Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Foster Handwriting is a beautiful typeface that mimics true handwriting closely. Use Foster Handwriting to create stunningly beautiful designs easily.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Federico Handwriting is a beautiful typeface that mimics true handwriting closely. Use Federico Handwriting to create stunningly beautiful designs easily.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. “Pablo Handwriting” is a beautiful typeface that mimics true handwriting closely. Use Pablo Handwriting to create stunningly beautiful designs easily.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Phil Handwriting is a beautiful typeface that mimics true handwriting closely. Use Phil Handwriting to create stunningly beautiful designs easily.

Apla Clare comes from the love of my wife.. She's 'Simply' Clare. It's a straihght forward sans, but with a little bit of play, and a friendliness that ensures it moves away from sterile, serious sans. PLease enjoy!

My take on a cocktail themed dingbat font. The lowercase and uppercase letters offer an assortment of glassware, bottles, and drinks while the numbers include accessories and garnishes that can be mixed and matched to create new combinations.

RMU Bison is my revival of Julius Kirns hot-metal font, which first was released by Weber in 1935. The versatile timeless brush font was extended as to cover the main Western and Central European languages plus Turkish.

Inspired by the signage of one of the greatest theme park rides in the world (you know, the one with the song that you can't really get out of your head), The Happiest Cruise in Anaheim is sure to bring your small world of fonts closer. Whether a world of wonder or a world of cheer, the playful, quirky and childlike joy of the curves and lines will hopefully set your work on a journey through imagination!

Neue Jugend is an art nouveau typeface orientated on letter shapes of original Jugendstil fonts. The shapes are reduced to a straight modern look, so one could say it is the 21st century art nouveau. Neue Jugend supports all latin languages and their is a little ligature to bring P and Y closer together, if wanted. It is an uppercase typeface, so it is suggested to be used in headlines. For example on a poster or a book.

Oldblend is a playful and elegant retro font and was designed as a display type for titles, headlines, and posters and will work well with any retro execution. It is characterized primarily by a modern look with straight shapes, but on closer view, you will notice its subtle connection to retro type design. Oldblend includes uppercase, lowercase, ligature and also Multiple Language Supported I can’t wait to see what you guys will come up with with using this font!

Cyrillic (and Latin) poster font is limited in composition by uppercase. Monumental, dry, ascetic. Designed for the design of posters, title pages of projects, signage, book covers, building facades. It is formed based on architectural and drawing fonts. It combines Russian traditions and modern trends. The shape of the letters varies from round wide to oblong narrow, in this contrast lies the idea of the font. At first glance, this contradictory decision finds harmony with closer acquaintance.

The Dutch word “leuk" translates loosely to English as pleasant, jolly, funny, witty, clever, nice, sweet, kind, nice, amusing, entertaining, and funny. Leuk, the font, is a small, highly legible font with a witty, sociable personality that engages it’s readers. My challenge in designing Leuk was to find a unique feature to set apart the font without losing the fundamentals of type design. In the process of doing so, I created a virtual font “smile and wink” in the “o” upper and lowercase with integrated stencil-connecting strokes within the “a,e, k, z, o, ß” to reveal Leuk’s calligraphic roots. Legible and friendly, Leuk is designed for use in advertising, brochures, promotion, book cover design, packaging, and the like. The Leuk family consists of Leuk Light, Leuk Light Italic, Leuk Regular, Leuk Italic, Leuk Bold, Leuk Bold Italic, Leuk Black, Leuk Black Italic in Opentype format.

INTRODUCING MONOLOGUE ROUNDED! A softer, more humane, and funnier version of MONOLGUE. MONOLOGUE itself is a simple, condensed sans serif font with bold and complex personality. It was purposely crafted to be used in large point sizes, although it doesn't lose it's magic in small point sizes. With this rounded version, you can be even more expressive in your design projects. FEATURES: Basic latin characters, numerals, punctuations and symbols. Extensive language support, including slavic languages with cyrillic alphabet. Stylistic Alternates Stylistic Sets (ss01–ss06) 100+ Discretionary Ligatures Ordinals Preconstructed fractions Fractions Superscript and Superscript Numerals Kerned, spaced, and hinted If you have any questions, please don't hesitate to contact me via email at muhtadi.yusril@gmail.com. Check out my other works, such as font design, lettering, and type exploration on Instagram @yusril.muhtadi (https://www.instagram.com/yusril.muhtadi) Thank you for visiting and have a great, great day! Yusril Muhtadi

My first font for 2009 was Aerle. It is a new dark sans serif font in my continuing objective of designing book fonts that I can really use. It made a little ripple in the industry, but more than that I found that I loved it with Aramus and Artimas — my latest book font family with the same proportions. In many ways, Aerle is a very different direction for me built on what I have learned on Aramus and other recent developments in my style. The concept came to me while using Bitstream's Mister Earl on a site online—though there is no direct reference. I wanted a more playful heavy sans with a much smaller x-height than I have been using lately, plus taller ascenders. As I was using Aerle, I constantly needed a light and bold version. The new direction I am taking is a result of a decision that my fonts, though I loved the character shapes, produced an even type color that is too dark or a little dense. Aerle was an attempt to get away from that look even though the letterspacing is quite tight. For Aerle Thin I pushed a little further in that direction and increased the letterspacing. The hand-drawn shapes vary a lot, many pushing the boundaries of the normal character. This gives a little looseness and helps the lightness in feel I am looking for. It will be interesting to see where this all goes. Most new type around the world is far too perfect for my taste. While the shapes are exquisite, the feel is not human but digital mechanical. I find myself wanting to draw fonts that feel human — as if a person crafted them. In most ways this is a normal font for me in that it has caps, lowercase, small caps with the appropriate figures for each case. These small caps were very small (x-height as is proper). So Aerle's small caps are a little oversize because they plugged up too bad at x-height size. The bold is halfway between. These size variations seem important and work well in the text. This font has all the OpenType features in the set for 2009. There are several ligatures for your fun and enjoyment: bb gg sh sp st ch ck ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, & small caps; proportional lining figures, proportional oldstyle figures, & small cap figures; plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

Zushboy is a ragged verion of my own tagging style (even though it has been years and years since I did a thing like that!). The font is spaced tight in order to copycat a real homeboy's handwriting! Yo!

Here is it, Tasty Matcha Fonts. Based on my favorite drink become a fonts called Tasty Matcha. The fonts looks good, stunning, great, ease reading. What's Included Inside The Fonts ? Uppercase Lowercase Symbols Numerals European Multilingual Thank You, Regards!

TolleOne - a display font family of five weights, named after my wife, whose nickname is Tolle. The “One” indicates that she is number one, of course, but also that this is the first set of fonts I have published.

Boomtown is a bold, slightly cursive font for advertising, headlines, packaging design, signposts or posters. Although it is highly constructed, it has some handwriting attributes, too. An italic font is in my planning and maybe a light style, too.

Allison Style is my newest font duo. Contain two fonts, the delicate serif and a free hand writing script. This font duo also support multilingual, number and symbol, end swash and many ligatures. Also this font already PUA Encoded.

Basically my inspiration to create this font was located in the designs of old-school tattoo associated with wildlife Rockabilly and 70’s and 80’s. This font is perfectly applicable to typesetting for headlines, posters and art designs.

Take a look at Embarla Firgasto - my new enchanting family of four styles. They pair beautifully together in all kinds of applications. Embarla Firgasto comes with uppercase, lowercase, standard punctuation and special letters for most of the European languages.

Engineer is a new, completely redesigned and improved version of my font TechnicznaPomoc, which was released for the first time in 2001. Language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages.

Give your typography designs a retro touch with the Glorius Nebula! Nebula Glorius is one of my fonts based on handwriting projects in 2021. This font is great for product logos, logos, clothing brand logos, vintage designs, and more.

Designing SoftTimes has been easy on my nerves after the strain of HardTimes. The harder the Times are the more do we need some soft typefaces, this one is the soft counterpart for HardTimes. -Your softspoken typedesigner, Gert Wiescher

A neater version of my font Complete in Him, a hand-drawn marker font. Hand drawn with a brush marker, this font is neat but still has enough twists to make it fun. Perfect for painted or brushed looks.

Scripio A was the first font which I submitted to MyFonts.com. It is a decorative font. Little bit technical. I wanted to make a font which would be interesting to all. To some extent it has justified my hopes.

Dexterous is my interpretation of an antique typeface. The font includes upper and lowercase alphabets with alternate "E F L M S T" characters and alternate "c e m s" characters, numbers, punctuation, accented characters, symbols, and miscellaneous characters.

Delvey is best for: – logos + branding, especially cosmetics, fashion, & clothing brands – website design + website accents – think travel blogs, fashion blogs, & more – clean print design, like magazines + flyers – header elements that need a clean, modern look – quote graphics for social media – chic graphic tees

Thank you for visit! Blue Almonds is a cute handwritten font, gives a vibe of natural happines and positivity, a little dreamy. It's a good choice for themes like: lifestyle, blogs, products, food, cosmetics, newspaper titles, signatures, travel, quotes and many many more.

Simple Monologue, a beautiful casual modern calligraphy font. Contemporary script style that hit the trends nowadays. It would be a perfect mate for branding, logo, fashion stuff, cosmetic, apparel, journal, lookbook, greeting cards, a fancy presentation, glamor appearance, magazine. So versatile, right?

Nearo Rounded features five high-contrast font styles and thick and thin round shapes making this font unique. Nearo Rounded can be applied to various formal projects, including logos, magazines, books, packaging, fashion, cosmetics, invitations, novels, labels, greeting cards, and other advertising.

Hayden Creek started as a few letters chosen from vibrant brush lettering. It evolved into a unique font that has an underlying movement with a wonderful energy. The jaunty kick-outs on some of the lower case letters are both fun and elegant.

Pepita was drawn for Monotype in 1959 by Hungarian designer Imre Reiner. It is a brush script face with a lively personality, adding an impulsive feel to informal display purposes. The Pepita font is often chosen for greeting cards, menus, calendars and packaging.

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.