Okaycat presents "Forest Cursive". Forest Cursive is an beautiful connected letter cursive script arriving with ornate & simplified styles. Forest Cursive features lovely detail & artistic nature. Forest Cursive is extended, containing West European diacritics & ligatures, making it suitable for multilingual environments & publications.

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.

3D Cursive is an extruded cursive family with multiple styles. The 3D Cursive font is extruded in delicate outline. 3D Cursive Stencil is an alternate style in bold black. 3D Cursive Simple provides a perfectly matching, yet non-extruded style. 3D Cursive is extended, containing West European diacritics & ligatures, making it suitable for multilingual environments & publications.

The most notable characteristic of this typeface is that it has a compact and regular shape that is slightly condensed but fluidly connected. Its glyphs emulate the look of handwritten, inked characters. Their exuberant graphic strokes and sharp edges maintain the influences of printed types produced by mechanical processes. Unlike most of the italic type of today, the capital letters are as high as the ascending lower-case letters. The brush script style (Originally designed in 1942 by Robert E. Smith for the ATF) inspired many contemporary and beautiful typefaces, such as Wisdom Script, Mission Script, Marketing Script, Motion Picture, Thirsty Script, Lauren Script, Deftone Stylus and many others. This font has more than 700 glyphs, Central European languages support, including Open Type features, swashes, and contextual stylistic alternates. It also includes old-style figures, discretional and standard ligatures, is case-sensitive and has a set of tails and ornaments.

Star Cursive is a connected letter script which is full of stars! Float with the stars, drifting through the galaxy! Use this star font whenever sparkle, glamour or a touch of the stars is needed. Star Cursive is extended, containing the full West European diacritics and a full set of ligatures, making it suitable for multilingual environments and publications.

Bernhard Cursive ExtraBold is one of Lucian Bernhard's most expressive fonts which are worth to get preserved for now and times to come. An ideal font face for advertisements, posters, flyers, titles and subtitles.

Corsa Grotesk is our very own tribute to two typographic giants: the Futura and Avenir typefaces. It is Designed with geometric simplicity in mind with well balanced strokes and modern touch. Generous proportions and x-height with more contemporary details - the single story ‘a’ and the horizontally barred ‘k’ being just two of many examples makes it shine in every jobs it takes. Corsa Grotesk blends the classic geometric aesthetics into a well-balanced font with generous proportions and minimal contrast. It features 10 weights ranging from Hairline to Black plus matching italics, as well as Cyrillic support for Bulgarian and Russian localizations. Filled with all the essential OpenType features like tabular figures, fractions, ligatures etc, it is a great choice for branding, advertising, user interfaces or any text that needs a bit of polish and a slick, present-day look that still feels familiar. With its 2.0 version we managed to polish the font even more. We revisited every path and fixed all the inaccuracies throughout. Corsa Grotesk now comes with way better and consistent spacing and kerning, just the right amount of contrast and balance. Live Tester | Download Demo Fonts | Subscribe

The eText fonts from the Monotype Baskerville have been specially tuned by our type design experts for a better on screen readability for instance in PDFs.

Designed as a typewriter face for IBM, Courier was redrawn by Adrian Frutiger for the IBM Selectric series. Courier is a typical fixed pitch design, monotone in weight and slab serif in concept. The Courier font is used to emulate typewriter output for reports, tabular work and technical documentation.

Monotype Modern, the first typeface produced by Lanston Monotype, was released in 1896, the same year the company introduced its hot metal typeseting machine. It is a Victorian variation on the vertically stressed, high-contrast Bodoni model.

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.

Monotype Lightline Gothic is a thin sans serif face cut by American Type Founders to work with Franklin Gothic, which had been designed as a bold face. The rather condensed nature of the Monotype Lightline Gothic font has made it popular for advertising display and newspaper work.

Similar in design to Franklin Gothic, News Gothic was one of a number of sans serif faces manufactured by American Type Founders in the early years of the twentieth century. Initially cut as a light sans, heavier versions were made in the 1940s and 50s along with some condensed weights. The News Gothic font family offers an uncomplicated design that is well suited for use in newspapers and magazines for headlines and in advertisements.

The first Clarendon was introduced in 1845 by R. Besley & Co, The Fan Street Foundry, as a general purpose bold for use in conjunction with other faces in works such as dictionaries. In some respects, Clarendon can be regarded as a refined version of the Egyptian style and as such can be used for text settings, although headline and display work is more usual.

Originally designed for American Type Founders, Goudy drew inspiration from the classical old style faces for Goudy Old Style. Round characters have a strong diagonal stress, ascenders are fairly long but descenders are very short. Goudy bold was introduced in 1920; this was designed by Morris Fuller Benton. This typeface has been particularly popular in America where it is extensively used in advertising, book jackets, for labels and packaging.

Clearface Gothic first appeared in 1910, designed by Morris Fuller Benton, the world-famously prolific typeface artist. In addition to Clearface Gothic, Benton also designed classics like Franklin Gothic, Century Expanded, and many other types. Clearface Gothic is a sans serif face with light forms displaying the Zeitgeist of the turn of the 20th century. Distinguishing characteristics are the open forms of the a" and "c," the arched "k," and the upward-tilting horizontal stroke of the "e." The relatively narrow typeface, with its open inner white spaces, is extremely legible even in small point sizes. There is no accompanying italic."

First cut by Lanston Monotype, the Goudy Modern font family was based on designs used by French engravers during the eighteenth century. Although called a modern it possesses a number of old style characteristics. Capitals are much shorter than the ascenders, serifs are fully bracketed and round shapes have a slight stress. The overall weight of Monotype Goudy Modern is on the heavy side, giving good emphasis in display sizes but it is not too heavy for use in text.

Monotype Century Schoolbook is another member of the Century family based on the Century Expanded typeface. The Monotype Century Schoolbook family was designed to fulfill the need for a solid, legible face for printing schoolbooks. It is wider and heavier than Century Expanded, there is also less contrast between thick and thin strokes. First cut by Monotype in 1934 and based on versions from ATF and Lanston Monotype, the sturdy nature of Monotype Century Schoolbook, coupled with its inherent legibility, has made it a popular choice for setting books, newspapers and magazines.

Monotype Old Style is a nineteenth century update of Caslon Old Face with characteristics of the moderns built in. Monotype Old Style was recut by Monotype in 1901 from a Stephenson Blake & Company version. The design originated at the Miller and Richard foundry in 1860. In some respects it can be seen as transitional between old style and modern, but the spirit of the old styles predominates. By the turn of the century it had become a successful rival to the moderns. The Monotype Old Style font family is an attractive design which gives a light, airy feel to text.

Introducing Fiasco Script, a bouncy modern calligraphy font. Fiasco is a clean cursive font with a feminine aesthetic, making it a perfect choice for designing feminine logos & branding, cute paper products like wedding invitation suites, or for displaying headlines on your website. Fiasco can also be used for other print design like magazines and flyers or printed marketing materials. This font can also be used for digital marketing materials and social media items! Fiasco Script’s clean edge makes it a great candidate for craft projects on your Cricut or Silhouette machine; it cuts beautifully! Fiasco Script includes: - full upper + lowercase characters - numbers + punctuation - 2 ligatures — ox, tt - PUA-encoding Extensive Language Support: Western European, Central European, South Eastern European, South American, Oceanian, Vietnamese, Esperanto Fiasco Script can be used with graphic design programs such as Illustrator or Photoshop, word processing programs like Pages or Word, Design Space for Cricut, Silhouette, Procreate, Canva Pro, Glowforge, GoodNotes, & more. This font is an installable for desktop & laptop machines, as well as iPads or iPhones. See below for links to help with installation.

Enjoy this one-of-a-kind custom creation from Chuck Davis. Beautiful curves make it a must have.

LD Cursive Flourish is the ultimate in casual elegance. This handwritten script comes complete with fancy flowing flourishes. Intricate and so unique! See LD Cursive for this font without flourishes.

Okaycat presents "Maple Lane Cursive". You can mix and match with Forest Cursive and Maple Lane from Okaycat. Maple Lane Cursive is a wonderful connected letter cursive script arriving with fancy & upright styles. Maple Lane Cursive features beautiful style & luxurious curves. Maple Lane Cursive is extended, containing West European diacritics & ligatures, making it suitable for multilingual environments & publications.

This font contains every variant found in the Hebrew Bible such as the “mutilated” Waw in Numbers 25: verse 12, the small Heh in Genesis 2: verse 4 and the Nun Inversum before Numbers 10: verse 35 and after verse 36 and elsewhere as well as oversized consonants and various double-wide consonants used in inscriptions.

Cross Stitch Cursive is based on upper case characters 16 stitches tall and contains the upper case characters A-Z, lower case characters a-z, small numbers 0-9, ampersand, exclamation and question marks, comma, and period.

One of the rare, huge script, true cursive and signature family. It has 30 styles, that range between weight and slant, and with alternates. It can be use in a lot of projects, like logos, end of a statement, pairing with a beautiful sans serif like Aleante, in a title, invites and so on. Check how it work: https://youtu.be/HinnXZo5tzw

Cosima is a sans serif workhorse with a touch of pointy elegance, designed by Anita Jürgeleit. Launching your new brand or creating a new user interface for your mobile devices – selecting characteristic typefaces is important, whether you’re creating app design, magazine or editorial – typography is always the essential part. www.typethis.studio Thank you for checking Cosima. If you have any questions, please send an email to hello@typethis.studio - We are looking forward to hearing from you.

Calligrapher Cursive Modern, is one of the calligraphic group of fonts called “21 alphabets for Calligraphers“. All graphemes are taken from calligraphic pages written on Cursive Modern calligraphic style. This font is ideal for calligraphic sketches or for imitation of ancient manuscripts. Cal Cursive Modern contains all the Latin and Cyrillic glyphs.

Rolling Ball Cursive simulates a handwritten style executed with one of the many types of rolling ball pens now available.

Calligrapher Humanistic Cursive is one of the calligraphic group of fonts called “21 alphabets for Calligraphers“. All graphemes are taken from calligraphic pages written on traditional cursive calligraphic stile. This font is ideal for calligraphic sketches or for imitation of ancient manuscripts. It contains all the Latin and specially-created Cyrillic glyphs.

Here's an elegant addition to Argentina NF, carefully crafted after the pattern provided by master type designer Morris Fuller Benton in 1919. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Museum Tertia Cursive is inspired by a beautiful set of 126 matrices in the Swedish Norstedts type collection. These types were probably manufactured in Germany before 1750. The matrices are part of a set imported to Sweden by J.P. Lindh from Breitkopf & Härtel 1818. Now this exquisite design is available again, thanks to type designer Torbjörn Olsson. Please note modern additions like the ?-mark, @-sign and €-sign. Museum Tertia Cursive is an OpenType creation, for both PC and Mac. Swedish type foundry T4 premiere new fonts every month. Museum Tertia Cursive is our eighth introduction. Museum Tertia Cursive is part of the growing Museum type family. Museum also includes three different border fonts, an ornament font with some of Granjon's arabesques and a flowery Fournier font with Rococo capitals.

The Century Old Style family was modeled on Century Expanded, which had been cut in 1900. Similar weights and proportions were maintained, but the letter shapes were made more elegant by the introduction of a number of old style characteristics. The Century Old Style family is a useful text design that offers good legibility and economy.

Old English is a digital font that was produced by Monotype's design staff, circa 1990. But its roots go much further back: the face's design is based on that of Caslon Black, a Blackletter type cast by the venerable William Caslon foundry in England, circa 1760. This design has been popular throughout England for centuries. Its style of lettering, conveniently also called Old English, can be found all over the UK. Old English-style typefaces belong to the Blackletter category. They nicely combine the design attributes of both the medieval and Victorian eras. This is mostly because their Textura forms, which were born during the Middle Ages, became quite fashionable again in the late 1800s! This Old English font is very legible for a Blackletter face. Perhaps that is why it is more familiar to readers in the UK and North American than German Blackletter varieties, like Fraktur. A favorite once again today, Old English is ideal for certificates, diplomas, or any application which calls for the look of stateliness and authority. It's a sturdy and sure bet for newspaper banners, holiday greeting cards, and wedding announcements.