HURoundsans is a geometric sans serif variable typeface with matching italics. It has a variable width that adapts to your needs, pushing for maximum readability. Useful for any quirky display uses. Variable is very versatile and can be used in print or on-screen environments. It's perfect for logos, posters, titling, UI/UX design, visual identity, social media, music cover art etc. * Specifications : Files included : Variable including italics Multi-language support

Newslab is a slab serif font – designed by Daniel Hernández – which is the result of the combination of three different typefaces: Andes, Sánchez and Roble. Harmony among every feature of the typefaces makes Newslab a neutral but imposing font. The Newslab font family consists of 16 variants and 8 weights, with italics. Well-suited for editorial projects, logotypes, posters, etc. Regular and italic variants are available for free.

We have created this family inspired from the set of well known Auriol fonts used by the French popular "cheerful" satirical magazine Fantasio (1906-1948). The present version contains Normal, Italic, Bold and Bold Italic styles, in use for texts, plus narrow titlings and normal outlined with upper and lower case, both in use for titles. This family may be used together with 1906 French News, 1906 Titrage and 1890 Notice.

This is our first experience of creating serif fonts. It resulted in a modern slab serif family designed with symmetrical bracketed serifs for uprights and cursive serifs for Italics. Crafted with low contrast strokes, it makes this font versatile and can be used for text and printing. Counte contains many International diacritics and OpenType Features. It consists of 9 weight, going from Thin to Black with matching italics.

Prelom is modern serif family inspired by retro designed typefaces. Comes in 5 Normal weights, 5 true Italics and 5 Condensed weights. With tall x-height, sharp serifs like fishing hooks, original Italics and distinctive character overall design, Prelom is ideal family for editorial use or branding. Beside extended Latin character set, Prelom contains Cyrillic characters as well. It is equipped with Initials, Ligatures, Fractions and Tabular Numbers as OpenType features.

We have adapted the version of our Darwin font for use in Microsoft Office. It only has 4 variants: regular, italic, bold and bold italic. Font weights have been named in a way that can be clearly shown up in the font list in Office programs for the sake of a good hierarchy (the bold variant is quite bold and does not look the same as the original font).

Cygnet CF charms with classic warmth and curious verve. An absurdly generous x-height makes this surprisingly readable and versatile display typeface perfect for headlines, captions, logos, and more. Nine weights plus italics grant a wide range of applications and moods, from sweet and elegant thins to intense and playful bolds. Nine weights with italics Extensive Latin script support for multiple languages OpenType features including alternates Free updates and feature additions

Agave a sans-serif family with 14 styles and 4 weights. The Light, Regular & Semibold contain Italics and Condensed styles, the Bold comes only in its' upright and Italic styles. A text family designed to easily be read in lower point sizes as well as larger display sizes. Providing a legible print, web or e-book family suitable for reading and not calling attention to its' letter-graphics.

CHARM Mirage is a serif typeface comes with joining ligatures that give it a fancy and unique style. This awesome font is perfect for branding, logos, invitation, watermark and so much more. CHARM Mirage typeface comes with regular, italic, Condensed and Condensed italic font styles. Uppercase & lowercase letters, numbers, punctuation, ligatures, alternates and multilingual support. If you have any questions, please feel free to get in touch. Thank you

Kiddy Kitty is a soft and friendly sans-serif type family which consists of 6 upright italic and 5 italic weights. It supports Western and CE Latin and Cyrillic, and it also has some ligatures and swashes and 16 carefully drawn cat dingbats in each font. Kiddy Kitty is good for greeting cards, children's books and package design. It is designed by Vasily Biryukov with some support of Alexandra Korolkova.

Firelli is an original family of 14 styles including 7 weights and Italics. Delighting from thin to black, Italic swash caps, ligatures, and neat alternate characters. Big headlines will love Firelli’s incorruptible details. Longer texts will benefit from a wide-ranging family with its solid posture. Go, use everything Firelli has to offer, to design your contentful magazines, powerful annual reports, or even bedtime stories and fairy tales.

Bogen - Bold italic font with sharp angles for dynamic effects. Use ligature characters to give you unlimited designs, this font is great for your work such as posters, logos, branding, covers, banners, t-shirts and headers, or even large-scale artwork Bogen , offers you: Bogen -italic bold font including Upper & Lowercase characters(ALL CAPS has a different form characte), Ligatures Character Supports Multi linguage (Latin Western Europe), Numbers and Punctuation

Basgem is a modern classy ligature serif typeface comes with joining ligatures that give it a fancy and unique style. This awesome font is perfect for branding, logos, invitation, watermark and so much more. Basgem typeface comes with regular, italic, Condensed and Condensed italic font styles. Uppercase & lowercase letters, numbers, punctuation, ligatures, alternates and multilingual support. If you have any questions, please feel free to get in touch. Thank you

Bomiro is a modern classy ligature serif typeface comes with joining ligatures that give it a fancy and unique style. This awesome font is perfect for branding, logos, invitation, watermark and so much more. Bomiro typeface comes with regular, italic, Thin and Thin Italic font styles. Uppercase & lowercase letters, numbers, punctuation, ligatures, alternates and multilingual support. If you have any questions, please feel free to get in touch. Thank you

Introducing Westerland Grotesk, a sans serif font family that seamlessly harmonizes classic simplicity with contemporary sophistication. Its slight contrast, which can be found throughout the weights, gives it a unique and warm character while maintaining the sleekness of a true grotesque. The family consist of eight weights in roman & italic, coming up to a total of 16 styles. This variety enables a range of uses, from elegant lightness with the thinner weights to loud expressiveness with the bolder ones. Language Support Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Lithuanian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål Norwegian, Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western, Frisian, Zulu Open Type Features Standard Ligatures, Alternates, Fractions, Superscript Figures

Opake™ is an experimental typeface design that steps away from regular design conventions. Instead of basing the design on a calligraphic tool or geometric shapes, Opake™ is the result of the exercise of creating letters with a single continuous loop line. This unseen technique makes the overall design very unique. Though unconventional, the design resonates with some familiarity because of its calligraphic stroke terminations and some shape decisions that might resemble Cooper Black. In the end Opake™ is a cutting edge non-connecting script font, with a warm and happy feeling. Ideal for large headlines and general display use, but also branding, posters and apparel. If you like unconventional solutions and edgy design, Opake is the font to go for.

Darka is a splendid, mysterious dark lady reincarnated in digital vectors as an original blackletter font. Her gothic, medieval, nocturnal attributes take the form of sharp terminals, seductive curves, calligraphic flair and complex character. Darka blends the balance of Textura, the flow of Fraktur and the elegant lowercase-to-uppercase ratio of Bâtarde into a stylish, inventive typeface with a Mexican soul. Starting as a personal, calligraphic hand, Darka slowly evolved into digital type, developing alternate glyphs, flourishes and special signs to preserve its hand-written origins and delicate tension, making it an excellent display typeface and, surprisingly, even a distinctive, crisp font for short texts. Darka received an Award of Excellence at the Type Directors Club of New York annual competition.

Cal Roman Modern is one more font from PKG “Cal” (Calligraphic) group. This time for calligraphic sketches we used a wide brush instead of the iron pen. Instead of minuscule letters, there are Small Caps (which are the same weight as capitals). Because there is no difference in the stroke thickness of capital letters and lowercase capital letters the difference in height is only one pen width, because of that, it is possible to use small capitals together with capital letters without noticing a difference in the thickness of the letters. Cal Roman Modern font is rhythmic, informal elegant, bright and light. As such, this font is widely used in the typographic creation of shorter text forms: magazine, catalogs and book titles, logos, posters, movie spots, banners...

Golos is a sleek and authentic font face with two styles: regular and italic. Golos is recommended for use as a display typeface.

This is a groundbreaking font that combines Caslon Italic and script. You can achieve an advanced typography that is elegant, delicate and powerful.

HWDP is heavy letterpress type. HWDP has two style: bold and bold italic. This type looks great in headlines and longer text. CHEERS!

Skaklia is a modern sans serif font with a geometric touch. It comes in 2 shapes regular and rounded and its matching italics.

Note: The Alta Bold, Italic, Lined and Outline styles are no longer available due their complexity and the resulting memory and performance issues.

Fazeta is a type family that uses the optical sections. It is a modern static antiqua (it has not obliqued axis, serifs without slopes) but distant from ceremonious and rigid look of this type category. Inspiration was typeproduction from Czechoslovakia 60’s - J. Týfa, V. Preissig, J. Linzboth or A. Krátky. Common factor of this typefaces is vivid and sharp design with stable serifs, tend to rational construction rather than calligraphy and some sophisticated small details vitalized general impression. In this case are facetted asymmetrical arches (some abbreviation). Specific of this typeface is a short arch of glyph “f” that allows comfortable typesetting without ligatures obligation. In character set are besides classical ligatures discretionary ligatures for special occasions. Another surprising element is that all vertical strokes are slightly expanded upwards. These details become invisible in small text but in larger sizes impressed the eye and fix attention to headline. For traditional text feeling are here alternative glyphs “a, c, f, j, k, r, y, K, R” terminated with typical serif. Typeface is graded by optical size into 3 variants - caption (robust structure with low contrast, suitable for size 6 - 9 pt), text (medium contrast, suitable for ordinary text about 10 pt) and display (high contrast and subtle details for 20 pt and higher). Every variant has 5 weights (light, regular, medium, bold and black) with italics. Typeface is with their naked cold expression suitable for neutral text without emotional feelings. In contrast with most antique typefaces this is intended for modern glossy white paper where crisp details can excelled. Every font contains 1140 glyphs, between them original small capitals, various digits, fractions, indexes, matematical symbols, arrows, borders and many alternative glyphs. To see more please check the PDF specimen.

While Adelle is a slab serif typeface conceived by Veronika Burian and José Scaglione specifically for intensive editorial use, mainly in newspapers, magazines, and online, its personality and flexibility make it a true multipurpose typeface. Adelle’s superior screen rendering and cross-platform consistency has also made it one of our most popular webfonts. The intermediate weights deliver a neutral look when used in text sizes, providing the usual robustness expected in a newspaper font. The unobtrusive appearance, excellent texture, and slightly dark colour allow it to behave flawlessly in continuous text, even in the most unforgiving editorial applications. As it becomes larger in print, Adelle shows its personality through a series of measured particularities which make it easy to remember and identify. Its energetic character, so inherent to slab serif fonts, becomes evident when used for subheadings and headlines. A condensed series of seven weights with matching italics expand Adelle’s possibilities. This extension provides flexible solutions in situations where saving space is vital but losing legibility is not an option. The new condensed series shares the same personality, proportions, and skeleton of the Adelle family, creating an harmonious texture when combined. Be sure to check out the companion to Adelle, Adelle Sans, to complete the look of your design with the intended personality and flexibility. Awards – Third prize for Latin text typeface in the 2009 Granshan Type Design Competition – Won Gold for Original Typeface in the 2010 European Design Awards – Selected in the first Ukrainian typeface competition in 2010 – Exhibited at the Rutenia Calligraphy & Typography Festival (http://rutenia.org.ua/en/index_u.html) in Kyiv, 2010 – Selected in the 2011 Type Directors Club Tokyo Exhibition – Selected in Communication Arts 2011 Typography Annual – Selected in Yearbook of Type I, 2013 – Part of the exhibition «Call for Type» and subsequent book Neue Schriften (New Typefaces)

Sultan is a revival and expansion of a 1954 Matrin Kausche typeface called Mosaik. This design highlights the unmistakable Arabic/Moorish calligraphy influence on Celtic lettering, by way of the highly active Andalusian culture from the ninth century until the crusades in the early eleventh century. Although Celtic lettering evolved on its own and prompted different calligraphic styles after the crusades, elements of the Arabic influence survived with it, its appeal remaining evident to this very day. For instance, this kind of lettering is very similar to the one Louis Tiffany used to make the most recognizable athletic insignia in North America - the New York Yankees logo, which is now over 110 years old, and has inspired hundreds of spin-offs in many athletic and non-athletic fields all over the world. The original character set made by Kausche was quite minimal, consisting of only numerals and uppercase letters along with a few alternates. But in this digital version the set has been considerably expanded into uppercase, lowercase, numerals, punctuation, a complete set of accented characters, and more than 15 alternate letters built into the font. Sultan is a great font choice particularly for design contexts of fantasy, middle ages legend, mystical and new age content, pirate literature, and Irish history. But it is also an excellent all-purpose display and poster font in general.

Specimen VI is a refined hand by artist Aileen Fretz of Plume Calligraphy: thoroughly modern yet absolutely timeless. We have our sights set on this one becoming an instant classic. OBSERVATIONS Specimen VI takes its inspiration from the old world, while remaining thoroughly contemporary. It is unique while maintaining legibility. DEFINING CHARACTERISTICS At 2,580 characters, we dare say it is one of the most robust script fonts on the market today. The font includes extensive Opentype programming that authentically replicates Aileen’s unique handwriting pattern. As you type, watch the letters automatically adjust between connected and disconnected forms. Specimen VI also features formal titles, prepositions, social media wordart, and web navigation wordart, serif and sans serif Roman numerals, in and out-stroked letterforms at beginning and end of words, multiple alternate lowercase t cross-strokes, realistic double-letter ligatures, seamlessly connecting calligraphic letters, multiple styles of alternate capital letters, including swashes, and basic Latin encoding. Specimen VI is a typesetters’ dream. POTENTIAL SIGHTINGS In the pages of your favorite wedding tome; the signage, robe embroidery, and dinner menus of that coveted boutique hotel on the Italian Riviera, the labels of an artisanal hand-poured candle line, your new favorite Rosé, hand-crafted Belgium chocolate truffles, the indie cosmetic line fit for royalty, in any instance that you may be in need of a refined modern script.

From the standpoint of calligraphy, a font family of capitals and uncials makes perfect sense. The Roman square capitals, the quadrata, are matched by round capitals of older Greek origin; the word "uncus" means hook-shaped like a beak or talon. Interrelated and often interchangeable, these capital letters served as book hands for both the Latin West and the Greek-speaking East before they evolved into minuscule alphabets. The Testament family is based on the few formal capital manuscripts of the Bible, Virgil and Homer that have survived from the ancient world. Throughout the Middle Ages both uncials and square capitals were used, often together, for headings and initial characters. By their nature the Roman capitals are the voice of Caesar and hold the place of authority, while the uncials speak for the Church in a balanced relationship. In ancient times church and state were not as separate as they are now, and the alphabets were not as different as typographic tradition has made them. In this calligraphic rendering it is clear that they are of the same substance and can be written in the same style, conveying even to the modern eye the eternal and classical quality of epic and scripture. Testament comes in all popular font formats, and includes support for a vaster-than-usual range of Latin-based languages.

Pompeian Cursive is a calligraphically-inspired display typeface featuring a limited number of alternate characters and a handful of graceful ligatures. A lively set of non-lining numerals accompanies, as well as a few calligraphically-inspired flourishes for ornament. The history of this typeface: Oswald Cooper’s relationship with the Barnhart Brothers & Spindler foundry was one instigated under the auspices of creating new styles of type in lieu of following stylistic trends. In 1927, BB&S requested that Cooper create a script-like cursive typeface design in step with Lucien Bernhard’s Schoenschrift and ATF’s similarly-styled Liberty typeface. In response to BB&S’s desire to emulate instead of innovate, Cooper wrote to Mcarthur, “I am desolated to see Barnhart’s hoist the black flag. Your own efforts through the years to boost the foundry into a place in the sun as an originator seem wasted.” Still, Cooper took up the task at hand, creating a delicate, sophisticated type design which he named Pompeian Cursive. The typeface featured a limited number of alternate characters and a handful of graceful ligatures. A lively set of non-lining numerals accompanied, as well as a few calligraphically-inspired flourishes for ornamenting the end of lines of type accompanied the typeface, as well. By reviewing the few remaining original drawings for the type, as well as copious samples of Pompeian Cursive from both Cooper & BB&S' proofing process and period-specific type specimens, Wordshape presents the first digital version of this classic hybrid script/sans typeface, complete with all original alternate characters and ornaments. Pompeian Cursive has been intensively spaced and kerned for the finest setting for weddings, announcements, and general display work. - What was the inspiration for designing the font? While researching a biographic essay for Japan’s IDEA Magazine, I came across the original proofs and drawings for Pompeian Cursive. While a number of foundries have released interpretations of Cooper’s assorted typefaces, they stray from the original rather dramatically in parts. Cooper is without a doubt my favorite type and lettering designer, and to bring a refined return to his original intentions is an immense gift. - What are its main characteristics and features? Pompeian Cursive is a typeface which functions as both a display face and a limited text face. It features classy, thoughtful, and delicate swash capitals and rugged lowercase characters with a low x-height and gracefully long ascenders and descenders. - Usage recommendations: Display type or text-setting. Perfect for newspaper work, editorial design, materials intended to invoke an "old-timey" flavor, or just about anything in need of personality.

Oksana Text Narrow is Oksana Text, narrower by 25%. Cyrillic and Latin, with real italics and swashed initials in six weights, is always slender.

Oksana Text Narrow is Oksana Text, narrower by 25%. Cyrillic and Latin, with real italics and swashed initials in six weights, is always slender.

Originally designed as an experiment in monospacing (Illuminati Mono), Illuminati is a mixture of sans-serif and serif. The Italics have some cursive features.

Belynos, a simple and elegant didone. Plus a bit of triangular! Font family contains from Light to Black and suitable italic for various designs.

Finition is a calligraphic brush script. Created by Måns Grebäck, this typeface is perfect to create a youthful logo. With its hundreds of glyphs it supports a wide range of languages. Use underscore to make an underline. Example: Fin_ition With ligatures activated, write multiple underscores for a longer line. Example: Aut___omatic

Here’s another offering based on the calligraphic capers of Paul Carlyle and Gus Oring, originally presented as a representation of The Exotic. It’s a lot of fun, too. Both versions of this font contain complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Autopilot is an elegant and flowing handwritten font. It is PUA encoded which means you can access all of the glyphs and swashes with ease! It maintains its classy calligraphic influences while feeling contemporary and fresh. Fall in love with this font and bring your projects to the highest levels!

Keneisha is a calligraphic script font with varying baseline, which is designed to convey elegance and style. It is smoothline, clean and feminine. Works perfectly for logos, magazines, menus, books, invitations, wedding / greeting cards, packaging, labels, t-shirt etc. Including initial and terminal letters, alternates, ligatures and multiple language support.

StringLabs is a cute and modern script font. It maintains its classy calligraphic influences while feeling contemporary and fresh. This font is PUA encoded which means you can access all of the amazing glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

Camsia is a distinct and flowing handwritten font. It is PUA encoded which means you can access all of the glyphs and swashes with ease! It maintains its classy calligraphic influences while feeling contemporary and fresh. Fall in love with this font and bring your projects to the highest levels!

Warren Chappell named his font after the Roman emperor Trajanus, who ruled in the first century AD. The Roman capitals on Trajanus’ memorial combined with the lower case style from the time of Charlemagne formed the models for the font characters. Trajanus will give a text a classic, almost calligraphic, feel.