Stillmore is inspired by a modern lifestyle that expresses character with ease. Then a font with two contrasting styles was created, Stillmore basic and cursive, symbolizing that each person has different character desires. Has 3 weights Regular, Bold, Black with unique details in each glyph that make them stand out. This font is perfect for making a stunning impact on designs of many contemporary types. Has more than 430 glyphs in individual styles. Supports many languages ​​including cryllic.

Losta Masta - fun and playful serif family. Unique, playful and versatile serif family with 40+ ligatures and 100+ alternates that you can combine to get curves and beautiful shapes just in seconds. Play with the ornaments to create a more stunning display. This font is suitable for use in many design forms, for example magazines, postcards, logos, vintage look, old classic ,60s, 70s, 80s era, wedding projects and many more. We recommend using Adobe Illustrator or Photoshop.

After doing this for so many years, one would think my fascination with the old history of writing would have mellowed out by now. The truth is that alongside being a calligraphy history buff, I'm a pop technology freak. Maybe even keener on the tech thing, since I just can't seem to get enough new gadgets. And after working with type technologies for so many years, I'm starting to think that writing and design technologies as we now know them, being about 2.5 post-computer generations, keep becoming more and more detached from what the very old humanity arts/tasks they essentially want to facilitate. In a world where command-z is a frequently used key combination, it’s difficult to justify expecting a Morris-made book or a Zaner-drawn sentence, but accidental artistic “mutations” become welcome, marketable features. When fluid pens were introduced, their liquid saturation influenced type design to a great extent almost overnight an influence professional designers tend to play down. Now round stroke endings are a common sight, and the saturation is so clean and measured, unlike any liquid-paper relationship possible in reality. Some designers even illustrate their work by overlaying perfect circles at stroke ends, in order to illustrate how “geometric” their work was. Because if it’s measured with precise geometry, it’s got to be meaningful design. And once in a while, by a total freak accident, the now-cherished mutations prove to have existed long before the technology that caused them. Rolling Pen was cued by just such a thing: A rounded, circular, roll-flowing calligraphy from the late nineteenth century seemingly one of those experimental takes on what inspired Business Penmanship, another font of mine. Looking at it now it certainly seems to be friendlier, more legible, and maybe even more practical and easier to execute than the standard business penmanship of those days, but I guess friendliness and simplicity were at odds with the stiff manner business liked to present itself back then, so that kind of thing remained buried in the professional penman’s oddities drawer. It would be quite a few years before all this curviness and rounding were thought of as symbolic of graceful movement, which brought such a flow closer to the idea of fine art. Even though in this case the accidental mutation just happens to not be a mutation after all, the whole technology-transforms-application argument still applies here. I'm almost sure “business” will be the last thing on people’s minds when they use this font today. One extreme example of that level of disconnect between origin and current application is shown here, with the so-called business penmanship strutting around in gloss and neon. Rolling Pen is another cup of mine that runneth over with alternates, swashes, ligatures, and other techy perks. To explore its full potential, please use it in a program that supports OpenType features for advanced typography. Enjoy the new Rolling Pen designed by Ale Paul with Neon’s visual poetry by Tomás García.

ludovica. This beautiful script is for those who are needing of elegance and stylish for their designs and particularly well suited for wedding invitations, save the date cards and feminine branding.

Borrowing from the 1940s, and inspired by printed text found in an old catalog, the slightly imperfect letterforms of Pitkin JNL emulate the hand-lettered look of signs and show cards.

A tall upright CAP font with small caps. Now includes the Capital German double S (Eszett) ß. Applications include Captions, headlines, packaging, posters, ads, greeting cards, book jackets and/or covers.

A bold condensed caps-only cross-stitch font, based on an embroidery pattern from the middle of the 20th century. Use it in large sizes for advertising, posters, greeting cards, etc.

DB Pit Stop is a must have for this summer season! These DoodleBats make for great adornments or embellishments on your scrapbook page, or a fun card. The possibilities are endless!

A cross-stitch font based on a classical pattern, including capital and lower-case letters. It is suitable for posters, signs, ads and greeting cards in the Thanksgiving and Christmas season.

Adeptly is modern and classy calligraphy font, that comes with beautiful and lovely vibes. Adeptly has a very beautiful stroke and it will suit various wedding invitations, fashion cards, and more.

Thanks for checking out Bridgeriden is perfect for all your needs, such as a logo, printed quotes, badge, insignia, packaging, headline, poster, t-shirt/apparel, greeting card, and wedding invitation, & etc.

A faboulus script font for you with tons of love. Rosseville can make text stand out - perfect for logos, printed quotes, invitations, cards, product packaging, headers and whatever your imagination holds.

A unique semi-sans-serif font specifically designed for all texts in a variety of applications. Recommended for posters, titles, book covers, greeting cards, signage, packaging, invitations, magazine articles and advertising.

Create fantastic headers for your invitations, business cards - or design stand out labels or gift tags. This font has been handmade and executed with a dip pen in Copperplate style calligraphy.

Both edgy and elegant, LD Genevieve—with its decorative plumes—adds unique flair to your scrapbook layouts, handmade greeting cards and other creative projects. Pair Lowercase and Uppercase to mix cases.

DB Dainty Swirl is great for embellishments, adorning a scrapbook page or adding a nice to touch to a card or invitation. Adds a classy, finished look to any project. Enjoy!

Findastone is a delicate and fine script font. It can be applied to a variety of design ideas, from invitations, to cards and pretty much anything that requires a lovely touch.

Bubblegum is a font made in styles: With its nice and sweet appeal, it is perfect for scrapbooking, print design, stationery, blog header, greeting cards, posters, blog header and art quote.

Daeron is a display typeface serif usefull for classic or modern look. Perfectly suitable for creating Logotype, printed quotes, invitations, cards, product packaging, headers, Letterhead, Apparel , Web design, Magazine, Book, etc.

Marlita is a carefully made script, great for quotes, branding, packaging, wedding card, advertising, and more. It comes with 10 variations of ampersands as well as various titling and ending swashes.

Melatti allows you to create stunning and easy hand-lettering in an instant. Ideal for the logo, quotes, wedding, product label/packaging, fashion, letter, advertising, invitation, poster, merchandise, greeting cards, etc.

Give your designs an graffiti display Font handcrafted feel. “Jump Style Graffiti Display Font” is perfectly suited to stationery, logos and much more. Many Thanks, Maulana Creative

Bellezza (Italian: beautiful) is an elegant calligraphic script with many ligatures to provide great solutions for Invitations, presentations, signage, posters wherever sensitivity, legibility and elegance is essential.

Fun, illustrations of guy stuff. This font is another of the many doodle fonts from Outside the Line. Goes well with Diva Doodles and Diva Doodles Too.

Amazon Lily font is a cute and playful font. Can be placed on many concepts. It would be more appropriate if used for something fun and funny.

Biscuit Recipe is handwritten font with pressure style. This font is good to application for wedding, tees, simple letter, notes, invitation, celebration, cute moment and many more.

Gastino is an casual and unique display font. Gastino is designed for any project, this font is perfect for poster design, logotype design, advertising and many more.

Give your designs an authentic brush handcrafted feel. �Black Range Brush Font� is perfectly suited to stationery, logos and much more. Caps only fonts. Many Thanks! MaulanaCreative

Hellena, an elegant script font that great for fashion, quote, and many more. This font was designed with uppercase, lowercase, ligature, numbers, punctuation, and also multilingual support.

Folk Art Flowers was inspired by the flowers used in many folk art designs. There is an assortment of 47 ornaments located under the character set keys.

Bantublesh is handwriting style. This font create and nice to application for wedding invitation, tees design, cover, writing text, wedding moment, logo photography , signature and many more.

Sambi Lemon is an uppercase awesome font suitable for your many great project as branding, packaging, poster, comic, flyers, and more. Features: - Uppercase & Lowercase - Multi-lingual Support

The sarmal font contains ligatures that are functional and useful. It can be a stylish font choice for your posters, t-shirts, prints and many more works.

Lettre D'amour is an Oldstyle Handwriting Font. It comes in 11 Styles and two Angles with many OpenType Features. Alternate Caps, Alternate Ends and old style Numbers.

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Chunkfeeder was inspired by the many vernacular forms of lettering created for high speed printing and electronic displays found in our modern techie world such as postal packing slips, airline tickets and informational video displays. Many of these type of fonts are designed by engineers and interface designers who presumably do not have a background in letterform design and consequently these glyphs have many quirky idiosyncrasies. In keeping with it's mechanical inspiration, Chunkfeeder is a monospaced font, much like an OCR type font. Chunkfeeder has a rather ridged modularity but it incorporates more typographic nuance into the letterforms than most other fonts of this style, while exploiting some of the visual artefacts of high speed printing. Chunkfeeder is a versatile family of 6 fonts -- 3 weights, each with an accompanying oblique.

English Engravers Roman is inspired by the beauty and eccentric detailing of British stone carved lettering. After observing many beautiful inscriptions around London and southern England, Robbie Smith decided to create a font family in homage to this rich heritage. English Engravers Roman features a set of beautifully balanced uppercase Roman, and a characterful lowercase alphabet with some endearing quirks. Included in the each font are two forms of lowercase 'q', one very similar to an uppercase 'Q' with a tail, and a traditional 'q'. Each font in the family features a comprehensive character set with many ligatures, added to enhance letter spacing. The fonts all feature an additional set of old style numerals. Many extra characters and ligatures can be accessed via the 'insert glyph' functions in graphic design software.