Slowly Moment is a modern script font it's monoline and clean stroke with fun character. Slowly Moment support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Slowly Moment script font. Cheers, Maulana Creative

Dahayu is a handwritten script font With high contrast stroke and fun character. Dahayu handwritten script font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Dahayu handwritten script font.

Ripe Apricot is a display typeface with flared semi-serifs. The design was created by renowned Armenian type designer Manvel Shmavonyan who gave to the typeface such a name not because of some associations with letterforms but just because the end of the long work happened at the time of apricot maturity in Armenia. The font family consists of four standard styles. It can be recommended for use in advertising and display matters as well as in magazine and Web design. Released by ParaType in 2010.

Carot Text fonts are especially tuned for reading sizes: their serifs have adequate strength and do not cause fatigue when reading long. Originality lies in the tradition revived by modern language. The whole Carot system is built up from what has long been around; in any case, it was the intention: to evoke the already experienced visual reminiscences of today's spectacled people. I believe in the raw effect of “Carot” typefaces. The family of 64 members offers a modern alternative for all types of design work.

It’s big. It’s very big. Spade is a double whammy of pure slab footprint, sharp and soft, cowboy and cowgirl, country and western, shot and chaser, settlement and new frontier. It’s also quite modern in many aspects, not the least of which are the many curvy alternates included, and the smooth flow of the biform shapes when used with the main caps. Clocking in at over 670 characters per font, Spade comes loaded with very comprehensive Latin-based language support and OpenType features up to the hilt.

Winner of the "no prizes for guessing" category, Overlapper's main feature is that the letters overlap slightly. I thought it best to just come straight out with it. In case there's someone just recovering from a lobotomy. There's an extended character set with accented letters and extensive punctuation, in case you need to do anything more than basic displays and titles. The package contains both OTF and TTF versions - install either OTF or TTF, not both versions on the same machine.

Quida Rough is a textured display family with three styles; Regular, Italic and Script. The personality of the design comes the rough, worn outlines and concave vertical shapes, which are consistent through all styles. This makes them work together seamlessly. Quida Rough Script is packed with opentype goodness such as swash caps, stylistic alternates, ligatures and ending forms for lowercase letters. All styles have an extended language support for most European languages.

MODAR means Modern and Artistic. A good font must be enduring and of high quality. This typeface is beautiful and noble, like an elegant sculpture, both historical and modern. This font is great for fashion, magazines, premium services, publishing, and also great for premium brands. MODAR is paired with a sans-serif typeface for a simple yet elegant visual effect. The font is very straight and has high-quality details, combining Eastern and Western aesthetics in one typeface. Designers borrowed classic fonts such as Didot and Canela in this font, combined with the elegant style of personal advocacy, to create 350 characters. I hope this font will help your brand be more visible.

Centennial Script was designed and cut by Hermann Ihlenburg in 1876 (the centennial of American independence, hence the typeface's name) for the MacKellar, Smiths & Jordan foundry in Philadelphia. Ihlenburg was then only 33 years old, and these beautiful forms put him on his way to become the most prolific and innovative deco, ornamental and script typeface designer and punch cutter of the nineteenth century. In trying to be a true homage to the history of the new world, Centennial Script transcends its then-contemporary deco fashion to embrace script elements historically similar to lettering found on maps or political documents of the 18th century. Letters like the p and s extend themselves high and mighty to accentuate words and lines of text in a fancy hand-drawn manner. The dots on the i and j are those of a careful scribe who acknowledges the importance of the document being lettered. The lowercase letters connect with two slight angular motions of the hand, also very carefully and elegantly. Even the ligatures and ending swashes Ihlenburg made for this face were reminiscent of a mapmaker's patient hand, though Ihlenburg's elegant touch in them cannot be mistaken. Although Centennial Script was one of the few Ihlenburg faces to make it to film type technology, the transition was neither credited nor faultless. The film type version was a bit sloppy in the way the connectors were made, so the lowercase needed a lot of manual work to typeset properly. To alleviate such waste of time for the user of this digital version, the connectors were redrawn according to the original metal ones made by Ihlenburg himself, and tested thoroughly in print to ensure the quality of the typeface's flowing cursive nature. This wasn't an easy task, and very time-consuming, since the changing angles on both ends of the connection made it impossible to escape from having to build every lowercase letter with both left and right connectors that would fit with the rest of the letters. This is one typeface that couldn't be revived in any other manner than the way it was originally made, regardless of more than 130 years of technological advances since the face was designed. Centennial Script comes in all popular font formats, and supports most Latin-based languages. Also included is an Alts fonts that contains alternates, ligatures, snap-on swash endings, some ornaments, as well as a complete set of the lowercase without left side connectors, for a more natural combination when following a majuscule, or just in case the user finds it fit to set the copy in a non-connecting script instead of the face's original connected flow. Centennial Script Pro, the OpenType version, combines the main font with the Alts font in a feature-packed single font. Use the ligature feature to set wordmarks like Mr, Ms, Mrs, Dr, and &Co, the stylistic alternates feature to replace some letters with their alternative forms, the contextual alternates feature for better uppercase-lowercase sequences, and the titling feature to set your text in a disconnected script. Centennial Script is the only script we currently know of that can be set connected or disconnected simultaneously, either using the titling feature in the OpenType Pro version, or manually in the other formats.

Since the release of his first typeface, Zulia Pro, Joluvian has spent his time dedicatedly experimenting with an array of calligraphic styles and typography, before starting on his second typeface, Salamat. The journey began on a trip to Asia, where Joluvian was inspired by his time in the Philippines. After a series of discarded type sketches, the first stroke of what is now Salamat was then born.   What at first was a quick sketch, over time, evolved into a stylized typography; that lends to humanistic-expressive calligraphy, optimized with wide variety of swash capitals, contextuals ligatures, ascending and descending, starting and ending letters and a wide range of characters for each glyph. Salamat provides the user absolute freedom to play, create words, sentences and even very stylized paragraphs. Giving one the freedom with type, the way the Philippines gave Joluvian the freedom to explore calligraphy and typography.   Joluvian considers Salamat a new benchmark in his career. He now possesses more typography maturity, and a refined focus to put into practice all the knowledge acquired in his recent years of study, for this and much more salamat ('thank you' in Tagalog) to the Philippines.

Nanu is a hand drawn font where lower and upper cases have the same cap height. It is multilingual and contains a lot of open type features. When purchasing Nanu you get the Nanu Simple Ornaments for free.

Run your hand under the tap and then thrust your fingers in the electrical outlet nearest to you* and you'll get the same effect that our latest release, ZZZAP will have on comic book readers everywhere when Electro, The Shocker, Black Lightning, Storm and Darth Sidious turn the dark side of the force on them. *The management accepts no responsibility for any adverse effects experienced by comic book font users who stick moistened digits into the power supply after installing this font for the purposes of comparison (it's probably best to just take our word for it). Batteries not included, void where prohibited.

There are very few Western-style stencil digital fonts available, hence Overland Stage JNL. In the days when stage coaches, wagon trains, the Pony Express and the first transcontinental railroad crossed the landscape of this country, merchants shipped their goods any way possible to the growing territories and states. Picture wooden cases filled with dry goods, hardware or foodstuffs marked in hand-cut stencil lettering and nailed shut for their cross-country journey. Companion fonts to complement this design are Frontiersman JNL (Western lettering with an inline engraving) and Frontiersman Black JNL.

Klapt is a geometric sans serif family that is soft on the outside and sharp on the inside. This family of four weights, includes an extended character set supporting most Latin languages even Vietnamese! Klapt, which can be bold or very elegant, is well suited for designs ranging from branding and corporate identity to editorial design and also web design. It is great for display purposes especially for headlines, posters, magazines, book covers, logos... you name it! Feel free to share your designs using Klapt or just get in touch via email to hi@seventype.com. Need extended Cyrillic support? We've got you covered https://www.myfonts.com/fonts/seventype/klapt-cyrillic/

Introducing, Argusho font a modern typeface that takes a classic style. Designed to give the impression of elegance and luxury with a classic feel. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif. **Featured:** * Standard Uppercase & Lowercase * Numeral & Punctuation * Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ * Alternate & Ligature * PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

Dragmatis Whiplash is a classic font, I built it with my relaxed hands. designing a classic font but having a modern element in it, which makes it particularly suitable for wedding media, book covers, greeting cards, logos, branding, business cards and certificates, in fact for any design work that requires a clasik, formal or luxurious. Includes multilingual support Try Dragmatis Whiplash, enjoy the richness of OpenType features and let her fun and elegant excitement make you happy and enhance your creativity! You can use this font very easily. Do not forget to see, buy, like and share my other great products, klick here.

BERO – An elegant sans serif font BERO is clean and modern. This typeface provides a timeless look for any design. Use BERO for branding, magazine design, logo design, headlines, posters, packaging, cards or your wedding invitation. Regular, Bold & Extreme Multilingual support Numerals & Punctuation Recommended to use in Adobe Indesign, Illustrator or Adobe Photoshop. ___ Follow my shop in order to receive notifications for the latest updates including additional glyphs and more languages. Do not hesitate to message me if you want your language included or if you have any requests regarding features or glyphs. I am happy to assist you.

Introducing my new Renaissance script typeface Pagesso. Vintage font with unique decoration elements. Perfect to use in any fashion labels, glamour posters, luxury identity, etc. What's included? * Regular style * Uppercase and lowercase * Numbers * Symbols * Punctuation * Multilingual support If Pagesso is not ok, please check Sogia https://www.myfonts.com/fonts/kaer/sogia/ or Bronzen font: https://www.myfonts.com/fonts/kaer/bronzen-abundance/ I hope you enjoy this font. Follow my shop to receive updates of products and the very hottest news! If you have any question or issue, please contact me: kaer.pro@gmail.com Please request to add additional characters and glyphs if you need! Thank you!

ITC Motter Corpus was designed by the Austrian type designer Othmar Motter in 1993 to combine the display advantages of a sans serif extra bold design with the legibility of a roman weight. The Motter Corpus is available in the weights regular and condensed regular. The capitals with their strong strokes display slight irregularities and natural looking outlines. When used in very large point sizes the tiny serifs become noticeable. Distinguishing characteristics of this typeface are the unusual design of the g with its upward reaching ear and that of the capital C, whose curve ends in an angular stroke in its upper third. Almost, but not quite, a sans serif, the typeface has diminutive serifs which, along with its modulated weight contrasts, make ITC Motter Corpus remarkable legible in display applications and will give text a nostalgic feel. A similar typeface is Linotype Bariton.

Nami, the Japanese word for wave," is the latest collaboration between Adrian Frutiger and Linotype's Type Director, Akira Kobayashi. This typeface family is the most humanistic sans serif design ever to come from Adrian Frutiger, and it has an interesting twist: lapidar alternates that may be surfed through with the help of OpenType-savy applications. Adrian Frutiger began the design that would blossom into Nami during the 1980s. Although it would not be produced during the 20th century, it was quite forward thinking. The typeface included several seemingly avant garde alternates; these were "lapidary" versions of common letterforms. Revisiting the project in 2006, Akira Kobayashi reworked the concept into a working family of three typefaces. Each font contains 483 glyphs, including 11 alternates-two extra forms of the lowercase g, as well as new forms for a, e, h, l, m, n, r, t, and u."

Morris is a four-font family produced by HiH Retrofonts and based on the work of the very English William Morris. William Morris wanted a gothic type drawn from the 14th century blackletter tradition that he admired both stylistically and philosophically. He drew from several sources. His principal inspiration for his lower case was the 1462 Bible by Peter Schoeffer of Mainz; particularly notable for the first appearance of the ‘ear’ on the g. The upper case was Morris’s amalgam of the Italian cursive closed caps popular throughout the 12th through 15th centuries, a modern example of which is Goudy’s Lombardic Capitals. The gothic that Morris designed was first used by his Kelmscott Press for the publication of the Historyes Of Troye in 1892. It was called “Troy Type” and was cut at 18 points by Edward Prince. It was also used for The Tale of Beowulf. The typeface was re-cut in at 12 points and called “Chaucer Type” for use in The Order of Chivalry and The Works of Geoffrey Chaucer. Morris' objective is designing his gothic was not only to preserve the color and presence of his sources, but to create letters that were more readable to the English eye. ATF copied Troy and called it Satanick. Not only was the ATF version popular in the United States; but, interestingly, sold very well in Germany. There was great interest in that country in finding a middle ground between blackletter and roman styles -- one that was comfortable for a wider readership. The Morris design was considered one of the more successful solutions. Our interpretation, which we call Morris Gothic, substantially follows the Petzendorfer model used by other versions we have seen, with the following exceptions: 1) a larger fillet radius on the upper arm of the H, 2) a more typically broadpen stroke in place of the foxtail on the Q, which I do not like, 3) inclusion of the aforementioned ear on the g and 4) a slightly shorter descender on the y. We have included five ornaments, at positions 0135, 0137, 0167, 0172 and 0177. The German ligatures ‘ch’ & ‘ck’ can be accessed using the left and right brace keys (0123 & 0125). Morris Initials One and Morris Initials Two are two of several different styles of decorative initial letters that Morris designed for use with his type. He drew from a variety of 15th century sources, among which were Peter Schoeffer’s 1462 Mainz Bible and the lily-of-the-valley alphabet by Gunther Zainer of Augsburg. Each of the two initial fonts is paired with the Morris Gothic lower case. Morris Ornaments is a collection of both text ornaments and forms from the surrounding page-border decorations.

Merry Scriptmas is a gift with a lot of ligatures. The font has an extended character set to support Central, Eastern and Western European languages.

English Script is the classic Spencerian English script. I always wanted to do one of these; now finally I did. Your classical designer Gert Wiescher

SwirlityText is a fussy, over-the-top calligraphic typeface with lots of curves and wiggles. It comes in two weights, each with an oblique style.

Estencil was inspired by the use of stencil fonts used as text knocked out of steel plates. Not suitable for long text, it works well for display, signage, and wayfinding applications., maintaining legibility from a distance. It includes the Western European character set, with 251 glyphs.

Antica has sharp triangular serifs, and in 8 weights with true italics, it forms a family that stylistically finds its origins in Latin styles of the nineteenth century. The font incorporates additional swashes, small caps and stylish alternates that advance the aesthetic from its roots and make it appropriate for modern design. Commonly named ‘Latin types’ did not vary in weight, but we decided to create Antica with a range that goes from thin to black and we also added extra curlicues to the letterforms. Antica borrows from the versatility and freedom granted to type founders of the nineteenth century – a time when the meteoric growth of mass-produced consumer goods led to an increased demand for publicity that needed fresh, attention grabbing typefaces. And as an homage to these Latin types we designed Antica to function well with an array of projects from stylized labels and formal editorial design requiring small type sizes to large-scale posters and billboards. The Antica family supports a wide variety of Latin alphabet-based languages.

Kalkal is slab serif typeface with five style, inspired by sign-board. It looks like many typeface with three dimensional. The main layer is regular and in-liner bring little spark in the Typeface. Two shadow layers gives an eye catchy impression and opacity layer is charm of the family. This five layered typeface can be used alone or combined, which makes it a versatile. This type works both for vintage and modern designs. Now let’s see how it works: In-liner layer Regular layer Shadow one layer Shadow two layer Opacity shadow layer kalkal with its five layers gives you flexibility to design.

The other day I was at a market with my kids and they had this really retro kind of circus thing. The signs and posters there, were designed in a really sloppy and poor manner - but they all had a lot of naive charm! I was really fascinated by all these uneven letters and I was immediately inspired to do a font like that! And out of the magic hat comes...ta-da-da-da...Cirkus Fantastiko! Planning on throwing a party with a circus theme? Then Cirkus Fantastiko is ready to play the juggling clown while riding the elephant! Play around with the 3 different layers to create that low budget hand painted cirkus posters! :)

Introducing unusual Sans Serif font family. Font is concise and minimalistic. But behind the apparent simplicity of the font is hidden the original feature in the form of modernized uppercase glyphs, which can be used as an accent in the header or logo. Pure letterings with excellent readability have 2 thicknesses. Font will emphasize the high status of the business and complement modern branding design, and the general versatility of the font provides for its widespread use in various directions and is combined with different styles in design. Balanced glyphs will fit into the typographic design and will not distract attention from the main point. Features: Bold, Bold Italic, Regular, Regular Italic Upgraded uppercase letters Kerning ld.luxfont@gmail.com

Brisko Sans is a simple sans serif font family that comes in 5 weights with matching italics. It is suitable for longer texts, while all weights are good for any other typographic use. The whole font family contains characterful elements to distinguish it from the old standards. Brisko Sans is a fully applicable, legible and discrete font family with unique attributes. It is a good recommendation for different kinds of web and print projects.

A “latin” alphabet modelled on the ethiopian Ge'ez script - an experiment that works. Amhara was created by transferring the typical forms of the Ethiopian Amharic script to the west European alphabet. Because Amharic is traditionally written with an expanded pen tip, it shows the typical ductus also characteristic of the uncial scripts of late antiquity and the early Middle Ages. So this font »Amhara« has a somewhat sacramental effect. And, although the individual forms look foreign, the overall picture is strangely familiar. The two styles of »Amhara« include a number of ligatures which dispose of many non-attractive letter combinations. Stylistic alternates are available for some letters, too. Read more about this font at ingoFonts...

And now something completely different. Keks has broken elements like a blackletter typeface, but the actual forms are roman. That keeps it very legible although there is no curve at all. What was the inspiration for designing the font? Blackletter has an interesting history here in Germany. We need to find contemporary interpretations for this tradition. What are its main characteristics and features? Legible roman blackletter Usage recommendations: any usage that needs a black letter athmosphere where legibility is important.

This minimalist and elegant looking font is ready to accompany your project. Simple but powerful and beautiful. Can be applied to packaging logos, wedding invitations, branding, creative posts, posters, quotes, landing pages, and much more to explore. See some of the previews above for reference. Features: -Uppercase -Lowercase -Numeral -Punctuation -Multilingual -Ligature Note : Open with a program that supports the Opentype feature and an glyphs panel is available to see more alternative characters. Sample programs like Adobe Illustrator and the like! Thanks.

Go back to a time when the Mediterranean coastline was truly glamorous, when stylish women and men in wire-framed glasses listened to Domenico Modugno songs on the radio while sipping wine in sidewalk cafes. A relaxing summer’s day, a gentle sea breeze, taking the time to write a postcard to your loved ones in your best handwriting. The 1950’s may have come and gone, but the elegance and simplicity of that classic style has not, Mina keeps the feel of calligraphy, the long connections between letters is elastic, the clean, thin lines, it is a relaxed cursive ideal for logotypes, titles, and lettering. There are eleven Mina font styles and many loops to choose from to customize any letter. Bring the seaside glamour of a bygone era to your projects of today with Mina. Ranging from light to heavy, Mina Calligraphic, and Mina Shadow, this family of fonts work perfectly separately but you can also achieve beautiful results when combining them. Check out also Mina Chic We recommend to combine Mina with: PestoFresco Turquoise

This is a font to build an Hebrew Bible (Tanach) or any Hebrew prayer book. This is a variable font with 5 styles! Hebrew Esther Tanach Variable has all Unicode Hebrew marks and others like ShevaNa, Dagesh Chazak, Qamats Katan, and Cholam Chaser. This font has a complex and exclusive Programmation of Opentype features. This font is very good to read even in small texts

The Koelle Ornaments series is based on the etchings of Chris Koelle of Portland Studios. This is the second collaboration between insigne and Portland Studios; the first yielded the inky and active script Blue Goblet. Chris has a unique style where he "frames" his work with small icons related to the story or subject. These are now available as Koelle ornaments. Koelle Ornaments have a gritty, used appearance, and have a late 70's stylistic feel to them. There are 145 highly detailed illustrations in the entire pack, separated into four different fonts. These illustrations can be resized without any loss of quality, and can be easily converted to outlines and modified. Some of the ornaments have a Christian theme, while others are more generic. To view what ornaments are available and the keys they map to, please view the sample .pdf. The sample .pdf is an excellent reference guide, and we encourage you to print it out to quickly refer to your favorite ornaments.

Thomas Oldfield’s typeface, Reaper, is reminiscent of inscribed Greek letterforms but he claims that its origin is much simpler than that. “I recall”, Tom says, “that I just began the design by making the uppercase ‘I’ and continued using it to make up the other characters.” The cap only typeface has alternate cap forms in the lowercase positions, including a vastly scaled downed O and Q that make for some unusual text settings. Contrary to what the name might have you believe, there’s a lot of life in this quirky typeface.

Stupid Meeting is an all caps display sans that didn't quite get its full 8 hours of sleep. A lot of attitude went into the design process and it shows throughout the entire character set. From a distance it looks fairly pedestrian but the closer you get, the rougher it gets around the edges. It's very simple, yet extremely playful. This family is available in 3 different styles. Use Stupid Meeting for a cartoon, product packaging, or a logo. Try the Eroded version for menu lettering or a band poster. Caps only Fonts.