Mommy and Baby is a modern display font that is readable, fun and stylish. It is defined by smooth curves and is perfect for sweet and funny branding. Add it confidently to your projects, and you will love the results.

Nature Product it's single weight display font with ideology defines of healthy lifestyle and nutrition. Pure curves based on calligraphy method. Font perfect for use in organic foods, cosmetics, medication package design & identity projects, food editorial prints and web blogs. Enjoy!

A groovy, bold typeface that transports you back to the 70s and 80s. Its sleek curves and sharp angles evoke the spirit of neon signs and vintage design. Get ready to captivate with this striking font that exudes nostalgic coolness.

Blaak is an interpretation of a Modern Classic typeface with a beautiful and strong impression for editorial design. The sharp serif combined with curves gives Blaak a fabulous, glamorous and bold look; at the same time doesn't sacrifice its functionality.

Lendriyan fonts, calligraphy and handwriten fonts. This font is very beautiful and charming with curves. With its uniqueness, this font can be used as a logo, title, script, leaflet, landing pages and others. You just like this font, thank you

Consisting of 6 weights & 12 styles, Rebar is a geometric sans with harmonious curves and slightly angled framing which gives the typeface a foundation of balance and strength. Includes numbers, punctuation, some ligatures and diacritics for compatibility with many foreign languages.

Margin Notes font offers a natural handwriting look. It had imperfect, organic curves and off set lines that imitate natural hand written writing. Give this handwriting font a try with note-taking, organization or even a back to school poster.

Ondise is a curvy and warm hand-lettered calligraphy script with a natural, dancing baseline. This Opentype font was created with a pointed pen & ink, and includes six different ampersands as well as a swash feature that automatically substitutes beginning & end of word letters. To enable alternate ampersands, simply turn on the contextual alternates feature and type &1, &2, &3, etc. Opentype coding automatically substitutes the new ‘and’.

Millwal is a vintage serif font. With many alternate features for each letter, Millwal provides flexibility and variety in the appearance of the text. Each letter has a unique alternative, adding a creative and eye-catching touch to your designs. From curvy shapes to artistic details, each character in this font displays a different kind of beauty and authenticity. Features : - Ligatures & Alternates - Letters, numbers, symbols, and punctuation - Multilingual Support

Coffee Beans font is curly ended type font, great for strong headings and titles. Comes from all caps. You can use like Instgram posts, in logos for example CoffeeShop logos and designs design projects be it logos, art quotes or art headlines vs. If you want to stand out your design and need personality your projects. You must try Coffee Beans Font and see difference with other fonts.

Fiorista is a pretty brush scrip with thin and curly line. Florists works best for greeting card, wedding ceremony invitation or shop card of fashion or apparel. It could also be used for film, magazines, advertising and websites. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

Chank worked with Josh Eshbach, an intern from Minneapolis College of Art and Design, to create Cocaine as the Chank Font of the Month for November 2000. Inspired by Speedball type designs of the ’20s and ’30s, Cocaine has been redrawn and streamlined for use in the digital age. Curvy and round and relishing in its idiosyncrasies, Cocaine recalls vintage French wine posters and antique sheet music covers.

Keukenhof is a modern calligraphic font that shows the beauty and luxury. Rich of various alternates curly lowercases that will make your project charming. It's perfect for elegant project. Such as wedding invitation, gift card, romantic quotes, elegant branding, and so on. You can get uppercase and lowercase letters, numeral and punctuation, beginning and ending swashes, lowercase alternates, lowercase initial form, and ligatures. Please look at preview pictures detaily.

An elegant serif with contrasting lines and balanced curves. A lot of stylish alternates will give you many useful variations for use. Try to play with the compositions of curves / alternate letters. This font may be conservative and classic, but also may be more playful and modern. It is good for theater or art posters and for modern music, web-pictures or vinyl covers. Of course it also will be good for coffee shops, cafe's, restaurants, magazine's headers, signs or gift/post cards and weddings. Try to use it in your beauty or travel blogs, you will see how many options you will have with stylish Kristopher.

Cajoun is a bold serif face from German designer Hans-Jürgen Ellenberger. The letters sit visually low on their baseline, in part due to their small x-height. Also, the curved portions of the letterforms have an old-style distribution of weight, which pulls the eye downward. This font has a contemporary feel, however, with crisp edges, and some pointy terminals. The typeface also contains old style figures. Cajoun is recommended for use in larger applications, where the eye can get a change to dance along its wide curves. Cajoun was designed in 2002, and is part of the Take Type 5 collection from Linotype GmbH."

Holografik is a Neo-Grotesk sans serif font inspired by scientific progress, existential wonder, and social oneness. With its wide structure and light airy weights, Holografik is an optimistic take on a Grotesk font. The stark Swiss style of the characters is softened with playful curved details, such as a bowed descender in the lowercase y, connected descenders in the alt lowercase g and y, and the curved bottom serif in the alt uppercase B and D. Featuring three weights and italics, it is ideal for use at larger scales like headlines, packaging, editorial, branding, and posters. Includes punctuation, glyphs, diacritics, numerals, icons, and multilingual support.

The Atoxina family is designed especially for the burgeoning market of starships and other space cruisers. The fonts are ideal for internal and external use (including zero-g and occasional bursts of cosmic rays), and with their simplified forms are expected to survive well in non-linear galaxies. With their unusual diagonal half-pixels the fonts are striking as abstract designs at astronomical sizes, where small text may be placed within the black holes formed inside the letters. The typeface is available in two different styles: Atoxina (regular) and Btoxina (italic).

Northwoods Rough is a handwritten sans serif collection by Cultivated Mind. This collection includes 30 handwritten rough sans serif fonts. Northwoods Rough comes in three rough versions (Rough/Rougher/Roughest). Choose between light, italic or bolder versions for designing. Test out the FREE Northwoods Demo before you buy. Northwoods Rough Demo is for testing only. Northwoods supports most of Central European and Eastern European languages. Use Northwoods Rough for packaging designs, products, signage, books and magazines. Fonts are designed by Cindy Kinash and posters by featured Behance designer, Mustafa Akülker.

The Federal Art Project division of the WPA (Works Progress Administration) employed numerous artists, musicians, actors and other creative sorts in a effort to help many survive the Great Depression of the 1930s. One of the posters created by this project was for a "Card Party and Barter Benefit" with proceeds going toward the Nassau Art Teachers Benefit Fund - taking place at the Coca-Cola plant in Rockville Centre, New York. East Village JNL was derived from this poster, and is available in both regular and oblique versions.

Poplar is an Adobe Originals typeface designed by Barbara Lind in 1990 for the Adobe Wood Type series. Poplar, a Gothic condensed, was designed from photographs taken by Rob Roy Kelly of the one surviving copy of an 1830 William Leavenworth type specimen book. Leavenworth possessed unusual artistic abilities, and his treatment of the letterform counters as narrow slits made it the only wood type of its kind displayed during the nineteenth century. Poplar is an excellent display face, its simplicity making it useful for a broad range of work.

Continue your branding with the ever popular Viva Beautiful font. A new hand-painted brush script collection by Cultivated Mind. Viva Beautiful is back with nine new fonts that include six scripts, a caps font, free words font, free extras and plenty of alternates/ligatures. There are five sets of alternates for every letter adding to the uniqueness of your designs. The new Viva Beautiful scripts are a much cleaner brush script than the original. All scripts come in pro and regular versions. Both versions are Latin Pro. Pro scripts include 260 alternates and 8 common ligatures. Ligatures are programmed to pop up when specific letter pairs are typed. Try the alternates and ligatures together to give your designs a realistic hand-painted look. The all caps font is a basic version that includes 5 common ligatures and looks great paired with the scripts. Regular versions include Latin Pro characters but do not include alternates and ligatures. Viva Beautiful Collection works best for beauty products, music branding, film, television, cookbooks, book covers, food marketing, magazines, and websites. Check out Cultivated Mind Type on Instagram for fun Viva design ideas. Bring beauty to your designs with Viva Beautiful! Fonts designed by Cindy Kinash. Poster designs by Corinne Alexandra.

Cosmopolitan Elegance Named after a southerly wind that blows over the Mediterranean Sea, FS Ostro breathes warmth into letterforms with their roots in colder, stark Modern typefaces. FS Ostro is a typeface imbued with balanced and sophisticated elegance. It’s discerning and sensitive, self-assured but understated. One for the well-travelled reader. Thoughtful contrast FS Ostro draws inspiration from a wide range of sources, such as 19th century British Scotch Roman designs, Italian modern style typefaces and highly contrasted display Spanish examples. Its text version offers a consistent rhythm and robust texture that is easy on the eye. This elegant, cosmopolitan typeface is characterised by its thoughtfully modulated contrasts between thick and thin, sharp angles, and sophisticated curves. Exaggerated touches in display “What is more restrained and sober in text, becomes purposefully prominent and more detailed in display,” says Fontsmith designer Alessia Mazzarella. These exaggerated details for the display version can be seen in the letter terminals, such as those in the ‘a’ and ‘g’ and the tail of the ‘Q’, as well as in the set of numerals, fractions, arrows, borders and ornaments, which can be used to build decorative framing elements. Fluid italics The less rigid and curvaceous italics of modern style typefaces were the inspiration for FS Ostro’s own subtle, flowing italic styles. The letterforms are confident and fluid, creating an overall sense of refinement and modernity.

Designed by Cosimo Lorenzo Pancini and Andrea Tartarelli with Maria Chiara Fantini, Lovelace is Zetafonts homage to the tradition of nineteenth century “Old Style” typography - a revival of Renaissance hand-lettered shapes driven by the desire to create a less formal and more friendly alternative to Bodonian serifs. While taking inspiration from the letter shapes created by Pheimester or Alexander Kay - with their calligraphic curves and heavy angled serifs that influenced Benguiat and Goudy’s typefaces in the 70s - we also tried to add elegance and contrast by following another 19th century revival style: the Elzevir. This digital homage to victorian typography, aptly named after the algorist daughter of lord Byron, is developed in two optical sizes, both in a six weights range from extralight to extrabold. The text variant offers maximum readability thanks to the generous x-height and screen-friendly design, while the display variant excels in the sharp contrast and thin details needed for editorial and large-size titling use. The italics, strongly influenced by calligraphy, have been complemented with a display script family, including luscious swashes and connected lowercase letters, lovingly designed by Zetafont in-house calligrapher. All the thirty weights of Lovelace cover over 200 languages that use latin, cyrillic and greek alphabets, and include advanced Open Type features as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms.

Luckiest is a Stylish Ligature Serif Font. Its soft curves mixed with high-contrast glyphs, give it a feminine and masculine quality. Come in two versions, namely Regular & Italic. It comes with beauty ligatures. Great in layout design for quotes or body copy, best used as a display for headings, logos, branding, magazines, product packaging, and invitations. Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower, Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North, Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western, Frisian, Zulu. Image used: All photographs/pictures/vectors used in the preview are not included, they are intended for illustration only. Feel free to follow, like, and share. Thanks so much for checking out my shop!

About Garino: Garino is a modern sans-serif typeface family. It gains its expressive character from a dynamic sweep in the curves and high-contrast transitions. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. As a result, it can be used in a reserved as well as an expressive way. Thanks to an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Variable Font The Variable font contains 2 axes: weight and oblique – all in just one file. Features: With over 1165 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. Get the static version of the Garino family here: https://www.myfonts.com/fonts/julien-fincker/garino/

About Garino: Garino is a modern sans-serif typeface family. It gains its expressive character from a dynamic sweep in the curves and high-contrast transitions. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. As a result, it can be used in a reserved as well as an expressive way. Thanks to an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Features: The Garino family has a total of 20 styles, from thin to heavy with matching italics. With over 1165 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. Get the Variable Font here: https://www.myfonts.com/fonts/julien-fincker/garino-variable/

The Obla font family is a modern serif typeface accompanied by appropriate italic in seven weights. Sketches of letters were drawn manually, using thick marker for creating shape and pencil for finishing details. Calligraphic origin of shapes is revealed beneath strained curves drawn on computer. All of the weights were carefully adjusted to each other. Obla is equipped with some basic OpenType features and supports Cyrillic and Latin script. Using Obla in small sizes is very convenient, because of its large x-height, and Obla is a very readable typeface. It seduces the reader with its vivacious character. The typeface is also suitable for usage in large sizes. The best choice for headlines is using the heaviest (Black) and the lightest (Thin) weight. There are two smaller family packages in offer: Obla Basic Set contains Regular, Italic, Bold and Bold Italic, while Obla Light Set contains Light, Light Italic, SemiBold and SemiBold Italic. These two sets are the most appropriate for working with small text. Other weights can be bought separately, or within the whole family. Obla is an awarded typeface. It got Special Mention in Cyrillic Typefaces category in Granshan 2016 competition and it was chosen as a Merit Winner in Print’s Typography and Lettering Awards competition. At that time, before publishing, the typeface was named Petra.

Broken letters[1] (German: gebrochene Schrift literally "broken writing"; English: blackletter) or Gothic letters, also known as German letters, are the typeface used in Europe West from the 12th century to the 17th century. Meanwhile, Danish spoke it until 1875 and German, Estonian and Latvian spoke it well into the 20th century. Fracture is one of the broken typefaces that is often considered to represent the entire broken typeface. Broken letters are sometimes also called Old English, but not in the Old English or Anglo-Saxon sense that was born centuries earlier. This group of letters is so named because it contains Latin letters that have breaks in the curvature of the letters, either in part or in whole designs. The fracture arises from a sudden dip when writing certain parts of the letter. In contrast, letters with perfect, unbroken curves, such as Antikua, are created from smooth, flowing writing movements. Grogoth is a font inspired by the Blackletter typeface, made with a modern impression but still looks strong and unique. In addition, Young Best font is also supported with multilingual characters that can be used in several international languages. Grogoth font is very suitable for use in making music album cover designs, tattoo logos, wishkey labels, packaging pomades and so on which are made with dark and strong concepts. Thank you, and don't forget to check out our other products.

The design of Cyan was inspired by features found in classic Roman and styles like Trajan and Bodebeck. It shows the designer's personal preference for geometric Roman proportions while incorporating open centers (B,P,R) and compact serifs. Unlike Trajan, Cyan has lowercase characters in the regular version. The characters stay true to the same features as the capitals, resulting in an unusually distinctive style. The Regular Capitals version contains Roman numerals. Cyan's weight is similar to Trajan's but the horizontal strokes are slightly bolder resulting in better legibility for small sizes, especially for lowercase characters. There are many subtle details in Cyan that become more interesting in larger sizes, for instance the subtle curves in the serifs and the overall smoothness as a result of the mostly rounded angles. Cyan is a robust font that will exceed expectations in areas never explored before. The name is inspired by the Greek word cyan, meaning "blue". The color cyan can have many different variations. One definition is a color made by mixing equal amounts of green and blue light (it also is a pure spectral color). As such, cyan is the complement of red: cyan pigments absorb red light. Cyan is sometimes called blue-green or turquoise and often goes undistinguished from light blue. Obviously the Cyan family is a perfect companion to the Cyan Sans family.

Cosmopolitan Elegance Named after a southerly wind that blows over the Mediterranean Sea, FS Ostro breathes warmth into letterforms with their roots in colder, stark Modern typefaces. FS Ostro is a typeface imbued with balanced and sophisticated elegance. It’s discerning and sensitive, self-assured but understated. One for the well-travelled reader. Thoughtful contrast FS Ostro draws inspiration from a wide range of sources, such as 19th century British Scotch Roman designs, Italian modern style typefaces and highly contrasted display Spanish examples. Its text version offers a consistent rhythm and robust texture that is easy on the eye. This elegant, cosmopolitan typeface is characterised by its thoughtfully modulated contrasts between thick and thin, sharp angles, and sophisticated curves. Exaggerated touches in display “What is more restrained and sober in text, becomes purposefully prominent and more detailed in display,” says Fontsmith designer Alessia Mazzarella. These exaggerated details for the display version can be seen in the letter terminals, such as those in the ‘a’ and ‘g’ and the tail of the ‘Q’, as well as in the set of numerals, fractions, arrows, borders and ornaments, which can be used to build decorative framing elements. Fluid italics The less rigid and curvaceous italics of modern style typefaces were the inspiration for FS Ostro’s own subtle, flowing italic styles. The letterforms are confident and fluid, creating an overall sense of refinement and modernity.

Engria is a type family of four weights with corresponding italics that treads the fine line between sans and serif. There are serifs, of a sort, inspired by the brush. Not the marks made by a brush, but the actual splayed shape the bristles make when clamped together. Wedge-like chunks that resemble engraved forms, as the name Engria hints at. But it also has the appearance of a stressed, flared sans. This mixed approach lends a unique voice. Highly legible at text sizes, as indeed it is optimized for, Engria does however shine at display sizes thanks to its characteristic details – flared stems, angular counterforms, rugged ink traps and fluid curves. (I would recommend tracking it a little tighter at larger sizes.) Engria started life way back in 2014, and has been worked and reworked tirelessly to get to this finished product. My intent was to really push the idea of the white shapes being as important, if not more so, than the black. Engria is equipped for typographically demanding applications, boasting as it does an array of OpenType features, including small caps, automatic fractions, stylistic sets, various figure styles, arrows, case sensitive forms and more. It will make a very useful addition to your typographic arsenal, with a flare (ahem) for editorial work, but the individuality for packaging, branding, and logo work.