Catchland is a swashy script typeface. Drawn and created by Mans Greback in 2021, this baseball lettering has a vivid personality and a soft, curly style. With the appearance of a hand-painted calligraphic illustration, the font works great for creating a truly professional graphic or logotype in a vintage form. Use underscores _ to make a swash. Example: Brooklyn____ Use multiple underscores to make swashes of different lengths. Example: Dodgers________ (Download required.) Catchland is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Scandinavia to the Canaries, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Sitting inside our offline vault and print catalogs for several years but still available for purchase, PF Mediterra is part of a valuable triad of typographic gems which are finally re-released, fully updated and upgraded. Designed by Vladimir Radibratović, a foremost calligrapher, type designer and illustrator, this trilogy of script typefaces was recently revamped by our design team with full support for Latin, Greek and Cyrillic. Initially released between 2000 and 2003 these typefaces manifest a human, hand-crafted feel. Designed to excel particularly within casual and natural contexts, their names reveal their exact identity. The nostalgic charm of PF Signskript, the unique vintage and rough appeal of PF Rafskript or the organic Mediterranean essence of PF Mediterra have all attracted attention to these popular typefaces for brands on the supermarket shelves, wine labels, packaging, quotes, stationery and vintage lettering.

I set out to design a contemporary font that is condensed with thick and thin strokes. The highly structured forms of this condensed font was made more interesting and softer by giving it a slightly calligraphic tone and by adding round corners. Atto's express purpose is to be both utilitarian, compact and technical but with a friendly face. The name "atto" was adopted since it refers to the measurement of "smallness" or detail. You will no doubt discover all the many pleasant nuances within Atto. Adopted in 1964, "atto" comes from the Danish "atten", meaning eighteen. Atto - (symbol a) a SI prefix to an unit and means that it is 10 to the power- 18 times this unit. Examples are one attosecond or one attometer/attometre. Atto is available in for Mac and Windows in Postscript, Truetype and Opentype.

Levato, the first font designed by Felix Bonge, is an Antiqua that is full of character and is refined but by no means sterile. This typeface provides for a wide range of options for creating individual designs. It was not really Felix Bonge's intention to create a whole font family when, as a second year student, he began several exercises in contrast and proportion as part of the typeface design course of Professor Veljovi? at Hamburg University of Applied Sciences. However, these initial studies developed into a project that Bonge persisted with over the following years while working towards his degree. He continually had new insights and ideas that he was able to exploit for his font. Of particular importance, he claims, was a calligraphy seminar, which prompted him to completely rework his concept. It took him several years before his extensive font Levato™ was ready. Although the forms of Levato are ultimately derived from Renaissance Antiqua, Bonge has slightly increased the relative contrast in his version. This gives the font a graceful appearance that is further emphasized by the reduced x-height and the associated prominence of the ascenders. And, in addition, the relatively fine serifs, which are almost linear at their ends, infuse Levato with a hint of classical Antiqua á la Bodoni. At the same time, Bonge cleverly compensates for the sterilising tendency of this font form. Soft and rounded serif attachments and rounded line apexes offset the severe nature of the font and provide it with an aura of vivacity. This effect is promoted by the calligraphic-like foot of the lowercase h, n and m and the not quite horizontal bars of the uppercase E and F. Overall, Bonge has succeeded in creating a refined and yet very dynamic typeface. Levato is available in five weights; Light, Regular, Medium, Bold and Black, in each case with the corresponding italic versions. Bonge treats Levato Italic as a genuine cursive typeface. Its letters are thus slightly narrower than the analogous upright letters and their forms are considerably more curvilinear. All the versions of Levato boast an enormous range of characters to meet all possible requirements. In addition to four sets of minuscule and majuscule numerals for tabular and proportional typesetting, there are also small caps, numerous ligatures, ornamental characters and even swash variants of letters. With their generous, sweeping curves, the swash variants (available as OpenType versions) can be used for striking titling effects or as initials.

Probably as a reaction to the pragmatism of modernist design, the seventies saw an explosion of buoyant, vivacious typography. Psychedelia fueled a return to the melting, lush shapes of Art Nouveau while Pop culture embraced the usage of funky, joyful lettering for advertising, product design and tv titling. New low-cost technologies like photo-lettering and rub-on transfer required new fonts to be expressive rather than legible, pushing designers to produce, bubbly, high-spirited masterpieces, where geometric excess and calligraphic inventions melted joyfully. Freitag is Cosimo Lorenzo Pancini's homage to this era and its typography. His starting point was the design of a heavy sans serif with humanist condensed proportions, flared stems and reverse contrast, that generated both the main family, and a variant display subfamily. The main typeface family slowly builds the tension and design exuberance along the weight axis - a bit like our desire for the weekend increases during the week. In Light and Medium weights the font shows a more controlled, medium-contrast design, tightly spaced for maximum display effect. The Book weight follows the same design but uses a more relaxed letter spacing to allow usage in smaller sizes and short body copy. As weight increases in the Bold weight the style becomes more expressive, with a visible reverse contrast building up and culminating in the Heavy weight with his clearly visible "bell bottoms" feel. In the display sub-family the design is pushed further by introducing variant letterforms that have a stronger connection to calligraphy and lettering. Also, the weight range becomes a optical one, with weights marked as Medium, Large, XLarge, as bringing the contrast and the boldness to the extreme creates smaller counterspaces that require bigger usage sizes. Another important addition of the display sub-family is the connected italics that sport swash capitals and cursive letterforms, developed with logo design and ultra-expressive editorial design in mind. To balance the extreme contrast in the XL weight, contrast of punctuation is reduced, creating a rich, highly-dynamic texture wherever diacritics and marks are used in the text. The full family includes 16 styles + 4 variable fonts, allowing full control of the design over its tree-hugging design space. All 20 fonts share an extended latin charset with open type features including case sensitive forms, single and double story variants and alternate glyphs. According to its creator, "Freitag is the typeface that sounds like an imaginary Woodstock where on the stage with Jimi Hendrix with Novarese, Motter, Excoffon and Benguiat playing onstage with Jimi Hendrix". Jeepers creepers!

AwanZaman has a three-phase story, beginning with Dr Mamoun Sakkal’s two Arabic styles and culminating with Juliet Shen’s Latin extension. AwanZaman started as simply Awan, a commission for a modern, clean, monoline typeface for writing headlines and story titles in a forward-thinking Kuwaiti newspaper. Awan was based on the geometric forms of Kufic script, while in phase two, a second typeface (Zaman) was designed to add enough calligraphic Naskh details to make it easy to read in demanding newspaper settings. Together these two phases give the typeface a warm, familiar, and progressive look, as well as an explanatory two-part name — AwanZaman. Since most editorials use typical Naskh headline fonts with an exaggerated baseline, Awan’s rational forms immediately distinguish it as a modern and progressive voice in the crowded field of Arabic editorial typefaces. As the companion Arabic typeface, Zaman has the same basic proportions and forms as Awan, but with many cursive, energetic, and playful details. And since modern monoline fonts are increasingly being used to set extended texts, more features were borrowed from Naskh calligraphy to expand the typeface’s use from headlines into text setting. When using the AwanZaman Arabic family, Awan (geometric Kufic forms) is the starting point. To add the sweeping, energetic personality of Zaman (calligraphic Naskh forms), simply activate an alternate character through the option of 20 stylistic sets available in any OpenType-savvy software. The two typefaces function as one file — the AwanZaman Arabic family — allowing users to combine features from both designs to transform the appearance of text from geometric and formal to playful and informal. The third phase of AwanZaman’s development introduced a companion Latin typeface designed by Juliet Shen to fulfil the persistent need in the Arabic fonts market for modern and geometric bilingual type families. Due to the Arabic’s monolinear strokes, AwanZaman Latin was destined to be a sans serif with a tall x-height, larger counters, and corresponding stem thickness to harmonise with the Arabic’s overall text colour and page presence. But it needed much more. One of AwanZaman’s chief assets is making the two languages look on a par when typeset side by side. Arabic and English readers will have a different sense of what that entails, but this type family defers to the Arabic — graceful and artistic with a good mix of straight stems and curved forms. Latin in general doesn’t aesthetically flow the way Arabic does, yet the tone of the Latin needed to mirror both the Arabic’s more squarish curves and formal personality of Awan and the undulating and more playful shapes of Zaman without looking outlandish. That need was met by creating some novel Latin characters, which are accessed through four stylistic sets the same way as AwanZaman Arabic. The alternates are not just clever in the way they look and how they echo the Arabic aesthetic, but also in harmonising the disparate languages and serving designers well when needing a balanced, bilingual text face with a warm and lively voice. AwanZaman is a clever, seven-weight powerhouse that makes extensive use of OpenType’s stylistic sets (20 in the Arabic and four in the Latin) so writers and designers can make the most of everything from a single glyph in display sizes down to dense text in paragraphs. As AwanZaman Arabic has no italic, neither does the Latin; contextual distinction normally handled by italics is achieved by exploiting the family’s seven weights. AwanZaman’s intricate OpenType programming supports Persian and Urdu, with features such as the returning tail of Barri Yeh treated properly. From its inception in geometry to its melding of two worlds with novel forms, AwanZaman is a personal labor by designers Dr Mamoun Sakkal and Juliet Shen, and embodies the TypeTogether ideals of serving the global community with innovative and stylish typeface solutions. The complete AwanZaman Arabic and Latin families, along with our entire catalogue, have been optimised for today’s varied screen uses.

Passport48 exclusively in otf. opentype format, originally debuted in 1997 as Passport, close to the beginning of the indie typographer boom. Almost 25 years have passed since it was introduced at MyFonts as PS1 and later in 2003 in TT TrueType.** It was designed by Joseph Coniglio of Coniglio Type as a revival. Historically, Passport was digitized from a shiny black enamel 1948 Royal Silent Deluxe portable. Kept on the ship of merchant marine, Captain John O’Learn, it was a salty manual typewriter with no intrinsic value as a collectable, even though it is awash as a work horse and a fine communicator of it’s time.. **NOTE: Little Passport family leaves the nest: The old weight variations, styles and formats have been eliminated to allow the original face to be stand alone, on its own attributes. For those purchasing their first typewriter fonts and to our diehard collectors as well, Passport presents a friendly new port-of-entry. A simple set, that is freed of many of the normal distressed points and paths that had made most “typewriters” authentic looking, but difficult to print and manipulate in layouts back in the day. It’s smooth nature comes from its impressions struck directly onto a piece of carbon paper bypassing the silk ink ribbon and going directly from metal to carbon paper transferring to a piece paper with very little tooth. Examine the glyphs to be certain you have what you need from this minimalist set, Passport48 is intended for ease of use and affordability. This is a warm font in a cold cruel world and a real port in the storm! It is versatile in today’s layouts with 24 years of worldwide sales. …Please enjoy the fruits of its travels, hoping your destinations and explorations into graphic design and letter composition are happy ones. -Joe Coniglio, the Pacific Northwest (2021).

Flaminia is a typeface family of 4 members designed by Carlos Fabián Camargo G. The central idea started as Dingbats and titles labeled with fine-tipped brushes and flat tip for graphic design related restaurant menus, instructions, packaging, food containers and labels. Thus began the process of drawings and letters integrated by shapes and counterblocks that seem inaccurate yet but at the same time clean and attractive. For this reason each variable suggests fresh brushstrokes that combine ideas from Roman and italic calligraphy. Flaminia members work separately or together by solving needs in different scenarios. This will enhance its properties in order to control and diagram titles, subtitles and short paragraphs with an effusive and manuscript character. Flaminia is useful for generating a flavor of "hand lettered by skilled artists lettering." In conclusion, Flaminia Regular and Italic are used to write short paragraphs. His ascending and downs are lower that the X height. Its width is imperceptibly condensed to save horizontal space. Its smooth lines and finishes simulating a crescent moon have been made with fine-tipped brush. The contrast between thick and thin has medium intensity. Its complement is an ideal italic to emphasize words and phrases. Its conceptual characteristics are similar with foundation's handwriting, except for his companion who takes ideas from the ornamental italic calligraphy. Flaminia Black is compact and ideal for ranking information such as words and titles. Its personality is based on ornamental penmanship italics mixed with humanistic ideas outlined with contrast-type, flat-tipped brush thickness. Its overall width is slightly condensed, rising and falling are short compared to an exaggerated X height. Its smooth lines and terminations as in a crescent moon simulate the path of a broad brush. Its amount of contrast between strokes have average intensity. In brief, push to the limit parameters such as the type and amount of contrast, size, backward, forward, overall width, etc. And finally, Flaminia Dingbats offers three sets of different illustrations, a total of almost 90 drawings useful in communications related to: Food, Clothes and Sketchy. Each carefully wrought through research, testing, analytical design, visual strategy and high-definition of Bezier paths, optimizing time and work to their users. And in conclusion, I have plans to continue expanding the family with more complete versions in the future.

Capitaly Script is a bold calligraphic typeface. Created with pride and care, this lettering has the optimal appearance of a classic vintage logo, for a modern setting. The font family consists of the styles Script (Regular) and Top (Upright). Use asterisk * after a letter to make a swash letter. Example: Ber*lin Use _ or # or ¤ after any word to make a swash tail. Example: Cursive¤ Letters_ Use multiple _ # ¤ after any word to make swashes of different length. Example: Decorate______ (Download required.) The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Second Lesson is a classic handwriting typeface. A calligraphic typeface family, Second Lesson follows the flowing and traditional handwritten typography taught at school. The script lettering is provided in styles Regular and Bold, and consists of over 1000 glyphs and support all Latin based languages as well as Russian, Bulgarian and other Cyrillic languages. Drawn and created by Mans Greback in 2021, this lettering has a slanted style and a beautiful personality. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It also supports Cyrillic. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Diverda Serif is a contemporary typeface that is free from ornament. Created by Swiss designer Daniel Lanz, Diverda Serif is optimized for maximum legibility. In contrast to many other modern typefaces, which try to squeeze the traditional rounder forms of the alphabet into square designs, and which often attempt to equalize the widths of the capital letters, Diverda Serif remains true to the proper proportions of the Roman alphabet. The x-heights of Diverda Serif's characters are low, and the differences between curved, square, and triangular elements are very clear. Like the more calligraphic typefaces of the past, Diverda Serif's strokes exhibit contrast that is inspired by movements of the pen on paper; down strokes are heavier than up strokes. Possible applications for the Diverda Serif include magazine design, as well as advertising for fashion, design, or architectural products. Diverda Serif is also a good fit for Corporate Identity solutions.

Larisch is a hand-lettered design by the Austrian calligrapher and teacher, Rudolf von Larisch. The original was used for the title page of the 1903 edition of Beispiele Kunstlerischer Schrift (Examples of Artistic Writing). Larisch is an attractive, casual set of caps of even strokes with rounded terminals. Except for the terminals, it is similar in style to Kunstler Grotesk. The numerals are lining or ranging figures, meaning they line up with the baseline, unlike old-style text figures. All are of equal width for setting up columns of numbers. The letters are well formed and easy to read, as you would expect from a writing master. Ligatures includes CH (123), CK (125), FT (135), LA (137), LO (167), OO (172), CO (177) and TT (181. An alternative O with underscore is provided at position 111. Friendly, but not fancy -- a very useful all-cap font.

Today's digital font technology has allowed renowned font designer and calligrapher Hermann Zapf to realize a dream he first had more than fifty years ago: to create a typeface that would come very close to the freedom and liveliness of beautiful handwriting. The basic Zapfino font family, released in 1998, consists of four alphabets with many additional stylistic alternates that can be freely mixed together to emulate the variations in handwritten text. In 2003, Zapf completed Zapfino Extra, a large expansion of the Zapfino family. Designed in collaboration with Akira Kobayashi, Zapfino Extra has a cornucopia of new characters. It includes exuberant hyper-flourishes, elegant small caps, dozens of ornaments, more alternates and ligatures, index characters, and a very useful "forte" (bold) version. Use Zapfino to produce unusual and graceful advertisements, packaging, and invitations. Featured in: Best Fonts for Logos, Best Fonts for Tattoos

Lil Stuart is a beautiful calligraphic script typeface. Drawn and created between 2019 to 2022, this logotype lettering has a vivid style and a strong personality. It has an optimistic look, expressive speed and characteristic movements. Use underscore _ anywhere in a word to make an underline. Example: Love_letter Use multiple underscores to make different swashes. Example: Base_____ball Use numbersign # after any letter to make a swash. Example: Welcome# Summer# (Download required.) The Lil Stuart typeface family consist of Regular and Italic. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

The Dutch word “leuk" translates loosely to English as pleasant, jolly, funny, witty, clever, nice, sweet, kind, nice, amusing, entertaining, and funny. Leuk, the font, is a small, highly legible font with a witty, sociable personality that engages it’s readers. My challenge in designing Leuk was to find a unique feature to set apart the font without losing the fundamentals of type design. In the process of doing so, I created a virtual font “smile and wink” in the “o” upper and lowercase with integrated stencil-connecting strokes within the “a,e, k, z, o, ß” to reveal Leuk’s calligraphic roots. Legible and friendly, Leuk is designed for use in advertising, brochures, promotion, book cover design, packaging, and the like. The Leuk family consists of Leuk Light, Leuk Light Italic, Leuk Regular, Leuk Italic, Leuk Bold, Leuk Bold Italic, Leuk Black, Leuk Black Italic in Opentype format.

Stena is a very functional sans serif typeface with calligraphic feel, especially designed for contemporary typography. This family features deep and sharp ink-traps as part of its design. Thanks to its proportions, solid and balanced forms, combination of straight and curve lines, high x-height and expressive ink-traps, Stena combines readability with a strong personality. This dynamic typeface provides advanced typographical support with features such as ligatures, alternate characters, stylistics sets, fractions, etc. It also comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This carefully designed family consists of 8 weights, ranging from Thin to Black, each with matching true italics. It comes with a set of 566 characters per weight, supporting over 40 different languages using the Latin alphabet. Stena is the ideal choice for editorial, branding, corporate identity, and more.

Humanex is the first text typeface of Sébastien Truchet. He created it during the year of postgraduation ‘Systèmes graphiques, typographique & language' in Amiens. The beginning stages of the font development involved calligraphic research based on humanistic ductus. Sébastien’s goal was to introduce modules in a lineal structure. Downstrokes and upstrokes are homogeneous. Links between stem and curve are straight. It gives solidity and thickness to the typographical composition. The first version was a Semi Bold version and its italic. This typeface gave a blackest text. You can see the first display typeface, Humanex Ultralight. Sébastien kept the Semibold structure in order to make a thin typeface. Its goal is to give support to the Semibold version. It is a good typeface in big sizes. In order to add a better legibility, Sébastien built a Book version to have a brightest grey of text. The reading is more comfortable.

Lectio is a Roman font based on a Venetian Renaissance early typefaces, but with a modern and expressive design. His obvious calligraphic influence favors continuous text reading. The generous internal "eye" gives Lectio an appropriate legibility, its soft and organic modulation avoids fatigue, its robust character is attractive and stimulating in large bodies, especially for use in headlines. Lectio comes in two versions: Lectio and Lectio B. Lectio has seven weight and their corresponding slanted variables (true italics). Lectio B is composed only of Italics in six weight. The ascenders are slightly lower, the descending are more regular and the oblique trace of some letters have a more constant rhythm. Each of these faces has the optimum amount of contrast agains the background and clear and open internal letter shape. These fonts include diacritics for CE languages, Old Style figures, standard and discretional ligatures.

Kugelhopf is a calligraphic style font with an old-world Blackletter feel to it. Full of charm and flair, this friendly script font will lend a sense of childlike magic to any design. Perfect for themes relating to holidays, fairy tales, storybooks and even Renaissance designs, Kugelhopf was inspired by a hand-lettered sample in an old book about sign painting. It can also be used for cards, invitations and scrapbooking as well! ‘Kugelhopf’ is a German & Austrian holiday yeast cake from which our modern western Bundt cake was derived. It has a particular shape that is said to be inspired by Turkish turbans. Jukebox fonts are available in OpenType format and downloadable packages contain both .otf and .ttf versions of the font. They are compatible on both Mac and Windows. All fonts contain basic OpenType features as well as support for Latin-based and most Eastern European languages.

The Absentia collection welcomes this modern serif option to broaden its typographic horizons and offer designers greater versatility. The new member shares the traits and proportions that sets this family apart, such as the truncated capital ‘A’ apex, the calligraphic ‘l’ and the distinctive ‘g’. Yet Absentia Serif adds its own personality to the mix, integrating forward-looking attributes into traditional letterforms. Laid out as bilateral or one-sided configurations, the transitional serifs help maintain a tight, orderly baseline. The balanced stroke contrast increases in the bolder weights and exudes an elegant appearance. This finely crafted typeface promotes legibility at the smallest sizes and makes it the ideal solution for body text. Available in ten weights with matching italics and two variable fonts, Absentia Serif is loaded with OpenType features such as stylistic alternates, fractions, superscript, subscript, as well as standard and discretionary ligatures.

I set out to design a contemporary font that is condensed with thick and thin strokes. The highly structured forms of this condensed font was made more interesting and softer by giving it a slightly calligraphic tone and by adding round corners. Atto's express purpose is to be both utilitarian, compact and technical but with a friendly face. The name "atto" was adopted since it refers to the measurement of "smallness" or detail. You will no doubt discover all the many pleasant nuances within Atto. Adopted in 1964, "atto" comes from the Danish "atten", meaning eighteen. Atto - (symbol a) a SI prefix to an unit and means that it is 10 to the power- 18 times this unit. Examples are one attosecond or one attometer/attometre. Atto is available in for Mac and Windows in Postscript, Truetype and Opentype. See also the companion font Atto Sans.

Nobody Home JNL is unusual in nature as it combines two vintage typestyles into one font. Both have been used for home and property identification for decades and still remain popular. Over the years the letters and numbers have been made of cast steel, aluminum, brass and plastic. The alphabet is in a distinctly bold, asymmetrical style, while the numbers almost take on a calligraphic feel. There is just a basic character set - alphabet, numerals and simple punctuation. While the font has been reasonably spaced and kerned, it's best to remember that neither type design was made with digital technology in mind, so it's suggested to adjust your layout manually for optimum results. Nobody Home JNL is best-suited for replicating street addresses, apartment numbers on doors, and homeowner (or apartment house) names on buildings - whether in print design or as plotter-cut vinyl graphics.

Even though the name seems not to tell much, Indecise shows a clean and coherent design. The shapes of the characters reference the Latin typefaces that were promoted by great figures like Enric Crous-Vidal and José Mendoza y Almeida in the 50s. Indecise uses the body of incise typefaces and gets rid of the subtle terminals for the strokes. It is a high-contrast sans divided into 5 elegant subfamilies, which use different widths. From the condensed version to the extended one, the family includes 50 fonts counting upright and italic. This collection of widths make for many possible combinations of styles. Indecise is a humanist typeface, it puts geometry apart and embraces the calligraphic gesture. This helps to suggest the movement of the strokes while avoiding to create text with a static appearance. Thin and thick strokes come together and define a smooth rhythm for reading.

Chellin is a calligraphic script font that comes with exquisite character changes, a kind of classic decorative copper script with a modern twist, designed with high detail for an elegant style. Chellin is attractive because it is smooth, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy letter joints. I also offer a number of decent stylistic alternatives for multiple letters. Classic styles are very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or all kinds of advertising purposes. . . Chellin has 380+ Glyph alternative characters, including multiple language support. With OpenType features with alternative styles and elegant binding. The OpenType feature works automatically, but you can access it manually and for the best results necessary for your creativity in combining these variations of the Glyph.

Italiko is a calligraphic font. The letters have been hand-drawn individually to extract the common strokes. The strokes have then been re-composed to give the font a more unified appearance. It comes in Black, Bold, Regular, and Thin. The Thin version is different as the extreme contrast in the font makes the thinner lines disappear. It is likely best used as a display font. There are ligatures for the combination of letters that can be written more quickly by using a single stroke and letters that are slightly different from the ‘Italic canon.’ You can select which one to use in your application (i.e., Word) using combinations of italic/bold: No selection -> Regular Bold -> Bold Italic -> Thin Bold Italic -> Black If you end up using the font, get in touch at https://github.com/lucabol/Italiko. Feel free to suggest improvements or let me know if you encounter problems.

Andmesh Script is a calligraphic script font that comes with exquisite character changes, a kind of classic decorative copper script with a modern twist, designed with high detail for an elegant style. Andmesh Script is interesting because it is smooth, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy letter joints. I also offer a number of decent stylistic alternatives for multiple letters. Classic styles are very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or all kinds of advertising purposes. . Andmesh Script has , including multiple language support. With OpenType features with alternative styles and elegant binding. The OpenType feature works automatically, but you can access it manually and for the best results required for your creativity in combining these Glyph variations.

Ryo Gothic is a new Japanese sans serif (or gothic) kana typeface design. Created by Adobe type designer Ryoko Nishizuka , the typeface has a bright and speedy calligraphic touch and can be used to compose readable body text, as it gives a calm and well-controlled color to the typeset page. Supplied in OpenType format, each Ryo Gothic font includes hiragana, katakana and some punctuation marks and should be combined with the kanji and other glyphs in existing Japanese gothic typefaces that contain full character sets. This typeface family is available in seven weights--extra light, light, regular, medium, bold, heavy, and ultra heavy--which allow end users to select the best-matching weight for their favorite full-set Japanese gothic typeface. Creative professionals using the Japanese version of Adobe InDesign may use that program's Composite Font tool to easily combine Ryo Gothic with other typefaces.

Kashi is the Persian word for tile. This font is inspired from building decorations of 16th and 17th centuries in Iran. It is extremely legible even in very small size. Kasha design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Kasha was developed for multiple languages and writing conventions. Kashi supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Versina is a display typeface with a unique and expressive yet moderate personality resulted from its organic elegant shapes which are inspired by Spanish transitional typefaces from the 18th century. This font is perfectly suitable for both titles and short text. Versina features a flowing organic stroke and asymmetric bracketed serifs, and its shapes convey rhythm and dynamism. The font has a large x-height and its ascenders are shorter than the cap height, making it look more slender and modern. Calligraphic and crescent-like terminals give the design great formal richness. Versina comes in 5 weights with matching italics plus a set of ornaments, in Regular and Black styles, and also includes old style/lining/tabular figures, fractions, superscripts and subscripts as well as a set of small caps, standard ligatures, historical ligatures, symbols and frames. Versina contains a set of 694 characters that support over 200 Latin-based languages.

Facttoria Script is a bold logotype font. Drawn and created by Toni Studio and Mans Greback in 2022, this calligraphic lettering has a thick character and a strong personality. The Facttoria Script typeface comes in Regular and Italic, and is perfect for a vintage logo or classic headline. Use # after any word to make a tail. Example: Signature# Use _ anywhere in a word to make a swash. Example: Love_letter Use multiple underscores to make different swashes. Example: Hand_____writer The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Ghosting Script is a calligraphic script font that comes with exquisite character changes, a kind of classic decorative copper script with a modern twist, designed with high detail for an elegant style. Ghosting Script is interesting because it is smooth, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy letter joints. I also offer a number of decent stylistic alternatives for multiple letters. Classic styles are very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or all kinds of advertising purposes. . Ghosting Script has , including multiple language support. With OpenType features with alternative styles and elegant binding. The OpenType feature works automatically, but you can access it manually and for the best results required for your creativity in combining these Glyph variations.

Scientist Castle Family Slab Serif Font Is A Great Font For any project! Available in 4 styles that you can use for various purposes, as a combination or separation according to the design style. Complete with OpenType features, which allow you to give a more calligraphic look! There are regular, Italic, Outline, and Outline Italic styles and very easy to use. Scientist Castle Family Slab Serif Font is a great choice for Projects you like branding, design, wedding, photography, Magazine, logo designs, album, covers Book, business cards, quotes, and projects other designs. What’s Included : – S-Alt – Works on Win, Mac – Simple installations – Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. – PUA Encoded Characters – Fully accessible without additional design software. Thanks for your support, please kindly send us a message for any question about our product. Hope you like it.

Matthew Carter designed the Shelley family 1972 for Mergenthaler Linotype to be used as a new script face for the photo typesetting machines. The basic idea was to create one script face that would offer dfferent elegant letterforms. Matthew designed Shelley in three different versions, Allegro which is in the style of Kuenstler Schreibschrift, Andante where the caps are less flowrish and wide and Volante where the letters have its most expressive and wide forms and the lowercase z in this font is in the french anglian double stacked form. All three versions can be easily mixed to give the text a more individual calligraphic look Besides Shelley Linotype Zapfino from Hermann Zapf shows similar basics, but in a totally different letterform. In Linotype Zapfino the individual lowercase letters from the four different versions have different letterforms which gives the text an even more individual touch.

Rue is an organic, casually ornamental, narrow-faced sans serif. It is a display type structured with random traces of calligraphic tendencies. It does not begin with any noble ideals, other than to mediate between the muse of imagination and the act of realization. The spirited and exploratory design is the materialization of a feeling about fonts as a family of organisms taking on a life of its own, in work and play. Rue is the epitome of vanity and indulgence which seems to purpose itself well in aesthetics, wellness and botanicals. Its whimsical quality also suggests applications in the form of gifts and ornamentation. In retrospect, Rue was conceived as a typeface, used as an image and discovered as an ornament. It comes in 5 weights of light, regular, medium, semibold and bold, and their matching italics. Rue Display was published in 2010 by TypeTogether. http://www.behance.net/gallery/Rue/373854

Tramuntana 1 Pro was inspired by the late Renaissance and Mannerist spirit and it was designed by Ricardo Santos during 2009 for his Master in Advanced Typography (Eina-Barcelona). This project was also inspired by Robert Granjon, Garamond and Sabon typefaces. The name tramuntana (Tramontane) is the Catalonian word for the cold wind that comes from the Pyrenees mountains and goes as far as the Balearic Islands. It was designed for editorial purposes (books and magazines). This typeface family contains different font versions for different optical sizes, caption, text, subhead and display, all of them with different x-height proportions and contrast. The serifs are asymmetrical and the letterforms have geometric modulated strokes which simulates the calligraphic variations. Its design approach gives a dynamic feeling, contributing to text flow and continuous reading. The kerning has been optimized for Baltic languages and Western, Southern, and Central European languages.

Belladio is a beautiful calligraphic script typeface. An urban brush font, the handwriting is designed to help you to design professional graphics in cool, flowing styles; elevating your brand to the next level. It can be imagined on a t-shirt design or as a signature logotype. With its multiple alternates and ligatures, Belladio is sure to give any project a custom and genuine style. Use underscore _ to make a swash. Example: Ama_zing Use multiple underscores for different swashes. Example: Won_______der (Download required.) The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Archie is a wide attention-grabber based on a simple geometric alphabet drawn in the early 1930s by Dutch calligrapher and lettering artist Martin Meijer. This digital family expands considerably on the original letters, adding biform shapes, small caps, italics across the board, and support for many Latin-based languages. Archie's eye-catching forms are meant for clear, seamless and strong message delivery. In its upright styles, strong vertical strokes emphasize the sense of confidence and importance, and in its italics, that emphasis is further affirmed by a natural sense of urgency. This kind of alphabet is perfect for display typography aiming at the glance-and-go crowd. When used properly and placed prominently, no eye can escape it. The basic Archie family is comprised of six basic fonts, while the Pro set combines all three uprights in one font and all three italics in another.

Taking its name from the arabic word for "king", Malik is a flared sans serif typeface family designed in 2020 by Andrea Tartarelli. The designer wanted to find a way to bridge the classical letterforms of Roman Old Style typefaces with the readability of contemporary sans typefaces. This was achieved by using the so-called flared serif that emerges gradually from the stem of the letter, ending in a sharp angle. It's something that also reminds of the peculiar shapes of the Simoncini Method, invented by italian type designer Francesco Simoncini to get a sharper definition of letterforms. To this blend of classical elegance and modernist expertise, Malik adds the calligraphic influence of modern masters like Frederic Goudy or Ed Benguiat, visible in signature details like the reverse contrast uppercase B, or the calligraphic lowercase k. Malik also means "owner", and this font surely wants to rule the page. It manages to be extremely readable when used in body text size, but looks surprising and expressive in display use. The inclusion of the Malik Heavy Display weight, with its black texture balanced by deep inktraps, allows for striking logo design. The weight range of the family is extremely wide, including a Book alternative to the Regular weight for fine-tuning readability, a range of light display weights and a solid choice of bold weights for branding, all coming with matching true italics. The 16 cuts of Malik have been equipped with all the features you need to solve your editorial and design challenges, including a wide language coverage (thanks to over one thousand latin and cyrillic characters) and a complete set of open type features (including small capitals, positional numbers, case sensitive forms). Alternate characters and stylistic sets allow you to fine-tune your editorial and branding design by choosing variant letter shapes. Malik is the typeface for everyone who wants to design like a king...or like he doesn't care who the king is!

Pirouette is based on a logo that Japanese designer Ryuichi Tateno created for a packaging design project in 1999 (a shampoo container!). Tateno's logo experimented with complex, overlapped swash letterforms. He continued to develop these outside of the initial packaging project, until they took on a life of their own. Eventually, Tateno designed a full typeface out of the logo, Pirouette, which was the first place display face in Linotype's 2003 International Type Design Contest. The Pirouette typeface contains six different fonts. The basic font is Pirouette Regular. This is an engraver's italic lowercase paired with elaborate swash capitals. The swash capitals have two visual elements in their forms: thick strokes and thin strokes. Pirouette Text includes the same lowercase as Pirouette Regular, but the uppercase letters are much shorter and simpler. This "text" font can be used to set longer amounts of copy. Pirouette Alternate contains different lowercase glyphs and additional ligatures, which can be used as substitutes for the lowercase forms in the Pirouette Regular and Pirouette Text fonts. Pirouette Ornaments contains swashes and other knick-knacks that can either be added onto the end of a letter, or used as separate decorative elements or swooshes (accolades) on a page. Pirouette Separate 1 and Pirouette Separate 2 are two fonts that can be layered over top of one another in software applications that support layering (e.g., most Adobe and Macromedia applications, as well as QuarkXPress). Pirouette Separate 1 contains the thick stroke elements from Pirouette Regular's uppercase letters, as well as the same lowercase glyphs that can be found in Pirouette Regular and Pirouette Text. Pirouette Separate 2 contains only the thin stroke elements from Pirouette Regular's uppercase letters. By layering Pirouette Separate 1 and Pirouette Separate 2 over one another, you can give the uppercase letter's thick and thin stroke elements different colors and create unique, more calligraphic designs. The Pirouette family, Tanteno's first commercial typeface, was greatly influenced by the calligraphic and typographic work of the master German designer, Prof. Hermann Zapf, especially his Zapfino typeface.