Introducing by Essentials Studio Proudly Present, Monday Feelings Monday Feelings Is a A Friendly Handwritten Font Monday Feelings is perfect for product packaging, branding project, megazine, social media, wedding, or just used to express words above the background.

Belonk is a bold, simple and sweet handwritten font. Its authentic look and feel will add a great touch to your designs. Use this font for stickers, svg designs, shirts, mugs, social media, monograms, and more! Thank you!

Hauntess is a Serif Font that comes with a scary sharp-display's style. suitable for posters, logotype, branding, social media, book, movie and so on. contains standard English letters, numbers, punctuation, alternates, and several accents that support multilingualism.

Introducing Bohemis Font! Bohemis is charming and sweet handwritten font display. This font is suitable for handwriting logos, T-shirts, merchandise, quotes, social media posts, advertising, and a lot more! Bohemis comes with an accent language. Thank You!

Noopla is a modern sans-serif display font. Key characters are formed with sweeping and flowing lines, resulting in some really interesting word forms. With four weights, Noopla is great for branding, headlines, signage, social media and more.

Faritta is a great font for your projects. It's a beautiful, elegant, yet casual and simple font script featuring a natural look & feel. Faritta is perfect for logos, wedding invitations, posters, social media posts, signatures and much more!

Ceuphoria is a display groovy font with a psychedelic look and trippy effect. Ceuphoria is ready and Perfectly fit for your logo designs, music projects & social media posts, event poster, brand imagery, product packaging, handwritten quotes, merchandise, etc.

Runalto is a display serif font with luxury, elegant, modern, unique and classy-look. This font crafted specials for luxury-themed projects, ready to use on Magazine, Social Media, Branding, Logo, and Many more that needs Luxury touchs.

Benalla is a beautiful, elegant, yet casual and simple font script featuring a natural look & feel. It has beautiful swashes and ligatures and it’s perfect for logos, wedding invitations, posters, social media posts, signatures, quotes and much more!

Darelle Collins Font is created with a natural modern script with a fresh modern script providing a stylish script guaranteed to add eye-catching appeal to your logo designs, brand imagery, quotes, product packaging, merchandise & social media posts

Brillia is a sweet modern calligraphy, soft hand-lettered handwritten font. Fall in love with its authentic feel and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards.

"Mandalika Indonesia" is an elegant and beautiful duo font. This font is equipped with uppercase, lowercase, ligatures, numerals, punctuation, and multilingual support. Very suitable for business branding, social media, logos, banners, posters, branding, stickers, summer, graduation, and others.

HU Big Round is handwritten font yet very neat and well organized. The X-height is particularly tall, emphasizing the round form of it. It is very attractive to use is various media such as card and subtitle.

Any prototype you can imagine, Skolar Sans can materialise. This industrious type family is more than just a versatile partner for our award-winning Skolar collection: it is a true sans-serif type system envisioned for the age of responsive design. We developed Skolar Sans to accommodate contemporary typographers and the challenges they confront: an ever-changing spectrum of outputs and devices, in which serious typography can get lost. Skolar Sans is engineered to cope with complex editorial texts and data-rich layouts alike. Its construction is designed for easy reading, and its subtle personal style and a touch of flourish. From gently thin to black, the finely-tuned weight variants will fit any composition from wide-screen dashboards to compact mobile editorial designs. Its four subtly graded width variants allow you to fit any page context with comfort. The 72 styles; 36 weight and width variants in uprights and true italics with ligatures, arrows, scientific figure variants, and fleurons. The two variable fonts (one for uprights and one for the italics) allow user precise navigation of the Skolar Sans design space and streamline delivery. The linguistic scope of Skolar Sans PE is an exact match to Skolar PE: Latin, Cyrillic, and Greek (including polytonic) scripts and support for hundreds of languages and transliterations.

A Belle Époque humanist serif in two styles: crisp, high-contrast Haut-Monde and soft, low-contrast Demimonde… When you design a lot of display pieces, you’re often in need of tall, slim type. Liaisons provides that, in a distinct fin-de-siècle style inspired by the great posters of the Gilded Age from Sweden, Denmark, France, and Scotland. (The ampersand alone is a bit of a love letter to Charles Rennie Mackintosh!) Both styles use the same slim skeleton, and are named after the stratum of society where one might find… a “dancing partner.” HAUT-MONDE is a high contrast face of the sort that says “High Society.” Elegant and sleek, it speaks to the refinement of the moneyed classes of a bygone era. Great for high-end products, too! DEMIMONDE is soft and low-contrast — more reminiscent of hand-lettering on Art Nouveau/Jugendstil/Wiener Werkstätte advertisements and posters. A comfortably chic display face all around! Both typefaces feature full Western and Eastern Latin character sets, as well as full Cyrillic/Slavic ones. And, perhaps best of all, both typefaces feature capitals with high, middle, and low waists, so you can change up the look as you see fit! Part of The Ampersand Forest's Sondheim Series

Meet Pamplemousse, a display font that's part fun, casual script and part elegant typeface! Pamplemousse is most decidedly a fellow who enjoys lazy Sunday mornings spent sipping mimosas or bloody marys over a plate of eggs benedict and the New York Times crossword puzzle. He enjoys dressing up for use in branding and headlines (he looks particularly dashing in all caps) and also sitting back and composing a casual note to a dear friend. Pamplemousse is mostly sweet and just a little sophisticated, and he likes being just as he is. Pamplemousse started out as a typeface based on the lettering of Gustav Klimt in his poster for the first exhibition of the Vienna Secession movement (Art Nouveau). This drifted into an homage to Rea Irvin's iconic masthead typeface for the New Yorker magazine. Finally, with the addition of a lowercase (absent from Irvin's typeface), a significant revision away from both Klimt and Irvin into a more casual space, Pamplemousse was born! Oh — why "pamplemousse?" "Pamplemousse" is French for grapefruit. What goes better in your Sunday gin and tonic than an aromatic slice of pamplemousse? Say it a few times. Preferably after a couple of those g & t's. You'll see how fun he can be...

Isabelle is the closest thing to a metal type revival Jim Rimmer ever did. The original metal face was designed and cut in late 1930s Germany, but its propspects were cut short by the arrival of the war. This was one of Jim's favourite faces, most likely because of the refined art deco elements that reminded him of his youthful enthusiasm about everything press-related, and the face's intricately thought balance between calligraphy and typography. Not to mention one of the most beautiful italics ever made. Jim's early 2000s digitization included mathematical corrections to the original metal cut, as well as some functional improvements for digital use. In 2013, during the remastering of the entire Rimmer collection, Isabelle underwent a considerable rethinking/expansion and was rechristened Isabelle Pro. The new revisions include small caps, ligatures, seven types of figures, automatic fractions, extended Latin language support, stylistic alternates that include lowercase serif angle options in the roman and looped ascenders/descenders in the italic, and plenty of extra OpenType features like caps-to-small-caps substitution, case-sensitive positioning, ordinals, and extended class-based kerning. Now each of the Isabelle Pro fonts includes over 680 glyphs. 20% of this font's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

We named this font Scholz Secession. Fin-de-siecle Vienna, Austria is the source of this Jugendstil design from Schriftgiesserei Eduard Scholz. The original release was under the name Reklameschrift Secession. Most of the curve strokes look like commas to me. The letters are as soft and plump as the comforter on the bed I slept on in a Salzburg B&B many years ago. I was traveling with a college buddy and our next stop was Vienna. There a kind, young student named Hanna and her boyfriend took us under their wing. One of the places Hanna proudly showed us was Otto Wagner’s Majolika Haus, built in 1898, and only about 8 blocks from Secession Hall. Hanna explained to us that the style was called Jugendstil and represented Art Nouveau as interpreted within the framework of their culture. I even took a picture. After all, memories are part of who we are. Figures are old-style for text use. This font would not be my first choice for a spread sheet. Included are German ligatures ch (alt-0123) & ck (125), two period ornaments (135, 175) and lower case o and u with Hungarian long umlaut (215, 247)). A very likeable and easy-to-use font.

Broken letters 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. Callimathy 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. Callimathy 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.

The dearJoe series of fonts had it’s origin somewhere around 1999, the year I created dearJoe 1, which was a first (and half-assed) attempt at converting my own handwriting into a working font. Being able to type in my own handwriting had always been a childhood fantasy, and even though I only partly understood the software, a working font was generated and I decided to put it on the internet for people to use. And that’s what they did: at this moment the dearJoe 1 font has been downloaded millions of times and can be found on just about anything, ranging from Vietnamese riksjas, a Tasmanian gym to a fancy chocolate store on 5th Avenue. The font is not something I am particularly proud of, but it started me of in building what later became the JOEBOB graphics font foundry. Inbetween creating other fonts, the dearJoe series has become a theme I revisit every once in a while, trying to create an update on how my handwriting evolved, along with my abilities in creating fonts that mimic actual handwriting. In the last decade or so I started implementing ligatures and alternate characters, which helped a lot in making something that can almost pass for actual handwriting.

Why Baka Expert? There’s actually a simple answer. The original Baka was done as an experiment of sorts. I wanted to quickly capture a rough, frenetic handwriting style that broke normal conventions. Commercially, it was successful, received some accolades ... but I wasn’t completely satisfied, so I went back to the master art and the lettering explorations and produced Baka Too. This addressed some of the line items I wanted to refine in Baka. I liked it. Each font has been out for a few years now, and I have seen them in use. I’m very critical of my work, and I could still see things—modulations of strokes, angle of the nib, ink swell, and so on—that I wanted to change, refine, and reorder. For me, it is typographic indulgence, but I wanted to take this handwriting ‘font’ and turn it into a robust ‘typeface.’ So I did just that and a bit more by adding back more of my initial flourish concepts; attaining tighter, consistent control of the modulation; optimizing points; adding titling options; and expanding the character language set. Baka and Baka Too had to exist to produce this entirely new re-envisioning of an old friend ... and they all play well together :)

A complete figurative alphabet was published by one Peter Flotner (ca. 1485-1546) in 1534. In Flotner’s alphabet, naked or nearly-naked figures are posed singly or disposed in pairs to form the various letters. Unlike de Grassi’s alphabet, we find only human figures here, no other animals. And unlike Tory’s illustrations, these letters seem an end in themselves, rather than the means of demonstrating a design strategy. Flotner’s alphabet was imitated by other engravers. The letters G and N are reproduced from an alphabet published by one Martin Weygel in Bavaria in 1560. Peter Flötner , c.1485-1546, German medalist and artisan, possibly Swiss by birth. He was active in decorative sculpture, wood carving, and other crafts, making medals and plaques and furnishing designs of classical motifs for silversmiths. He was in Nuremberg by 1522 and did most of his work there, although he made two trips to Italy. Flötner is now regarded as a pioneer of the German Renaissance. His Kunstbuch was published in 1549. In the Metropolitan Museum are five of his bronze plaques illustrating biblical episodes. A stylistical tip : Use this caps with SchneiderBuchDeutsch, as shown in the banners above, to create a perfect historiated layout.

"I digitized and to revitalize NurnbergSchwabacher by the extinct Haas'sche Schriftgiesserei, a German/Swiss foundry established in 1790 and based in Basel/Münchenstein. Many of its shares were acquired by D. Stempel in 1927. On the Luc Devroye site this foundry is listed on the Extinct Foundries of the 18th century page. This design is very similar to another Intellecta best seller: Hostetler Fette Ultfraktur Ornamental, both drawn from the classical type specimen book from Hostetler. The ornamental frame that completes the font is a fantastic baroque ornament that I found in another old book, unfortunately lost now. Luc Devroye, whose book is the source for all of my fonts, writes this about Rudolf Hostettler: He was a Swiss type designer, author of “The Printer’s Terms” designed by Jan Tschichold, of "Technical Terms of the Printing Industry" (5th edition was printed in 1995), and of "Type: eine Auswahl guter Drucktypen; 80 Alphabete klassischer und moderner Schriften" (Teufen, Ausser-Rhoden: Niggli, 1958). He also wrote "Type: A Selection of Types" (1949, fgm books, R. Hostettler, E. Kopley, H. Strehler Publ., St. Gallen and London) in which he highlights type made by European houses such as Haas, Enschedé, Deberny and Nebiolo. Jost Hochuli wrote his biography.

Novel Pro is the humanist Antiqua typeface family within the largely extended award winning Novel Collection, also containing Novel Sans Pro, Novel Sans Hair, Novel Sans Condensed Pro, Novel Display, Novel Display Condensed, Novel Display Extra Condensed, Novel Display Compressed, Novel Display Extra Compressed, Novel Mono Pro, Novel Sans Rounded Pro and Novel Sans Office Pro. Classic proportions of a Renaissance Antiqua combined with modern details let Novel appear as a friendly and elegant but functional typeface. The almost upright letters of the narrow Italics create a vital contrast to the generous construction of the roman. All typeface families of the Novel Collection have a carefully attuned character design and a well balanced weight contrast. The fine gradation of 12 weights enable designers to create fine legible typography and combine the design with other members of the Novel Collection to reach highest quality in typography. Novel Pro [914 glyphs] comes in 12 styles and contains small caps, an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], small caps figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

Idealista directly responds to its other members, Nudista and Kulturista. It shares the same proportions and the same set of weights, yet it enriches the expression means of the two typefaces with new themes — the character set is smooth, even round, and it boasts a number of special details and perky moves. Most of all, Idealista relishes juicy magazine titles, typographic logotypes and propagandist posters. Unlike cold, technicist typefaces, it has great zest for life, so there's no wonder that in each of the letters, intuition wins over intellect. Owing to this, the text set in Idealista has a special voluptuous quality and unmistakable temperament — in a single typeface Idealista combines the best of sans-serif, slab-serif, as well as geometric and calligraphic construction principles, coming down to one impressive, expressive cocktail. Some letters have serifs, some do not, some are sharp, some are smooth, and all this results in the nice hip-hop beat of the line of text. The typeface has five weights and ten styles in total, so it can easily accommodate to the needs of complex texts, unlike many of its display counterparts. Idealista is valuable partner for the more text-suited Nudista and, if need for tiny sizes arises, to Kulturista as well.

While searching through microfilm of an old, 1932 newspaper, I stumbled on the word "Poultry" written with trapezoidal letters. I did not recall seeing lettering like this and it inspired me to design a typeface that could produce a similar result. Poultry Sign has two widths each with three weights giving the family six styles. It is monoline, monospaced, and all caps. The letters on the lower-case keys reverse the trapezoid of those on the upper-case keys. The designer's expectation is that the most common use for this typeface will alternate upper-case and lower-case keys, and to make this effect easy, included in the font is a contextual alternatives (calt) OpenType feature that automatically produces this result if your word processor supports this feature. To get text with all letters with big bottoms or all letters with with big tops, this feature must be turned off. The spacing of the letters is identical within each width so the styles can be layered to produce bi-colored or tri-colored letters. There is a second set of numbers that can be accessed with an OpenType stylistic alternative. Also accessible with OpenType stylistic alternatives are variations of letters T, N, L, Y, and V.

VetteLetters is proud to bring you the TpKurier-family. It is cooked up by our German chef Martin Lorenz currently living in lovely Barcelona! Chef Lorenz about the TpKurier recipe: “TpKurier is the second redesign we did of Courier. The first redesign in 2000, although based on a five-unit grid, was drawn completely by hand. Six years later we designed another grid version of Courier, and the TpKurier family was born. This version is completely constructed up till its last detail. We didn't want to correct ‘mistakes’ deriving from the use of the grid, but instead make them visible (see “S”). TpKurier is based on a very simple grid, composed a proportion of four units high by two units wide. A series of other links between them make it possible to form a font from this grid. We felt it was important to consistently work within these limitations so that any unexpected asperities would help provide the font with its character. Even though it is a rough constructed typeface it was important to us to design real italic lower case letters and not just a sloped roman (see “a”, “g” or “s”). The first family published contained a serif and sans-serif version of the TpKurier, with italic and bold.”

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. A few of the many interpretations from the early twentieth century were true to the source, as well as strong enough to last into the digital era. Caslon Black was designed by Dave Farey in the ITC library.

This font is designed to create typographic textures. It's based on Ankara Display but not in the same family because of some of its different forms. Also, its angular forms give a digital impact.

ALERT: Comicraft's Mad Font Scientist John Roshell and Lead Lab Assistant Drewes McFarling have applied an Unstoppable Force to our Immovable Font ULTIMATUM, successfully splitting it into a family of three fonts! Here’s the secret formula: ULTIMATUM MASS retains the dynamic details of the original with flat, angled corners; ULTIMATUM FORCE cooperates with your demands for a vertical slice of the action; and ULTIMATUM VELOCITY got tired of waiting for a compromise and cut across its horizontals. The complete family features three styles of eight weights for a total of 24 fonts, each with support for 221 languages including Western & Central Europe, Vietnamese & Cyrillic. Three Variable Fonts provide precise control of Weight & Italic slant. ULTIMATUM MASS FORCE VELOCITY is ideal for high performance car & truck branding, sports uniforms, video game graphics, college & university apparel, and any time you want to convey industrial strength and technological innovation.

Ready to release your inner urban planner? Next time you need to lay out some buildings for an illustration, use LOLO City. The concept for LOLO City originates partly from my childhood, spending many hours playing a city simulation game, and also from my schooling -- which included architectural drafting and civil engineering studies. The building designs themselves are largely from my imagination -- but much inspired by architecture seen in my travels around Canada, America, Thailand, and Japan. The zoning of LOLO City is easy to remember, so you won't get lost in its streets: Small Letters (a-z): Light Residential(a-m), Light Commercial(n-t), Light Industrial(u-z) Capital Letters (A-Z): Dense Residential(A-M), Dense Commercial(N-T), Dense Industrial(U-Z) Digits, Shift Digits & Punctuation: random extras, small utilities (cars, trucks, traffic signals, park bench, etc.) Whenever you need a prefabricated city design --- think LOLO City!

Day after day we are running from here to there, living in a society that does not allow us to slow down for a minute. Having so many things on our minds, we often unnecessarily complicate our problems, and our stress is so great that we forget what happiness is. French Bulldog was made to celebrate the unnoticed precious little moments. A hot coffee in the morning, the sea breeze on your face, the sweet smell of a flower, a nap with your dog, a meeting with friends, the tenderness of a maternal caress, traveling, walking, crying, sharing, feeling, being onesself. French Bulldog creates spontaneity from chaos with different shapes working randomly to form finesse or coarseness, just like a casual hand works a brush and tries to follow the rules with unpredictable results. It is versatile and fresh, friendly and relaxed. Flow in the moment.

We know what you're thinking... This is not a new font, just an old one with a few bullet holes in its helmet, dirt on its shins and some carbon scoring on its breastplate. You're thinking this is like a variant cover by Joe Madureira or J. Scott Campbell -- handsome and rugged on the outside but weak and effete on the inside. Well, my fine, font-finagling friend, you'd be Dead Wrong! This really is an All-New, All-Different, All Star, Ultimate Collectable, from the Comicraft House of Ideas! Our Dynamic Duo -- Johnny Comicraft and Ferran 'Nuff Said have brought you another winner from the Silver Age of comic book lettering. It’s a little worse for wear, we admit it, but wouldn't you be after three rounds with the Justice League of Avengers Assembled?!? See the families related to Battle Scarred: Battle Cry & Battle Damaged .

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.""

We at Fontscafe are forever trying to work on conniving up typography that will blend itself into your work space in a manner that will make you wonder how you ever managed without it…and that effort has led us to the birth of yet another all-new font for you! And this one like most of our others has a niche appeal although it is versatile as versatile can be. Now this is a font that can pretty much fit the bill when you want to send out an exclusive appeal but yet not overly formal. It is styled with fonts that cry out ‘eliteness’ and exclusivity, but without the part where it becomes so exclusive and classy that it goes way over people’s heads! The ‘Egregio’ can still connect on a very personal, almost friendly level with your audience while it remains in a class of its very own!

Spy Royal is a junctionless script typeface and comes in 6 styles. It’s a hybrid between script and so called streamline fonts. The origins are based on an advertising by Japan Airlines, dated around 1954, offering flights to San Francisco, Honolulu and Okinawa in the new DC-6B “Pacific Courier” airplane. Only the letters for the words “JAPAN AIR LINES” were used, so that the creative part was to reimagine a full font out of just a handful of uppercase letters. Originally released in 2004, Spy Royal was now undergoing a major rework and is now republished with additional styles like shadow-lines and 3D-shadow. Its charm is manifold, we think everything related to cars, racing, hot rod, vintage, cocktails, retro, restaurants, gasoline and of course airlines will look great in Spy Royal. Spy Royal includes alternate characters, ligatures and West European diacritics.

Between twilight and daybreak it is said that the dark side of the human psyche eclipses the sun that shines from the depths of our souls. Certainty turns to doubt, clarity becomes confusion, man turns into wolf, the dead wake, vampires seduce the young are restless and milk boils over on the stove. Those that seek only to bathe in the light of a romantic new moon often end their tragic lives soaked in nothing other than their own blood, and the milk spilt on the stovetop has no one left to cry over it. There are fifty shades of grey during those hours after sunset and I think just as many in my porridge this morning. Yes, okay, I admit it, I spoiled the milk! This porridge tastes like it was left in a graveyard overnight. Death warmed over. Gothic and lumpy. Just like the Buried weights of this font.