Introducing, Ballistic handwritten brush. Ballistic is a font made using handwritten brush to approach the feeling of natural handwriting and have strong feeling because of its bold characteristics. This font is perfect for branding, packaging, headline, title, logo, etc. Ballistic also comes with multilingual support.

Rollink is a simple brush font that is very comfortable to read. It will elevate various design projects to the highest level, be it branding, headings, hands, logos, labels, wedding designs, invitations, signs and more! included - uppercase and lowercase - multi language - alternate - ligature - swash

The Matesih is an amazing handwritten font. This font will make your design more beautiful and powerful, and is suitable for any design such as branding, quotes and more. It includes: -Accents (Multilingual Characters) -PUA encoded -Numerals and Punctuation (OpenType Standard) -Many alternate characters

Ultra Break is a handwritten all-caps font with condensed proportions and dynamic feeling, with a lot of ligatures available. The uppercase has the main letters and the lowercase has alternate letters. It is great for display, branding, packaging, advertising, sports, titles, posters, and more!

Search Party is a handwritten font, made with a Sharpie pen. It is a little wild, a little uneven, but legible and perfectly suited to be used in your designs. Comes with extensive language support and a set of alternates for the lower case letters.

Merry Fleurons is a bit of fun for Christmas, New Year and the holidays. It's ideal for decorating your own cards, party banners and any sort of Christmas publications. Need Holly? Christmas Trees? Baubles? Candy Canes? Angels? Merry Fleurons is just what you need.

This font is handpainted with a paintmarker on a glossy surface. Its available in a vector and a svg version. If the svg version is not available on this plattform, please contact me via my website: www.x-toph.com The lowercase letters are uppercase alternate glyphs.

Beauty Switzerland is an elegant, delicate and distinct script font. It will add a luxury spark to any design project that you wish to create! This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease!

Sallyna Cattalya Is a A Monoline Signature Font Sallyna Cattalya is perfect for product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. Enjoy the font, feel free to comment or feedback, send me PM or email.

Jerky Tash is supposed to look somewhat handwritten, that’s why it has got jumpy letters, different sized serifs and a loose kerning. The font is spaced to look okay when used without kerning, but the font definitely deserves to be viewed using the kerning pairs!

Kirens is a brush font made in a modern, bold, classic and textured handwriting style, suitable for all your design needs that require display typeface to make your design appear bold and stylish. Kirens brush is equipped with: - Allcaps Font - Alternate - Numbers - Symbols - ligatures - Multilingual

Simply Conception is a unique and modern family of serif fonts. Simply Conception has 18 families Regular and italic font, starting from the small thin to the largest black. This typeface is versatile and can be used successfully in magazines, posters, branding, websites, etc.*

introducing CHERRY PARSLEY - swirly handwritten font - It is great for quotes, cards, banners, books, cutting, silhouettes, social media content, and anything about craft projects. This font is all uppercase. Features: - Uppercase - Number & punctuation - Multilingual - PUA encoded I hope you love it. regards, Abo Daniel Studio

Introducing of our new product the name is Belgetha a Handwritten Font. Belgetha inspired by signature style this font is a fun theme very good for display, tshirt design, craft, quote sign, logotype and etc FEATURES : Uppercase Lowercase Number Punctuation Multilingual PUA Encode Opentype

Mercearia is a bold typestyle font, based on a 1944 Brazilian book about alphabets and letterings styles. Combining squarish letterforms and soft edges with a handcrafted feel, Mercearia is best suited for display sizes and works like a charm from 18pt and up. Try it!

Hiladous is a bold and retro-styled handwritten font. This font reads as strong, confident, and dynamic, and can add tons of nostalgic character to your designs. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease!

Display Brutal Rough is a rough version of my font Display Brutal . It is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Display Brutal Rough has an uppercase alphabet, numbers, and punctuation.

Sodaster is a lovely and delicate script font that exudes elegance and class. This font was particularly crafted for those who need a beautiful and refreshing look to their designs. Sodaster is PUA encoded which means you can access all glyphs and swashes with ease!

Hercule is a decorative typeface family in two weights: Light and Medium. The inspiration for Hercule was the fanciful moustache of the great fictional detective Hercule Poirot. The typeface was created by hand. Hercule is ideally suited for headlines, logotypes, decorative and display use.

Picz JNL is a rockin' font made up of guitar picks and is perfect for any projects representing good times. Use it moderately in short phrases or as initial caps, or combine it with Sock Hop JNL for a matching look. Limited character set.

Branding handwriting brush typeface that is suitable for design projects ; logo, branding, poster, quotes, and any other designs. Branding is unique, so natural and catchy. Features: All Uppercase Numeral Punctuation Symbol Multilingual Support PUA Encoded Characters - Fully accessible without additional design software. Thank you

Hello Everyone, introduce our new product Airiest It Is Simple Handwriting Font with a natural feel. This handmade font will make your design has a beautiful natural touch for each details. It is perfect for any design You can activate 11 Ligature glyphs OpenType panel.

Thishub Graffiti is a display font with a monoline graffiti style, there is some swash for your awesome design. It will elevate a wide range of design projects to the highest level, be it branding, headings, wedding designs, invitations, signatures, logos, labels, and much more!

Manttulcuy Signature is a handwritten signature script with a natural & stylish flow, elegant and smooth. Manttulcuy is perfect for branding projects, logos, wedding designs, social media posts, advertisements, product packaging, product designs, labels, photography, watermark, invitations, stationery and any projects that needs a handwriting touch.

Changing nature of work FS Industrie is an extraordinarily versatile new type system, with 70 variants built around five different widths and seven different weights. Type in the future will be increasingly variable, and FS Industrie is specifically designed to address the changing needs of brands. As more of the things we make exist primarily in a digital space, so our need to create type that can adapt within that space grows. It is the spirit of variable design, adaptation and flexibility that drove us to create FS Industrie. A typeface for future work in a future world. FS Industrie is a response to the changing nature of type, for brands that are responding to the changing nature of work. Industrial style Stylistically, FS Industrie feels direct and simple without sacrificing its humanity. It takes inspiration from German fonts of the 1930s, with their roots in manufacturing and signage. A classic sense of functional utility combined with a progressive view of where type is heading. Expressions in width A fundamental challenge with variable type is to ensure that craft and precision is preserved at every interval. Each width and weight is drawn by hand, with subtle variations in terminals and angles as you progress through the system. This ensures each variant can play to its unique strengths, while also pairing perfectly with its siblings. From the closed terminals of the Condensed and the open terminals of the Extended. FS Industrie is a design system that maintains a practical, grounded and robust tone throughout every variable style. Variable nature The 70 styles offer a range of expression. Each width contrasts with the next to clearly define typographic roles in graphic layouts. Every glyph is crafted with adaptability and scalability in mind, creating a pliable design space for the user. The proportions of each letterform flex as weight scales up, stem weights increase as letter width broadens. These subtle design changes create an optically consistent visual impression.

Venice La Corla is a breathtaking serif font that embodies timeless elegance and sophistication. This typeface exudes a sense of refinement and grace that is perfect for projects where a touch of classic charm is required. Each character in Venice La Corla is meticulously crafted to provide a harmonious balance between its serifs and elegant lines, resulting in a truly remarkable font. Key Features: 1. Serene Elegance: Venice La Corla's primary hallmark is its serene elegance. The font's graceful serifs and curvaceous letterforms create an atmosphere of sophistication that is suitable for various design applications. 2. Timeless Appeal: Inspired by the romanticism of the Italian city of Venice, this font transports you to an era of classic beauty. Its timeless appeal is perfect for projects that require a touch of nostalgia and charm. 3. Versatile Usage: Venice La Corla is incredibly versatile and adapts effortlessly to different design scenarios. Whether it's a formal wedding invitation, a vintage-inspired poster, or a high-end fashion magazine, this font adds a touch of class to any project. 4. Exceptional Legibility: Despite its ornate elegance, Venice La Corla maintains excellent legibility, making it a practical choice for long passages of text as well as for branding and display purposes. 5. Captivating Details: The font's characters are adorned with captivating details, making it a true work of art. Each letter is thoughtfully designed to enhance the overall visual appeal of your design. Recommended Uses: Venice La Corla is ideal for a wide range of projects, including but not limited to: - Wedding invitations and stationery - Vintage and classic-themed designs - High-end fashion and luxury branding - Editorial design and magazine layouts - Product packaging and labels - Fine art prints - Wine labels and menus for upscale restaurants Incorporate Venice La Corla into your design projects, and you'll instantly elevate the aesthetics, adding a touch of timeless elegance that will captivate your audience.

Changing nature of work FS Industrie is an extraordinarily versatile new type system, with 70 variants built around five different widths and seven different weights. Type in the future will be increasingly variable, and FS Industrie is specifically designed to address the changing needs of brands. As more of the things we make exist primarily in a digital space, so our need to create type that can adapt within that space grows. It is the spirit of variable design, adaptation and flexibility that drove us to create FS Industrie. A typeface for future work in a future world. FS Industrie is a response to the changing nature of type, for brands that are responding to the changing nature of work. Industrial style Stylistically, FS Industrie feels direct and simple without sacrificing its humanity. It takes inspiration from German fonts of the 1930s, with their roots in manufacturing and signage. A classic sense of functional utility combined with a progressive view of where type is heading. Expressions in width A fundamental challenge with variable type is to ensure that craft and precision is preserved at every interval. Each width and weight is drawn by hand, with subtle variations in terminals and angles as you progress through the system. This ensures each variant can play to its unique strengths, while also pairing perfectly with its siblings. From the closed terminals of the Condensed and the open terminals of the Extended. FS Industrie is a design system that maintains a practical, grounded and robust tone throughout every variable style. Variable nature The 70 styles offer a range of expression. Each width contrasts with the next to clearly define typographic roles in graphic layouts. Every glyph is crafted with adaptability and scalability in mind, creating a pliable design space for the user. The proportions of each letterform flex as weight scales up, stem weights increase as letter width broadens. These subtle design changes create an optically consistent visual impression.

A handwritten ”font for technicians“ from ca. 1900. Very geometrical, rigid forms borrowed from the typical characteristics of Jugendstil / Art Nouveau. This script is found in an old magazine which was issued sometime in the years shortly before WWI. The original copy, produced by means of a galvanized plate, is just 7 centimeters wide. It served as the model for technical professions in which, at that time, the captions of drawings were still done by hand. ingoFonts has not only digitized this beautiful typeface, we have also extended it to a whole family. In »Maier’s Alte Nr. 8« special attention was given to ensure the ”uneven“ edges, typical of handwritten script, remained effectively noticeable even in the digitized form. As a result, this ”technical“ font retains a handmade touch, while »Maier’s Neue Nr. 8« is the clean version with exact contours. The Art Nouveau forms, which are characteristic for the period of origin around the turn of the century around 1900, look especially pretty. The high degree of abstraction also seems strange in Maier's No. 8, especially when the age of the original is known. It is generally assumed that it was not until the Bauhaus in the late 1920s that such "modern" typefaces were created. Maier's No. 8 is a generation older! So many of today's supposedly "ultramodern" typefaces look quite old in comparison. In addition to the original two weights, Light and Bold, the Maiers Neue Nr. 8 got a regular and a extra-bold weight. Furthermore, the Neue is also available in italics. Although this is only a slanted version, unlike common practice, it is inclined to the left. Maier’s Nr. 8 Pro is suitable for all European languages. It includes ”Latin Extended-A,“ for Central and Eastern Europe incl. Turkish, and even Cyrillic and Greek, too. The font includes several stylistic alternates as well as a number of ligatures.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

The bâtarde flamande is a style of writing used predominantly in France and present-day Belgium in the 15th century. The style shares an ancestry with other writing styles traditionally grouped as blackletter— fraktur, textura, rotunda, and schwabacher. It had evolved, however, into an æsthetic far removed from its relatives. While high-contrast in nature, the bâtarde flamande is more delicate and dynamic than the austere and condensed fraktur and textura. Quick curves lack the rigidity of the schwabacher and rotunda. Flair through swashes is thematic, as are the variations in letterforms. The flowing rhythm, achieved through a letterform axis that is overall slightly rightward, is most noticable in the hallmark f and long s. Round forms are fused together for economy of space. It is a writing hand that, with its syncopation and fluidity, produces a vibrance uncharacteristic of other blackletters. Givry has been created in the spirit of the bâtarde flamande. It melds the particular traits compiled from the works of the style’s prominent scribes—Jean Fouquet, Loyset Liédet, and Jean Bourdichon. While suitable as an elegant and energetic display face, Givry was conceived for setting continuous text. The result of many refinements and adjustments is the preservation of the style’s irregular nature, as well as a consistency that continuous-text typography requires. Carefully researched and developed in OpenType format for a wealth of typographic features and support for more than forty languages, Givry is neither derivative nor experimental, but historically accurate. Of the many blackletter digital typefaces available, fraktur and all its connotations have become representative. In contrast, the bâtarde flamande is essentially non-existent in digital form, and has until now been overlooked. Givry provides designers and anyone searching for typographic expression a lively, delicate, and striking side to blackletter.

Harri Text is more than an extension of Harri. It shares its origin, a certain flavour and a great deal of its idiosyncrasies, but while Harri is an uppercase-only typeface intended for display uses, Harri Text is conceived as a text type family, including a new extra-light weight, italics, small caps and other additions that make it suitable for editorial purposes. As its predecessor Harri Text addresses several concerns regarding the dualism neutrality vs. idiosyncrasy, or in other words, how local features meet global design in the context of a modern society (as is the case in the Basque Country in recent times). The origin of Harri Text —vernacular Basque lettering for the most part— is full of idiosyncrasies and peculiarities that, while giving them its special character, may hinder readability in some cases. The default set in Harri Text tones its essence down a little bit. It is still present, although less obstrusive. Stylistic sets 1, 2 and 3 are a chance to recover gradually this essence modifying some characters —specially the characteristic design of letter A– for those who seek a more local flavour. Stylistic set 4, on the other hand, does the opposite job, this is, removes asymmetrical serifs and other small details in order to create a more neutral atmosphere. Any traces to its origin are this way diluted resulting in a crisp and clean incise variant. Stylistic set 6 is available in the italic styles. It provides a more fluid and cursive flavour to some letters in case a calligraphic mood is desired. Harri Text comes with 1054 glyphs in its character set (1078 in the italics) with support for more than 220 languages.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Gambler is a characteristic display type collection of 7 font styles with both clean and textured -making it total 14 fonts designed to play together. Gambler strikes with witty and elegant appeal combining vintage and modern elements. Gambler is an effective set for creating identities for branding, posters, book covers, headlines, logotypes, prints on garments, restaurant menus, beer labels and so on, both offline and online. Gambler Script is a smooth contrasted script that comes in two weights and it is packed with plenty of OpenType features: Standard Ligatures and Contextual Alternates are automatically on and they help to keep the flow and connections smooth. From Stylistic Alternates you’ll find characters with pointed endings and some other small variations. For extra flair try Swash or Titling Alternates. Gambler Script is PUA encoded so you can access the extra characters in most graphic design softwares. Gambler Brush is a soft brush script with low contrast and large x-height. Gambler Brush comes with following OpenType features: Standard Ligatures and Contextual Alternates that are automatically on and that keep the connections smooth. For less uneven word picture try Stylistic or Swash Alternates. Gambler Brush is PUA encoded so you can access the extra characters in most graphic design softwares. Gambler Flare is a flared serif with sharp edges and wide characters Gambler Flare comes in two weights. Gambler Gothic is a rigid condensed sans serif that comes in two styles: Regular and Shadow. Gambler Gothic Shadow has a narrow lining giving a three dimensional expression to the font. Gambler fonts are designed to play together, in pairs, or all together but they also work great as themselves or combined with other Fenotype Fonts.