Handy Casual Condensed is an informal non-linking brush script that was inspired by hand lettering from 60's posters. This font combines a unique character with tons of Open Type features including ligatures, catchwords, stylistic alternates etc.

Introducing our script “Amichan” – An elegant and beautiful monoline typeface is perfect for websites, modern logos, brand identities, social media, quotes, wedding invitations and anything you want! Features : Uppercase & lowercase Punctuation & symbol Alternates Ligatures PUA Encoded Multilingual characters

December is an easy to use script, suitable for greeting cards, logos, watermarks, and more. It is made with a light and elegant drawing style, as a reminder of a quieter season at the end of the year.

Melyana is a beautiful and modern script that is best used for weddings, branding, logotype, and quotes. Features : Beautiful Ligatures Beautiful Alternates + Swashes PUA Encoded Multi-lingual Support Numerals and Punctuation Beginning Swash and Ending Swashes (a-z)

Kasuga, Japanese for spring day, is a contemporary script with eastern influence. Kasuga's pointed and fluid brush strokes evoke the orient with just a hint of the west. Kasuga is perfect for designs that need an Asian atmosphere.

Darkspear is handwritten script font. It has vintage, elegant, old school, classy, and cool. It’s a great font for fashion, apparel projects, signature, album cover, logo, branding, magazine, social media, & advertisements, but also works great for other projects.

Say hello to Ahoy Amigo! A couple of all caps and script brush hand lettering font. Fully stroked by human hand with the authentic traditional handmade vibes to catch up your vintage crafted branding feels. Absolute perfectly imperfect.

Koeta is an exclusive and modern serif font with minimal style. This font is perfect for magazine covers, clothing brands, aesthetic furniture, fashion, and much more. It pairs beautifully with a minimal sans serif or light script font.

Steven Anderson Signature Font is a modern and unique handwritten script font. It is perfect for photography, watermarks, social media posts, advertisements, logos & branding, invitation, product designs, label, stationery, wedding designs, product packaging, special events, and much more.

Introducing, Shutter Stone. Another Signature Script Font for you! Shutter Stone is handwritten font that contain stylistic alternate, swash, etc to create your own customised signature. This font is also support multi language. Also Support PUA. Thank You!

All-cap titling typeface, Epos, comes in three widths and includes a range of decorative ligs & alts – as well as both Latin & Cyrillic scripts. It reminds of hand-lettered book covers from the early and mid 20th century.

Give your designs an authentic handcrafted feel. "Mokashin Fancy Script Font" is perfectly suited to signature, stationery, logo, typography quotes, magazine or book cover, website header, clothing, branding, packaging design and more. Thanks for use this font ~ Maulana

Kathiya is a beautiful and modern script that is best used for weddings, branding, logotype, and quotes. Features : Beautiful Ligatures Beautiful Alternates + Swashes PUA Encoded Multi-lingual Support Numerals and Punctuation Beginning Swash and Ending Swashes (a-z)

Aloka Gikairo is a stylish and serif script font. It is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease! Its distinct and well balanced letters make this font a masterpiece.

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!

Fairy is an exquisite handwritten script font, masterfully designed to become a true favorite. It maintains its classy calligraphic influences while feeling contemporary and fresh. Fall in love with it and bring your projects to the highest levels!

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!

Fleurons are embellishments and here is my fourth round. I found some nice old ones and made some new. These go very well with my scripts Nadine and Ellida!!! Yours once more in a beautiful mood, Gert Wiescher

Shalleh is a bold script font, featuring Arabic Style. Designed expertly to make your project or work more modern, this font can be used for various projects such as: greeting cards, branding, logos, screen printing, and many others.

Salysta Victoria is an elegant script font with a contemporary atmosphere and impeccable form, inspired by timeless classic calligraphy. This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease!

A cursive style script based on a writing system devised by J.R.R. Tolkien, also known as the Tengwar of Feanor, used for many languages in Middle-earth. NOTE: this font comes with an interpretation guide in pdf format.

Advertisers Gothic is bold and brash, like the city it comes from, Chicago. It was designed by the accomplished German-American matrix engraver, Robert Wiebking, for the Western Type Foundry in 1917. As its name suggests, it was designed for commercial headliner work, much as Publicity Gothic by Sidney Gaunt for BB&S the year before. See our Publicity Headline. Alternate letters ‘A’ & ‘S’ are provided. The most popular ad words “Free!”, “New!” and “Sale” (with both esses) are provided at an angle for dramatic tension. Advertisers Gothic became quite popular because it was effective. It can work equally well for a flyer advertising a non-profit event as for a magazine product ad. This font refuses to be a wimp. Use it boldly. Advertisers Gothic ML represents a major extension of the original release, with the following changes: 1. A total of 335 glyphs (compare) with added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. 2. Added OpenType GSUB layout features: pnum, ornm, liga, hist & salt ˜ with total 13 lookups. 3. Added 209 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. The most popular ad words “Free!”, “New!” and “Sale” (with both esses) are provided at an angle for dramatic tension The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Bringing together features from early European grotesques and American gothics, Kostas Bartokas’ Averta (Greek: ‘αβέρτα’ – to act or speak openly, bluntly or without moderation, without hiding) is a new geometric sans serif family with a simple, yet appealing, personality. The purely geometric rounds, open apertures, and its low contrast strokes manage to express an unmoderated, straightforward tone resulting in a modernist, neutral and friendly typeface. Averta is intended for use in a variety of media. The central styles (Light through Bold) are drawn to perform at text sizes, while the extremes are spaced tighter to form more coherent headlines. The dynamism of the true italics adds a complementary touch to the whole family and provides extra versatility, making Averta an EXCELLENT tool for a range of uses, from signage to branding and editorial design. Take advantage of Averta’s extended OpenType features including alternate glyphs, small caps, fractions, case sensitive forms, contextual alternates, oldstyle and lining (proportional and tabular) numerals, small cap numerals, numerators/denominators, superiors/inferiors, and a variety of symbols. Averta comes in eight weights with matching italics and supports over two hundred languages with an extended Latin, Cyrillic (Russian, Bulgarian, and Serbian/Macedonian alternates), Greek and Vietnamese character set. It ships in three different packages offering different script coverage according to your needs: Averta PE (Pan-European: Latin, Cyrillic, Greek), Averta CY (Latin and Cyrillic), and Averta (Latin and Greek). Averta's Cyrillic have received the 3rd Prize in the 2017 Granshan Awards in the Cyrillic Category.

Tall, stately, and refined, with a showy contrast between thick and thin, a certain kind of titling Didone has become synonymous with fashion. Ermin Međedović’s latest type system amplifies the most theatrical aspects of this genre while bringing an uncommon flexibility of style and variation to any type palette — particularly those required for editorial design. Fino is a Rational (or Modern) display serif with sharp details. Its fairly Title proportions produce a regular beat of bold stems at frequent intervals. One can add an unexpected twist to this plot line by introducing the alternate ‘C, D, G, O, and Q’ (found in the uppercase); these replace the standard, Title oval shapes with big, full, show-stopping round ones. Other alternate forms, along with a grand ensemble cast of ligatures, lets the director continually flip the script. This stage is set in three acts: Fino, Fino, and Fino Stencil. Each of these offer six weights and italics, and each actor is comfortable speaking any Latin-based language, from standard Hollywood English to the many accents of Eastern Europe. Finally, every style comes in two optical sizes, with Title having the finest hairlines for the biggest parts. This lets you put Fino to work in a variety of productions, from short texts (24pt–48pt settings) to epic titles. The complete Fino family, along with our entire catalogue, has been optimised for today’s varied screen uses. All these talents let Fino perform a range of roles far broader than your typical Bodoni or Didot.

'Meeeeoooow'! Seventies is another of my 'funkadelic' attempts (1) to fill the existing gap of seventyish looking fonts. In my opinion, that decade has a hidden treasure regarding type that remains unexplored: Only very few fonts rescue its 'groovy' essence, its ‘colourful’ qualities. But, don't have a cow man , and keep on truckin! With Seventies, my new foxy mama , your projects will stand out among the rest. Since there’s not much information available about this kind of lettering I had to get ideas from other styles: Nowadays it’s easy to find all kind of books or guides to understand and practice how different styles of calligraphy and lettering should be done. However, for some reason, 60s and 70s letters seemed to ignore/be free of rules... Was this suggesting the birth of postmodernism? I incorporated some ideas of the copperplate style of calligraphy: The ductus of its forms may be compared to the way letters are made in snell/engrosser’s script. Obviously, this is just the idea behind; the delicacy of thins is replaced here with the graceful imprint of really thick thicks with a brushy look and tons of good vibe . Seventies will work awesome in posters, brands, magazines, book-covers of any kind, due to its modern look adapted to our century. Well, catch you on the flip~side ! STYLES To make you more psyched , Seventies is a layered font! See examples in the posters using Seventies Shade, Seventies Shine and Seventies Printed. NOTES (1) My first one was with Beatle in 2014.

Jürgen Weltin's Mantika Informal is pretty difficult to categorize, but very easy to like. This particularly reader-friendly typeface in regular and bold weights, brings to the table the informal fluidity of a script, the consistency of an inclined italic, and the open and airy forms and contrast of a humanist sans. The result is a warm, approachable, and very legible typeface that is never static and staid, but rather invites an attentive, reading eye. The original idea behind Mantika Informal lay in the challenge to create a typeface for setting children's books. German designer Jürgen Weltin aimed to create a reading typeface for those just starting to learn how to read. On the one hand, it should help create clear word-images; on the other, its letterforms should remain uncomplicated but resist mechanical and industrial sterility. Mantika?s subtle cursive lines stress the printed word's connection with handwriting, in addition to making the transition from school writing exercises to printed texts seamless and effortless. The resulting slightly organic and cursive forms that developed during the design process are so captivating that Mantika Informal may be used for a multitude of unintended applications - anywhere a friendly and informal yet sophisticated character could lend a helping hand, Mantika is there, giving a fresh accent to anything from packaging design to food products. With a broad character set encompassing support for Cyrillic and Green, Mantika Informal's two fonts make for a versatile and dynamic typeface that surely will find its place in a broad range of applications.

Juxta Sans Mono is an experimental monospace sans, an extension of the Juxta superfamily. During the creation of the Juxta script, I felt that the aesthetics and the main idea of the font had promising potential and I started thinking about a pair for it. So the idea of Juxta Sans Mono was formulated. Juxta has several style-forming elements: 45° beveled or cross out bowls, squared m and w arcs and other unobvious letter structures. Despite its unusual and sometimes odd (f, g, m) letterforms, Juxta Sans is fairly easy to read due to its monospace font nature and wide spacing. Juxta Sans Mono offers great customization potential. It has two sets of stylistic alternates — [salt] makes a letter underscored, but keep it in line, [ss01] replaces some of the glyphs with different letterforms. The [case] function automatically adjusts the height of the punctuation marks to the neighbor letter and [onum] is a set of old style numbers. Juxta Sans Mono also has subscript and superscript features, but they are utilized a bit unconventionally — if you want to customize your logo or headline, you can make a glyph superscript and the one next to it subscript and they automatically kern into one letter width. You can see examples of using these features in the presentation. Juxta Sans Mono is available in 8 weights, including Thin, Light, Regular, Medium, SemiBold, Bold, ExtraBold and Black. It extends multilingual support to Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Pan African Latin, Afrikaans, and Basic Cyrillic.

CA Capoli is a fine script typeface with a vintage touch. Perfect for illustrative titles or logotypes. It comes in two styles, Regular and Stroke. The inspiration came during our trip to Italy, where we took a short rest in a bar during a hot day. We discovered a simple ceramic ashtray on the table. The word “Nido” was inscribed in a typeface that looked like it dated back to the 1950s. We made some investigations about the word, its meaning and origin but it still remains a big mystery. Was it the name of a hotel or a restaurant or some vintage Italian cigarettes? We don’t know. We were so amazed about the design of the logo that we decided to create a typeface out of it. A sophisticated endeavor because we just had four letters. How could the rest of the letters – if it ever existed – have looked like? Our hypothesis is CA Capoli. A typeface with a full Central European character set and some nice alternative letters to chose from. When we thought about “Nido” and its possible derivation of hotel business, we felt like creating a small side project for this typeface, a brand for a fictional hotel called Hotel Capoli with business cards, letterheads, a reception book, key fobs and embroidered patches for the service dress of the hotel service stuff. The Hotel Capoli is located at the wonderful beach of Cape Arcona on the fictional country of Arcona Islands where our type foundry is located.

Tall, stately, and refined, with a showy contrast between thick and thin, a certain kind of titling Didone has become synonymous with fashion. Ermin Međedović’s latest type system amplifies the most theatrical aspects of this genre while bringing an uncommon flexibility of style and variation to any type palette — particularly those required for editorial design. Fino Sans is a Rational (or Modern) display serif with sharp details. Its fairly Title proportions produce a regular beat of bold stems at frequent intervals. One can add an unexpected twist to this plot line by introducing the alternate ‘C, D, G, O, and Q’ (found in the uppercase); these replace the standard, Title oval shapes with big, full, show-stopping round ones. Other alternate forms, along with a grand ensemble cast of ligatures, lets the director continually flip the script. This stage is set in three acts: Fino Sans, Fino Sans, and Fino Sans Stencil. Each of these offer six weights and italics, and each actor is comfortable speaking any Latin-based language, from standard Hollywood English to the many accents of Eastern Europe. Finally, every style comes in two optical sizes, with Title having the finest hairlines for the biggest parts. This lets you put Fino Sans to work in a variety of productions, from short texts (24pt–48pt settings) to epic titles. The complete Fino Sans family, along with our entire catalogue, has been optimised for today’s varied screen uses. All these talents let Fino Sans perform a range of roles far broader than your typical Bodoni or Didot.

Tall, stately, and refined, with a showy contrast between thick and thin, a certain kind of titling Didone has become synonymous with fashion. Ermin Međedović’s latest type system amplifies the most theatrical aspects of this genre while bringing an uncommon flexibility of style and variation to any type palette — particularly those required for editorial design. Fino Stencil is a Rational (or Modern) display serif with sharp details. Its fairly Title proportions produce a regular beat of bold stems at frequent intervals. One can add an unexpected twist to this plot line by introducing the alternate ‘C, D, G, O, and Q’ (found in the uppercase); these replace the standard, Title oval shapes with big, full, show-stopping round ones. Other alternate forms, along with a grand ensemble cast of ligatures, lets the director continually flip the script. This stage is set in three acts: Fino Stencil, Fino Stencil, and Fino Stencil Stencil. Each of these offer six weights and italics, and each actor is comfortable speaking any Latin-based language, from standard Hollywood English to the many accents of Eastern Europe. Finally, every style comes in two optical sizes, with Title having the finest hairlines for the biggest parts. This lets you put Fino Stencil to work in a variety of productions, from short texts (24pt–48pt settings) to epic titles. The complete Fino Stencil family, along with our entire catalogue, has been optimized for today’s varied screen uses. All these talents let Fino Stencil perform a range of roles far broader than your typical Bodoni or Didot.

Jürgen Weltin's Mantika Informal is pretty difficult to categorize, but very easy to like. This particularly reader-friendly typeface in regular and bold weights, brings to the table the informal fluidity of a script, the consistency of an inclined italic, and the open and airy forms and contrast of a humanist sans. The result is a warm, approachable, and very legible typeface that is never static and staid, but rather invites an attentive, reading eye. The original idea behind Mantika Informal lay in the challenge to create a typeface for setting children's books. German designer Jürgen Weltin aimed to create a reading typeface for those just starting to learn how to read. On the one hand, it should help create clear word-images; on the other, its letterforms should remain uncomplicated but resist mechanical and industrial sterility. Mantika?s subtle cursive lines stress the printed word's connection with handwriting, in addition to making the transition from school writing exercises to printed texts seamless and effortless. The resulting slightly organic and cursive forms that developed during the design process are so captivating that Mantika Informal may be used for a multitude of unintended applications - anywhere a friendly and informal yet sophisticated character could lend a helping hand, Mantika is there, giving a fresh accent to anything from packaging design to food products. With a broad character set encompassing support for Cyrillic and Green, Mantika Informal's two fonts make for a versatile and dynamic typeface that surely will find its place in a broad range of applications.

Michael Hoffmann manufactures digital fonts for 30 years. At URW++ he contributed to the technological progress. Over the years, he also specialized in the ideal representation of fonts on screen and the complex assembly of international fonts with scripts of all countries. In his latest project he put the emphasis on developing a highly readable typeface. Less interested in the design as in the functionality of this typeface, he designed Arsapia which he has now installed as a system font on all his computers. Michael Hoffmann studied Japanology at the University of Hamburg and traveled in the early years of his professional activity frequently to Japan, there to train the IKARUS font production tools to Japanese customers. In his spare time he plays guitar or golf depending on the weather. The typeface Arsapia has been designed in such a way that all three font styles Light, Regular and Bold have the same width. When a user therefore opts for the use of Arsapia Light, even though he has already written his text in Regular, nothing changes with respect to the letter tracking. When choosing the Bold for emphasis: Nothing changes except the blackness of the letters. A font change does not engender unwanted line and page breaks of itself. All letters can be clearly distinguished from each other. 1 l I O 0 are all different. For programmers and lovers of monospaced fonts Michael Hoffmann has developed a fourth typeface: Arsapia Mono. This is the perfect terminal font.

Touch Me is a Script hand-drawn style typeface—designed by Coto Mendoza—resulting from polyrhythmic exploration, sign deconstruction and altered calligraphic contrast plays with watercolour brush. Coto has been using these experimental calligraphy techniques when creating the catchwords for Macarons, the Boho Family, Bikini Season Script and Matcha Script and so forth. Touch Me was inspired by a character in a story written by Coto while attending a literary workshop with Ina Groovie in Santiago de Chile. The character is a tribal girl who lives on an island in the Caribbean. She is heir of ancestral knowledge and possesses wild beauty, very passionate and sensual: intense, strong and free. These features are reflected in the polyrhythm of the typeface's curves: an irregular baseline, variable x-height, different lengths of initial and terminal strokes (that sometimes expand and sometimes shrink) and amount of brush pressure that generates changes in contrast within the characters. This way, when composing, signs with stroke contrast randomly alternate with monolinear ones and with signs of altered contrast, thanks to the typeface's OpenType programming. The family, with more than 3,000 glyphs, provides a number of alternative characters, swashes, ligatures, initial and terminal forms, in short, a vast ocean of choices! Touch Me is a spontaneous typeface with a fresh and unique personality. It is the perfect choice for short text in both print and digital formats. The family comes with a Script Regular version and a seductive Script Drop that you will enjoy a lot! The Extras set includes some catchwords, dingbats and ornaments that allows for endless composition options. The family also comes with a Caps version —designed by Luciano Vergara—in 2 styles: a funny and big-headed condensed Sans Grotesk display of inverted vertical proportion plus a Grotesk, neutral and slightly expressive Petite. Both versions, available in 6 weights, have been especially designed to create hierarchies when composing. This allows for balance between strokes of different weight when it comes to the Sans and Script fonts. Come and dare yourself! Touch Me! Thanks Alisa for sharing your amazing and beautiful picture with us.

When Candy Script was officially released and in the hands of a few designers, I was in the middle of a three-week trip in North America. After returning to Buenos Aires, I found a few reactions to the font in my inbox. Alongside the congratulatory notes, flattering samples of the face in use, and the inevitable three or four “How do I use it?” emails, one interesting note asked me to consider an italic counterpart. 

I had experimented with a few different angles during the initial brainstorming of the concept but never really thought of Candy Script as an upright italic character set. A few trials confirmed to me that an italic Candy Script would be a bad idea. However, some of these trials showed conceptual promise of their own, so I decided to pursue them and see where they would go. Initially, it seemed a few changes to the Candy Script forms would work well at angles ranging from 18 to 24 degrees, but as the typeface evolved, I realized all the forms had to be modified considerably for a typeface of this style to work as both a digital font and a true emulation of real hand-lettering. Those were the pre-birth contractions of the idea for this font. I called it Sugar Pie because it has a sweet taste similar to Candy Script, mostly due to its round-to-sharp terminal concept. This in turn echoes the concept of the clean brush scripts found in the different film type processes of late 1960s and early 1970s.
 
While Candy Script’s main visual appeal counts on the loops, swashes, and stroke extensions working within a concept of casual form variation, Sugar Pie is artistically a straightforward packaging typeface. Its many ligatures and alternates are just as visually effective as Candy Script’s but in a subtler and less pronounced fashion. The alternates and ligatures in Sugar Pie offer many nice variations on the main character set. Use them to achieve the right degree of softness you desire for your design. Take a look of the How to use PDF file in our gallery section for inspiration.

Of all student work produced in Joost Schmidt?s Bauhaus classes, Reinhold Rossig?s (1903?1979) alphabet designs are perhaps closest to his master?s teachings: monolinear, geometric lettering, constructed on grids using compass and ruler. Drafts by Rossig, dated 1929, also demonstrate explorations of letterform width and x-height. Almost ninety years later, Elia Preuss carefully preserves Rossig?s letters and considerations in a proper typeface, by overcoming most of the optical mistakes captured in true geometric letterforms. To carry Rossig?s design further away from Schmidt?s influence, Preuss also lent more characteristic letters found on poster designs by fellow Bauhaus student Hermann Werner Kubsch. Reross is a true Bauhaus-influenced geometric sans, equipped with different historic influences and contemporary features.

Roman-style stencil fonts have been around for much longer than most people realize - from the interlocking brass stencils of the 1880s to the laser-cut plastic stencils of today. A 1 inch Roman lettering guide [die-cut from oil board with spacing holes for correct alignment] made by the now-defunct Zipatone Corporation in the 1970s was a clone of an existing design of another company; but with variations in certain character shapes. This then became the working model for Classroom Stencil JNL, which is available in both regular and oblique versions.

Hi, Everyone! If you’re looking for a cute but elegant font to captivate your audiences or customers then we’ve got the font for you! Introducing Vintage Rovery - A Serif Font This typeface with elegant style looks very interesting for loads of different projects and promotions. It is perfect to be used on your website, for your social media branding, Pinterest banners, printed products, and more! Includes: Vintage Rovery (OTF) Features: Standart Ligatures Alternates Stylistic Set Swashes Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

Karben 205 is inspired by the classic, no nonsense DIN, and has a form that follows its highly legible function. Based on a lozenge, it has a clean and pure geometry with even stroke weights. Karben 205 is available in a family of five weights, and is also available with character variations as Karben 105. There are also monospaced variants of both Karben 105 and Karben 205 and a stencil version. All of the Karben fonts feature an extended character set, including accented characters for Central European languages.