Unit using custom lettering based on Adrian Frutiger’s Univers typeface, a curious combination of Univers 69 Bold Ultra Condensed, a weight that doesn’t seem to exist but which would flatten the long curves of glyphs such as O, C and D, and Universe 67 Bold Condensed with its more rounded lobes on glyphs like B, P and R. Letters were then remodelled to improve their use on street signs. Thin strokes like the inner diagonals of M and N were thickened to create a more monolinear alphabet; the high interior apexes were lowered and the wide joins thinned. The crossbar of the A was lowered, the K was made double junction, and the tail of the Q was given a baseline curve. K-Type Oxford Street continues the process of impertinent improvement and includes myriad minor adjustments and several more conspicuous amendments. The stroke junctions of M and N are further narrowed and their interior apexes modified. The middle apex of the W is narrowed and the glyph is a little more condensed. The C and S are drawn more open, terminals slightly shortened. The K-Type font adds a new lowercase which is also made more monolinear so better suited to signage, loosely based on Univers but also taking inspiration from the Transport typeface both in a taller x-height and character formation. The lowercase L has a curled foot, the k is double junctioned to match the uppercase, and terminals of a, c, e, g and s are drawn shorter for openness and clarity. A full repertoire of Latin Extended-A characters features low-rise diacritics that keep congestion to a minimum in multiple lines of text. The font tips the hat to signage history by including stylistic alternates for M, W and w that have the pointed middles of the earlier MOT street sign typeface. Incidentally, Alistair Hall (‘London Street Signs’, Batsford, 2020) notes that when the manufacturer of signs was changed in 2007, Helvetica Bold Condensed was substituted in place of the custom design, “an unfortunate case of an off-the-peg suit replacing a tailored one” and a blunder that has happily since been rectified, though offending nameplates can still be spotted by discerning font fans.

Haritta Handwritten Script Font is a cursive, paint-brushed script font, featuring characters that seem to dance along the baseline. Add this font to your most creative ideas, and notice how it makes them stand out.

Canadia is a cursive and lovely handwritten font. This versatile script font has a wide spectrum of applications ranging from greeting cards to headlines and is guaranteed to add a romantic feel to your next project.

Rutherford is clear, robust and authoritative, and reads well at small text sizes while also having the required heft for larger headlines. A wide range of weights makes it a versatile choice for magazines, branding, brochures and advertising. A slightly condensed obround serif with squared stroke terminals. The t, j and f curve around to harmonize with the terminals on the a and g, as does the tail of the Q. The italic incorporates cursive forms on the ends of the lower right and upper left strokes, and uses a single-story a. Includes full European Latin support and alternate designs for the Q and g in all weights.

First Prize typeface has simple shapes. It is a narrow, heavy sans serif typeface with geometrical logic and quite predictable constructions of characters. The idea behind it was to combine constructed structure of the skeleton and some calligraphic ideas, swashes and cursiveness. At the moment First Prize typeface consists of three narrow styles: bold, upright italic and italic. Cursive weights have beautiful ending swashes and initials. There are few alternative shapes for A&N. As a Display typeface First Prize will work very well with any other typefaces for the good of any project in print or online.

Good Song is a cursive font based on the USA's teaching script. It can be written in Carolinian, Sioux, Oʼodham, Southern Athabaskan, Hawaiian, and Samoan from USA. It can also be written in Dutch, Maltese, Aymara, Mapuche, Rapa Nui, and other languages. This font family is cute. The style is wide and rounded. It has wide and open loops. The strokes are drawn with a round cap tool, with no contrast. It is cursive and connected. The form is upright. It is easy to read in the USA. Part H has capitals with High starts. Part L has capitals with low starts.

This is a fully connected script font, not calligraphic, but entirely designed to follow handwritten cursive ligatures rules as teached in schools. In order to correctly visualize it, you have to enable OpenType features (Contextual Alternates, Discretionary Ligatures, Standard Ligatues and Kerning). Trying to write All Capitals will generate Block Letters writings, since cursive style doesn't allow more than the first uppercase per word, however this font is not meant to be a Block Letters font. Using specific type combinations will generate special glyphs. All of these features are intended to reproduce a classic schoolboy or schoolgirl notebook.

JH Mabel is a modern cursive typeface; it has three weights: light, medium and bold. It is a smart type and consists of extra characters to simulate real handwriting. Typical use: branding, greeting cards, long runing text.

Arabellia Signature is a lovely and cursive handwritten font. It is the best choice for creating eye catching logos, branding and quotes. Every letter has a unique and beautiful touch, which will make your design come alive!