Abramo is a perfect blend of elegance and modernity. Abramo is a set of two modern fonts: an all-caps serif and a stylish script. the smooth curves of the serif create a feminine feel. Abramo works great for logos, social media posts, invites and many other projects. It comes with multilingual support also.

Drettany Signature Font is a captivating handwritten signature script font that exudes elegance and sophistication. Its gracefully flowing curves and delicate strokes add a touch of refinement to any design project. Whether used for branding, invitations, or any creative endeavor, this font is sure to leave a lasting impression with its enchanting and distinctive charm.

ITC Isbell font is the work of Dick Isbell and Jerry Campbell of Detroit, Michigan, a highly stylized roman typeface which retains an exceptional legibility. The unusual arches and curves of several lowercase characters give the typeface its individuality. ITC Isbell font is ideal for advertising, brochures, menus, and a variety of other applications.

Barberry is a hand-made brush script typeface equipped with some decorative OTF features, made by Zakhar Yaschin (FontaZY). Barberry font contains stylistic alternates, initial and final alternates (which is duplicated by contextual alternates in the case when ini & fina are not supported), ligatures, titling alternates, small caps and large collection of swashes (additional variants - in Stylistic Set). The Barberry font is essential for hand-made lettering and design. The Barberry family also includes Barberry Vigniette font with over 200 icons and vigniettes in it. Barberry Letters supports most of Western languages (including Central Europian, Baltic and Eastern European languages) and also Cyrillic. Each lowercase letter has three positional versions of the design – basic (if the letter is in the middle of a word), initial (if the word starts with it) and the final (in the end of the word) that makes the set look more alive and expressive. Working with Barberry Letters you can enable and disable if needed such typographic tools as swashes, ligatures, small caps, titling alternates, stylistic alternates, additional swashes and the already mentioned initial and final alternates. If your design software does not support the use of the initial and final alternatives, they can be duplicated by contextual substitutions. There are more than 20 Latin and Cyrillic ligatures in the Barberry Letters. It works by default as the standard ligatures, but you can switch it off for design reasons or to select the more appropriate typographic solution in any particular case. Ornamental font Barberry Vigniette has more than 200 pictograms and vignettes that can decorate your typographic layout. All icons are drawn with a brush in the same style as the Barberry Letters. You can use them inside the text lines, or make the ornamental decoration for text, or use separately, without any letters. OpenType extensions of the Barberry Letters significantly expand the choice of typographical tools to design a better, more expressive layout. Choosing the optimal variant of certain letters in each case, you can receive a unique composition. Whether it is lettering for packaging or magazine headline, logotype or the name in the invitation – just one Barberry font-family gives you the very wide typographic possibilities.

Introducing Containment, the ultimate font system that will elevate your design game to new heights. With its multilayered features, Containment is the perfect tool for creating headlines with a unique edge. Whether you want to add some fizz, gravel, snow, sand, or any other gritty effect, this font system has got you covered. Containing four fonts, namely the plain layer, shadow layer, crunchy-little-dots layer, and a combination of the three, Containment is designed to give you the creative freedom you need to craft stunning designs that stand out. The best part? This powerful font system is based on the renowned Tandelle typeface, known for its clean, sleek lines. As an advertising professional, you understand the importance of capturing your audience’s attention from the get-go. With Containment, you can create headlines that pop and grab your audience’s attention. Experiment with colors and add different layers to your headlines to create a unique look that will set your brand apart from the competition. In the fast-paced world of advertising, innovation is key, and Containment is the perfect tool for breaking the mold and taking your designs to the next level. Order Containment today and experience the power of a font system that combines style, creativity, and functionality like never before. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Evans was named after Walker Evans, an american photojournalist whose photographs often featured unassuming subjects – ordinary people, roadside scenes, and the subtle details of the American landscape. His ability to find beauty in simplicity and appreciate the mundane inspired Cosimo Lorenzo Pancini and Andrea Tartarelli to create this typographic family that aims to convey the ideals of journalistic storytelling: simplicity, clarity, and unpretentious honesty. Looking for a soothing, relaxed visual flow in body text, Evans was designed by gently narrowing classical proportions to answer the designers' need of maximizing the arrangement of lengthy text within confined spaces. Combining the vintage appeal of a semi-condensed old-style structure with a very slight transitional slanted axis resulted in text-oriented typeface with visual charm on both printed and digital pages. Subtly reducing the size of majuscules allowed the effect of an increased x-height, balancing space saving with increased readability at same point size. Using soft, semi-calligraphic shapes and keeping a generous letter spacing, the designers embraced a minimalist approach, aiming at a smooth reading experience. For maximum versatility, Evans provides two distinct variations tailored to different purposes: the Regular and the Narrow subfamilies. While both are fine-tuned for body text applications , the second is suited also for display-oriented contexts, where attention-grabbing headlines take center stage. Each subfamily is developed in a range of 8 weights from Extralight to Heavy, and includes over 700 glyphs with full coverage of language using extened latin glyphs. True italics are designed for all weights, providing additional typographic control through the design of Swash Alternates, available through Open Type features that also include Standard and Discretionary Ligatures, Positional Numerals, Case Sensitive Forms and Stylistic Alternates. The family is complemented also by a rich set of Ornaments, available both as special glyphs or in a separate font. With its retro-inspired design and unwavering commitment to form and function, Evans effortlessly extends its versatility from editorial design to digital interfaces and logo creation, inviting users to appreciate the beauty in simplicity, find joy in the ordinary, and embrace a relaxed and unhurried mindset.

Hello, design enthusiasts! Allow me to present "Estrand" - a distinctive Display font with a penchant for sharp angles and bold character. Estrand features an edgy and angular design, characterized by rigid corners and a slightly condensed form that exudes a sense of precision and boldness. The font is crafted with sharp angles, giving it a unique and commanding presence. Its condensed nature ensures a sleek and modern aesthetic, making it an excellent choice for designs that demand a tinge of fierceness. Key Features: Sharp Angles and Bold Character: Estrand embraces a sharp design with well-defined angles, adding a touch of assertiveness to your typographic compositions. Slightly Condensed Form: The font's condensed structure contributes to a sleek and modern look, allowing for efficient use of space in various design applications. Distinctive and Commanding: With its firm personality, Estrand stands out as a font that commands attention and leaves a lasting impression. Versatility: Whether applied to branding, logos, or any design project, Estrand's unique characteristics make it adaptable to a wide range of creative endeavors. Estrand is your go-to font for designs that demand a sharp and distinctive edge. If you have any inquiries or require further information, feel free to reach out. Your feedback is highly appreciated. Thank you for considering "Estrand" for your design endeavors.

Slab-like sibling Why stop at sans? Rather than leave FS Silas Sans as an only child, the team wanted to extend the family, and create a complete system for brands and editorial. Unsure what the result would be, the team started experimenting with a slab serif version. ‘We didn’t know how it would turn out, but we really liked it and wanted to take it further. A fresh angle ‘We stuck with the angular theme of the sans by drawing angled slab serifs,’ says Phil Garnham, ‘as opposed to the square serifs that slab fonts usually have. That created an inner dynamism in words and sentences on the page, and a very distinctive, crafted character, like a Victorian soul in a contemporary body.’ These crafted touches include details such as the angled ascenders on the ‘i’ and ‘l’, while characters such as the ‘y’, with its abruptly-ending descender, add a mark of distinction. A perfect pair Silas Slab, like its sibling, offers a clear-cut range of five weights, from the elegant Thin to the monumental ExtraBold. Put it together with Silas Sans and you have the full complement, capable of performing the full range of tasks, above the line and below, in headlines, body copy and logotypes, B2B and B2C. Keep them together; they don’t like it when they’re apart.

The use of pattern is strongly integrated into African art, craft and culture. If you are creating designs which are to have an African look, then the African Pattern Fonts are an essential resource. The patterns vary tremendously -- either gently rounded in shape, or with a stark African angularity they reflect the ethos of Africa. Some of the fonts (African Patterns 01 and 02) have been inspired by the designs of Africa without regard for specific tribes or ethnic borders. They create a strong sense of "African-ness" without a narrow connection to any specific tribe. African Patterns 03 (Zulu and Ndebele) and 04 (Mali), in contrast, have been closely based on traditional patterns that are currently in use by the better known pattern-using African tribes. You can use the fonts as elements in graphic designs (using Adobe Illustrator, Adobe Photoshop, Adobe Freehand or equivalent programs). However, you don't have to be a graphic designer to use these fonts: you can easily make borders and patterns in word processing packages such as Microsoft Word. (See the Gallery Images for instructions). Each African Pattern font contains 52 different pattern units. You can combine these in a myriad of ways giving an almost unlimited number of patterns. You can even overlay one pattern with another, allocating a different color to each layer. Explore your own creativity -- experiment!

Cubio™ Mono is a new monospaced geometric sans serif inspired by the hexagonal silhouette of isometric cubes. We applied this angular form through all aspects of Cubio™ type design from the overall look of letters and icons down to the small details such as the end of each letter stem and hexagonal dotted lines. This font family comes in 3 weights/styles: 300 (Regular), 500 (Medium), and 700 (Bold). With over 1,500 glyphs, Cubio™ Mono not only supports most Latin-based languages, but also features an extensive set of UX/UI icons, and patterns. Cubio™ Mono is a versatile typeface for both digital and traditional designs. Perfect for packaging design, logo design, print design, store signages, UX/UI web & apps designs. Cubio™ Mono packed with features such as case-sensitive marks, punctuations and math symbols. It also comes with an extensive set of box/compartment drawing glyphs to help you create a unique modern design without even using the line tools. We designed the Cubio™ Mono font system with your convenience in mind. It comes with two sets of hexagonal dotted line and icon positions (Mid Cap Height and Mid X-Height ), so you don’t have to use the baseline shift command to set them to the perfect spots. To find out more about Cubio™ Mono Opentype features and type specimen, please visit www.r9typedesign.com

This is Range Sans, the sans-serif counterpart to Range Serif . It can be categorized as a grotesque, with the idiosyncratic angular details from the serif family making themselves known in the arches and bowls of the lower case. The range of weights is larger than Range Serif, with two more weights at the lighter end of the spectrum. The weights from light to black correspond to their seriffed sisters, so can be interchanged with them freely while maintaining a similar text color and vertical metrics. This is useful for adding emphasis; Range Sans is deliberately lacking an italic, but the italics from Range Serif work better than you might expect in running text, particularly for the light and regular weights. Range Sans has a contemporary, somewhat geometric look that lends itself to uses such as corporate identities, minimalist graphic design, and logos. The middle weights do work well in running text, however, with the angled details being less noticeable at small sizes. Designed for demanding typography, supporting most Latin-based languages, Range Sans is equipped with true small caps for all weights, an array of numeral styles (proportional- and tabular- lining and oldstyle figures, small cap figures, numerators, denominators, superscripts and subscripts/scientific inferiors), automatic fractions, a set of useful arrows, case-sensitive forms, and a range of currency symbols including recent additions: Turkish Lira, Indian Rupee and Russian Ruble.

“Kindah” is a Yemeni ancient tribe with evidence of its existence going back to the second century B.C.E. The kings of Kindah exercised an influence over a number of associated tribes more by personal prestige than by coercive settled authority. The Kindites were polytheistic until the 6th century CE, with evidence of rituals dedicated to the gods Athtar and Kahil found in their ancient capital in south-central Arabia. It is not clear whether they converted to Judaism or remained pagan, but there is a strong archaeological evidence that they were among the tribes in Dhu Nuwas' forces during the Jewish king’s attempt to suppress Christianity in Yemen. They converted to Islam in the mid-7th century CE and played a crucial role during the Muslims' conquests of their surroundings. Among the most famous figures from Kindah known as Kindites are Imru' al-Qays (526-565?), al-Ash'ath ibn Qays (599-661), Hujr ibn 'Adi al-Kindi (?-660), al-Miqdad Ibn Aswad al-Kindi (589-653), and Abu Yusuf Yaíqub ibn Ishaq as-Sabbah al-Kindi (805-873) known as the Philosopher of the Arabs. "Kindah" font is a modern Kufic font comes in three weights (i.e., bold, regular, and thin) which is mainly designed to be used as a display Arabic font. The main feature of this typeface is the mixture of curves and rectangular shapes used in the designed Arabic characters. Kindah font was inspired by the design of the Yemeni modern windows of houses in which only top part of the arc is used for building such windows which reflects the originality of the architecture preserved in this part of the world. "Kindah" font is extremely outstanding when used in printed materials with big sizes especially for headline, titles, signs, and names of brands. Hence, it is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. It has also a Latin character set and it also supports several Arabic character sets which makes it proper for composing alphabetical and numerical words in Arabic, Urdu, and Persian.

Deva Ideal was inspired by women’s beauty. It didn’t come only from the desire to create a new typeface. It also seeks to materialize beauty in a visual form. Instead of imitating the shapes of the female body or other formal attributes, Deva Ideal is an abstract expression of the women’s beauty. The unique character of the typeface is achieved by the use of soft, almost invisibly bent strokes, since one of the priorities of the typeface is not to disturb the eye of the reader with odd design details. Deva Ideal excels in her cold beauty and shows her sex appeal. The soft curves present in Deva Ideal differ from the masculine and technical shapes used in most contemporary typefaces. Deva Ideal has ideal proportions (90 / 60 / 90) and its shapes are essential and simple. Because of this, it is ideal for setting text in all kinds of printed matter: catalogues, books and magazines. The letter forms are wide and open, so text can be set in small sizes and thus space can be saved, while keeping the same degree of readability. The author wishes to acknowledge František Štorm for his invaluable opinions. Also to Palo Bálik and Peter Bilak for their contributions. I am specially grateful to all the devas (archaic expression for beautiful young girl), who inspired me to design this typeface. This is dedicated to Janka Ráczová, Jarka Krajčiová, Mariana Felgueiras and obviously to Martinka Filípková! Every use of Deva Ideal is a little homage to these interesting women.

DESCRIPTION Now my feelings about didones are more than evident. After some years of roman-abstinence (1) I present Heroe, an interesting combination of elegance and sensuality. Heroe, spanish for hero, takes some aspects of roman typefaces to the extreme like my main inspiration, the great Herb Lubalin, did in the majority of his works: Thins turned into hairlines, altered proportions (for display purposes), unique ball terminals, poetic curves and a graceful way of placing them together on a layout. Its classy style makes the font perfect for a wide range of uses. Imagine Heroe Inline (my favorite) dancing over a bottle of perfume; printed on the cover of a fashion magazine; lighting wedding invitations up. Its partner, Heroe Monoline, may help you to make more elaborated pieces of design. Just combine it with Heroe, or Heroe Inline and see how perfect they match. TECHNICAL The difference between Pro and Std styles is the quantity of glyphs. While Pro styles have all the decorative characters available, Standard ones have only the basic set of them. Heroe Monoline Big and Heroe Monoline Small were made for better printing purposes. If you need to print the font in small sizes, then your choice should be Small. Heroe Monoline has the same alternates (and open-type code) as Heroe Pro and Inline, plus some decorative ligatures. NOTES (1) After fonts like Breathe , Aire , and the award winning Reina , I started experimenting with scripts a little more. Erotica , Bird Script and Dream Script are examples of that.

I saw a cool UT-Ligature on an old (maybe 70's or 80's) Texas Longhorns fan-shirt - it was in 3D and I wanted something like that with my own initials A and B to print it on a baseball hat. I started drawing it and when I was finished, I thought it might be nice to do the same for my officemates. I needed another G, T and K. After finishing that I thought it might be cool to do this for other people as well. Since the source of all the 3D glyphs is found in the regular ones which get moved by a 45 degree angle and then connected with lines , I first draw all the uppercase regular glyphs. The thing that followed was kind of an addiction: after finishing the uppercase letters, I wanted to add lowercase letters, after finishing the 3D letters, I thought it would be nice to have a fill version to layer with the 3D letters. Having a rough, woodcut version of the regular style would be cool, too. And the font is also pretty much suited to make a stencil version. When all this was done, I was interested on how the font would look like without the serifs and curves instead of the 45 degree angles, so I did the Longhorn Sans. Good to use for all sports-related designs, especially retro-style soccer/football shirts. Uppercase characters can be combined to form ligatures or logotypes.

Blacker Sans Pro is a complete redesign and development of the original family designed by Francesco Canovaro in 2019 as a sans-serif variant of the successful Blacker created by Cosimo Lorenzo Pancini and Andrea Tartarelli. The original idea of Blacker Sans was to create a versatile pairing for Blacker, parting with its spiky wedge serifs but keeping its dark, elegant character and extending its weight range to 20 weights including italics. This Blacker Sans Pro family did also differ in contrast from the original Blacker family, choosing a more even and monolinear, almost grotesque approach. This choice that favored versatility over elegance left some of the original uses of Blacker not covered by its sans counterpart, and so two subfamilies were added, applying to the same skeleton varying degrees of contrast, from the readability-optimized medium contrast of Blacker Sans Text to the extreme variations of Blacker Sans Display, with its elegant juxtapositions of thin curves and thick black slabs. The original signature details of Blacker, like the hook shape of lowercase "f", have been complemented by new alternate forms, ligatures and swashes, with stylistic sets providing options to easily make logos and headings stand out. The wide range of OpenType features (that includes also small caps, positional numbers, and alternate punctuation) is applied to all the 60 weights of the family, each with over 1600 characters offering language support for 220+ languages using Latin, Cyrillic and Greek alphabets. Ready to make your text look gorgeous? Ditch your usual sans-serifs and try Blacker Sans Pro!

The ideal typeface for cartography The Swiss designer/typographer Felix Arnold designed Cisalpin during the late 1990s, after he had challenged himself to create a contemporary typeface that could be used for cartographic uses. Arnold came to the subject of cartographic typefaces after analyzing many maps and atlases, and discovering that there was no standard typeface for these types of documents. Like any good cartographic type, Cisalpin is very legible at small sizes. While he was drawing this typeface on his computer, Arnold used a reduction glass to refine his design, making it work in these situations. Cisalpin is a linear sans serif face, with slight resemblance to renaissance serif types. The various weights are all clearly differentiated from one another. And because space is often a premium on maps, Cisalpin runs narrow. Words close in around themselves to help them become more identifiable. The letterforms in Cisalpin are durable, and can maintain their readability when placed over complex backgrounds. They have open interior forms, flattened curves, tall x-heights, and a capital height that almost reaches the tops of the ascenders. Cisalpin also has pronounced Italics, with a very clear angle of inclination. Each letterform in the family has been optimized so that they cannot be easily mistaken for another. This again helps minimize the misunderstandings that often occur because of illegibility. Although Cisalpin was developed for use in cartography, it may be used for countless other purposes; any font that can work well in small sizes on a map could be used almost anywhere else!

This family was inspired by a Type Battle over at Typophile: How would you design a font metrically compatible with Helvetica, but better than Arial? Working with preset letter widths was an interesting constraint, both a relief and a limitation at the same time. I have done all the 4 basic weights, and the skewed obliques (done to a slightly less steep 10 degrees angle as opposed to the originals 12) has been optically adjusted. The letters have been designed quite close to the german/swiss grotesk tradition, but by using super-elliptical rounds, rounded dots and slightly curved outer diagonals the end result is a friendly looking font family that still looks... familiar. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Kinera is a display elegant serif . It seduces your eyes with its curves yet still looks serene and classy. Perfect for any kind of creativity you are about to start :). with a binder in it will add a very memorable impression to the writing you want. Note : Ligature can be active in CAPSLOCK File Included : - All Caps - Ligature

Introducing Blantik Script Font. This font is made with a unique touch of curves and has a vintage feel complemented by an interesting swash. This font is perfect for all your design needs. These include logos, posters, movie titles, branding, book covers, flyers, and others. Whats Include: Blantik Multilingual Support Alternates, ligature, Thank You... Hanzel Space

Brilanys Signature is a clean, elegant hand-drawn script font with unique curves and an elegant inky flow. Features : uppercase, lowercase, symbol, number, ligature, and also support multi language. Brilanys Signature is perfect for photography, watermark, social media posts, advertisements, logos & branding, invitation, product designs, label, stationery, wedding designs, product packaging, special events or anything that need handwriting taste.

PT MEDIEVIL is a new display font inspired by artefacts of the dark middle-ages with a contemporary twist. It contains 195+ meticulously crafted glyphs characterized by: -Upper part indented inward to be true to imperfect handwritten medieval typography -Smooth curve shapes -Rounded intersections between shape sections -Rounded serif Easily create headlines, display titles, subheadings, body copy.

Stripy strokes with more open to curves, designed for Young Urban, Professionals! PRC series fonts are in Unicode encoding and consists covers GB 2312 character set. It conforms to GB12345 standard. The character glyphs are based on the regular simplified Simplified Chinese writing form and style. It is generally used in China Mainland PRC and Singapore.

FunLine is a modern script font, crafted with monoline strokes characterized by curved lines and seamless connections, presenting a classic font with a modern touch. The font family comprises three weights; Light, Regular, and Bold. Suitable for your design needs. The Arabic version will be released, accompanied by the addition of Arabic, Urdu, Pegon, Persian, and Kurdish languages.

Owl is an amusing, childish, ornamental font whose features include spontaneity of thick, curved and smooth strokes with sharp edges. This font includes lowercase and uppercase capital letters. Character map contains all Latin and Cyrillic glyphs of European languages. It is suitable for various headings designed for children: logotypes, books, packages, leaflets, posters, T-shirts, television, advertisements.

Bricola (rhymes with Nicola) is a condensed display face that contrasts soft curved outlines with sharp cuts and counters. Sturdy and idiosyncratic, Bricola is an eye-catching blend of functional and funky, appropriate for headlines, labels and branding. The licensed family includes Regular and Bold weights that both pack a punch, and also two handy italics (obliques).

Bohemik is a delightful bouncy script font that adds a playful touch to any design. With its charming curves and energetic strokes, it brings joy and liveliness to your projects. Comes with regular and outline styles. Perfect for logos, quotes, social media posts, invitations, and creative branding materials, this font infuses your work with a cheerful and dynamic spirit.

Bolsettona is a fashionable sophisticated signature-style script with its own unique curves and an elegant inky flow. Its elegant, classy, and modern look makes it a fantastic choice for fashion, signature, album covers logos and more. This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease!

Butteries is a fashionable and brushed script font, with its own unique curves and an elegant inky flow. Its elegant, classy, and modern look makes it a fantastic choice for fashion, signature, album covers logos and more. This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease!

Avegas Royale font is modern sans serif font that is made in 4 styles regular, italic, bold, and bold-italic. The shape is made to contrast curves and lines between light and thick so that it looks more stylish and stands out. This font that perfect for logo, headline, advertising, quote text, invitation card, branding identity, and more.

Shearman STD has a simple design, based on industrial fonts, in particular at the typewriters fonts. It's a geometric font with curves elimination, noting in particular the O and Q letters. It has smooth angles and clean forms which combine in a font with modern appearance. It include five weights with two italics and an extended European character set.

Yoshida Soft is the cheeky partner in crime to Yoshida Sans. Based on the original sans, we've gone heavy with the curves to create a unique font that again comes in 2 widths and 8 weights and which has a multitude of uses from branding to posters to digital applications. Have fun with this big softy.

FunLine is a modern script font, crafted with monoline strokes characterized by curved lines and seamless connections, presenting a classic font with a modern touch. The font family comprises three weights; Light, Regular, and Bold. Suitable for your design needs. The Arabic version will be released, accompanied by the addition of Arabic, Urdu, Pegon, Persian, and Kurdish languages.

Introducing Rezpector - Stylish Display Font Rezpector combines attractive curves with a fresh urban edge; delivering a stylish script which is guaranteed to add an eye-catching appeal to your logo designs, brand imagery, quotes, product packaging, merchandise, social media posts and more. Uppercase & Lowercase letters Numbers & Punctuation Ligature Simple installation Work for PC and MAC PUA Encoded Open

With an obvious nod to Art Deco, this font offers a stylish design with distinctively elongated ascenders and descenders. Includes: Western European, Central European, Baltic & Turkish sets. Due to the modular nature of this design there may be a slight lack of smoothness to the curves at very large point sizes (around 100 pt and above).

Inspired by handlettering used on many WPA posters of the 1930s, this monocase display font has stylish lines and graceful curves that will add period charm to any project they grace. Available and normal and bold weights. The Opentype versions of these fonts support Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

Bristany is a clean, elegant hand-drawn script font with unique curves and an elegant inky flow. Features : uppercase, lowercase, symbol, number, ligature, and also support multi language. Bristany is perfect for photography, watermark, social media posts, advertisements, logos & branding, invitation, product designs, label, stationery, wedding designs, product packaging, special events or anything that need handwriting taste.