The Seasons is an elegant classic serif font family consisting of a high contrast serif fonts with a vintage chic look, with corresponding calligraphic cursive italics that are based on a number of humanist italic scripts and written with a Pilot Parallel Pen. Both upright and italic fonts (6 in total) share same style soft terminals with a sharp cut and are enhanced by OpenType features such as ligatures and stylistic alternates. The Seasons can be used in high-end branding, logo designs, magazines, product packaging & invitations.

This sans serif font carries the flair and mood our Schneidler Latein font family. The calligraphic appearance and the human sound are evident thanks to the preservation of some significant broad edged pen elements. The forms are reduced to the subtle level where they are simplified, but the essence still remains. The expressive and artistic expression of the Schneidler Latein continues to work like a background melody. Together they build a superfamily that works perfectly in combination with each other. More weights will follow soon.

Heavy Duty is a bold condensed sans serif font set. Heavy Duty Solid is crisp and clean while Heavy Duty Sketch suggests characters that could have been sketched with a pen or pencil. Both fonts have the same uppercase and small caps lowercase alphabet, numbers, punctuation, symbols, and miscellaneous characters. The Heavy Duty fonts are ideal for making a bold statement in headlines, titles, or text. Heavy Duty Solid and Heavy Duty Sketch are to be sold only as a set priced at $20.

Lumios Brush is a new addition to the Lumios Extended Font Family. It was written with Pilot Brush Pen on a glossy paper (which allows a really smooth brush movements) and then carefully digitized. Just like Lumios Marker, its Brush sibling has multilingual (including basic cyrillic) support. The font also benefits from 2- and 3-letter ligatures (again, multilingual), stylistic alternates and swashes, underlines, arrows and a few symbols. If you already own Lumios Design Elements, you can used them with the Lumuis Brush font.

Gayle Sato, longtime friend of MVB Fonts, has amazing handwriting. It’s a natural, simple hand, with perfect rhythm. Devoid of flourishes, it doesn’t try to be beautiful. It’s just genuine, quick, and clean — the handwriting we all wish we had. The digitization by Mark van Bronkhorst captures these qualities. Retaining the roughness of a felt pen, MVB Calliope is a handwriting typeface that feels much more authentic than most, highly legible but still raw. The Regular was released in 2005, with the other weights shortly thereafter.

Gopetter is a casually and quickly handwritten brush script. Letters are made with procreate brush pen on ipad. Then scanned and carefully drawn into vector format. There is just a right amount of texture left so it looks good in small and big sizes. These elements gives modern, clean and elegant. Gopetter font has five sets include with swashes to give some variation for your project. Some projects that are suitable for this font include quotes, invitations, menus, taglines, flyers / posters and many others. Enjoy!

Gizmo was created by writing with a brush pen on fairly porous paper, selecting the best characters, then scanning and tracing with precision to maintain maximum character integrity. Clever programming ensures an even flow when set as text, enabling Gizmo to appear as quickly-written handwriting. The inclusion of multiple ligatures, which automatically kick in as you type, give Gizmo a truly authentic brush script appearance and hand-drawn dynamic. Gizmo works especially well at large sizes when the characteristically blobby and uneven edges become more evident.

Just write, I just want to write, I took a pen, I write the words with punctuation, I write the numbers, symbols and some currencies. No matter about My writing is ugly or very ugly, but sharing this handwriting to the world is my best wish. Tello Mallo comes in regular and italic style for every word you type. Do you like it? Hope you enjoy this, if you have problems or questions, please don't hesitate to contact me. Thank you and have a nice day :) ;)

Tritura is my personal take on textura fonts. Several methods of drawing were used, both analog and digital, to bring its overall rough feel. Each and every character was designed not from historical references, but from my view on this very peculiar typographic style. Instead of following established rules of character construction, I preferred to just keep in mind the mechanics of the pens used in textura drawings, as well as the little I already knew from the style, to create my own characters from there.

An old book found at a Paris bouquiniste contained samples of the typeface “Caractère de finance,” a bâtarde design by 18th century typefounder Pierre Simon Fournier. Rather than revive the type, Kanna Aoki decided to reinvent it, using a felt pen to achieve a rustic, handwritten quality, departing from the 18th century model as she saw fit. MVB Chanson d'Amour conveys a soulful elegance that stops short of the ostentatious, overwrought found in many formal scripts. It is lovely and sweet, but never saccharine.

Simplicity, delicacy and elegance are the words that best characterize Rufina. Based on an idea that was conceived long before its “birth”, Rufina was created from dark-text on light-background combinations. Refined and at the same time distant, Rufina seduces the viewer in a subtle and elegant manner. Blending of contrasty, Bodoni-influenced forms with the emotive touch of the calligraphers pen. This family consists of two weights, their italic counterparts, plus a set of alternate cuts — each containing a selection of illustrative ornaments.

In Dutch, a Mandarijn is a Tangerine. I found out that it is called a Mandarin in Australia as well! I really like Mandarins, so I thought I’d give them their well-deserved place in the spotlights by naming a font after them. The whispers part - well, that’s just because it sounded good. Mandarin Whispers is a very nice brush font, which was actually not made with a brush, but with a cheapie marker pen. It comes with all the bells & whistles, so have a ball!

Cartographer by Hipopotam Studio is a hand drawn serif typeface designed for our book Maps. Drawn with a 0.1 mm tip pen in a very small scale. It has only uppercase characters but each has alternate glyphs. It also has a lot of very useful features including multi-language support (with Cyrillic), discretionary ligatures, stylistic alternates, fractions, ordinals and contextual alternates that will automatically set alternate glyphs depending on frequency of appearance of the same character (even in web font but only in HTML5 browsers).

TT Fellows useful links: Specimen | Graphic presentation | Customization options There can't be too many universal fonts! Meet TT Fellows, a new workhorse whose functionality allows you to comfortably use the font in a variety of projects. Calm and neutral at first glance, the mood of TT Fellows can change. Working with the typeface, you can reveal its soft and friendly nature, or even the brutal one, for example, by typing the text exclusively in capital letters in the bold style. TT Fellows is easy to use and perfect for setting large text arrays. Thanks to the font's uniwidth and versatility, the font is ideal for use on websites or in periodicals. Bold styles will work harmoniously in headlines or as accents in print or on packaging. TT Fellows is a humanist sans serif with a mechanical touch. With its open shapes, the friendly neutral character of thin weights and an even softer character in bold weights, the new typeface differs in character from the classic TT Norms® and TT Commons sans serifs, while still offering the same functionality. Calm regular styles differ from bold, deliberately display and more expressive ones. By the way, TT Fellows is a unwidth typeface. It was important for us that the user could change the styles, knowing that the layout will not suffer. The typeface features equal width proportions, open apertures, and slightly squared ovals, which associatively brings it closer to other popular modern fonts. Since the idea of the typeface was focused on it being a uniwidth typeface, we needed to fit the bold styles into the regular em squares, which led to interesting graphic solutions that are noticeable, for example, in the k and ж characters, in which the branches are cut directly into the stems. TT Fellows consists of 19 styles: 9 upright, 9 italic and 1 variable, each with over 700 glyphs. The font has 26 useful OpenType features. For example, there is a switch to single-part versions of letters a and y, fractions, tabular characters, case versions of punctuation, and localized versions of characters for different languages. There is a ligature for a combination of two characters of a complex design fl. TT Fellows font field guide including best practices, font pairings and alternatives.

The Bunken Tech Sans superfamily: A reminiscence of constructed fonts of the modern age designed with considerably cleaner forms. •See other members of the Superfamily: Bunken Tech Sans •For further details, view the Specimen PDF. Bunken Tech Sans Wide follows in the best tradition of the straight-lined and somewhat angular structures of its predecessors while offering a much more open and mild design. The shapes of the letters are therefore reduced to the most essential elements: The spurs on a, b, n and other lower case letters occur just as little as decorative or style details, the lightly rounded inside edges are more pleasing to the eye than certain historic role models and make for a harmonic, flowing style. Use In particular Bunken Tech Sans Wide stands out as an easy, distinctive headline font with its straight-lined, technical design. Open counters and large x-height make it equally suited for use in shorter texts. It is also perfectly complemented by Bunken Sans or Bunken Slab in longer texts (available soon). Features Available in 16 styles with widths ranging from Light to Heavy with associated Italics. All of the styles are very extensive: Support for at least 58 languages, Small Capitals, 9 number sets (e.g. Lining, Oldstyle, Tabular and Small Cap Figures), ligatures, alternate characters, numerous Opentype functions, and lots of other small features that make it more pleasant to work with the font on a daily basis as well as fulfilling typographic desires. Each style contains more than 870 characters! Each style is available in a professional (Pro) standard (Std) and Small Caps (SC) edition with a different range of functions. (Language support, OpenType features and number of glyphs). Details can be found on the respective pages. Bunken Tech Sans Wide is part of the Bunken Tech superfamily and is available in Condensed, Normal and Wide. Also of interest: The slab serif variation Bunken Tech Slab Features in Detail: 16 Weights: -Light -Book -Medium -SemiBold -Bold -ExtraBold -UltraBold -Heavy and corresponding Italics 3 Widths: -Condensed -Normal -Wide Alternate Characters: A, E, F, L, S, e, f, t, s, y, etc. Small Capitals 5 Sets of Figures: -Lining Figures -Old Style Figures -Tabfigures -Old Style Tabfigures -Small Cap Figures Automatic Ordinals Automatic Fractions Extended Language Support and more...

A sign of something better When designer Stuart de Rozario surveyed the fonts used in signage on London’s public transport systems, he reached a dead end. They seemed staid, sterile, lacking in personality, and ill-suited to use by modern brands. He was pointed in another direction entirely. ‘The driving force behind my thoughts was to design something more current and fresh without compromising legibility and clarity. A font with both personality and function, that’s versatile and large and small sizes, and effortless to read, but which also says something new.’ Speed reading Late for a meeting and can’t find your way? Trying to catch a flight? Lost in a hospital? Reading signs is a different business to reading a book or a newspaper. Text on signs needs to be deciphered quickly and effortlessly. So the legibility criteria for signage letterforms are different to those for normal reading, too. Throughout FS Millbank’s uppercase and lowercase alphabets, characters have been given features for extra definition, including: wide ink traps on the A, K, M, V, W, X and Y; a serifed i, accentuated spurs on the a, d, l u; and different x-height shapes on the b, g, p and q. Distinctive forms and generous, open internal shapes all help the quick reading of sign text, and wide, open terminals and counters allow similar letter shapes to be distinguished easily when viewed at different angles. Running down a corridor, maybe... Positive/negative Standard type tends to glow on the kind of dark backgrounds often used for signage, and look heavier than its true weight. To correct the imbalance caused by this optical trick, special weights of the typeface have to be drawn for these ‘negative’, light-on-dark applications. These are lighter than their comparable positive weights to overcome the ‘glow’ effect. After extensive tests of the negative weights, at all sizes, we achieved the right optical balance. Glowing, glowing, gone. Icons This wouldn’t be a signage typeface without its own set of icons, or symbols, to help people find what they’re looking for. So, to sit alongside the positive and negative fonts, we’ve created a comprehensive set of 172 icons, covering a wide range of applications from transport and user interface to information and directional. Designed within the typeface capital height, they sit on the baseline and are spaced centrally.

The word ‘Ghibli’ per se refers to a Saharan hot and dry wind commonly known as the Sirocco. In Arabic language, ‘Ghibli’ is known as ‘Qibli or Kibli’, meaning ‘Southern’ for those Arabic nations who live in the North of Africa. The ‘Ghibli’ wind is most common during spring and autumn, and can blow at almost 60mph; it is this wind which is responsible for the dry, dusty conditions on the Mediterranean coast of North Africa. ‘Ghibli’ can last for days making life miserable and is therefore feared by the desert dwellers in that region. It can also have profound effect on the landscape by moving vast quantities of sand and dunes. Inspired by the Studio Ghibli’s unique and magical characters, the ‘Ghibli’ typeface is designed as a Latin free and literary serif typeface. It strongly expresses transition, imagination, sharpness, characterization, and modernization. It is a literary type that can capture the eyesight of readers and other observers with its acute and stylistic letterforms, dots, and numerals. It has transitional serifs and it is generally based upon the Latin printing style of the 18th and 19th centuries, with a pronounced vertical contrast in stroke emphasis (i.e., vertical strokes being heavier than the horizontal strokes). It has more regular forms in which serifs are bracketed and more symmetrical. The main characteristic of ‘Ghibli’ typeface is in its new designed serif letters. Special letters that can be described as having modern designs include small ‘g’, ‘p’ (with their open ends), ‘x’, and capital ‘B’, ‘P’, ‘Q’, and ‘R’ (with their open ends). ‘Ghibli’ typeface has also both of lining and old-style numerals which makes it more suitable for any literary and printing purposes. This gratuitous font comes in only two weights (i.e., Ghibli Regular and Ghibli Bold). It is absolutely preferable to be used in the wide fields related to literature and publication industry. This includes typing titles of diverse literary and academic books, readable texts of novels, novellas, short stories, prose, poetry, textbooks, newspapers, and magazines. It is also notable if chosen for designs that include movies’ titles, logos of academic institutions such as colleges and universities, organizations and associations’ names, medical packages such as those dedicated for tablets and syrups, and also other different educational and social materials. ‘Ghibli’ is simply a free literary typeface dedicated for all who want to write and read using a modern and stylish serif font. Enjoy it.

Quickat is a handwritten font, thick, condensed calligraphic style has several sets of terminal ornaments for decoration of phrases and titles. This font is drawn by hand with a pen following proportions based on the numbers of Perrin applied completely to the capital letter H and from this letter all the proportions of the rest of the alphabet are calculated according to mathematical formulas that I have been perfecting and putting into practice in my last fonts, is ideal for designing greeting cards or weddings, posters, flashy headlines or small texts.

The roots of this font go back to 1967. A book title in trendy letters was created in a completely ingenuous way as a film prop for a Super 8 fun film. I drew the letters with felt-tip pen and poster paint without thinking too much about it. It wasn't until a good 50 years later that I realized, this was a first awkward typeface draft. The flower power vibe was captured here subconsciously. In 2019 I completed the few glyphs and created variants that I would not have thought of at the time.

Husein Script is natural handwritten Ramadan themed script font, which support OpenType features and includes, numeral, punctuation ligatures, and it also supports multi-languages. This typeface is very catchy and natural because it was made using brush pen. This font also include additional extruded style. This font is perfect for branding projects, wedding designs, advertisements, product packaging, product designs, label, photography, invitation, quotes, religious design, ramadan design etc. Husein Script features: A full set of upper & lowercase characters Numbers & punctuations Multilingual language support PUA Encoded Characters Ligatures Layered Style

Greyfriars Kirkyard is the graveyard surrounding Greyfriars Kirk in Edinburgh, Scotland. I needed a rather ‘English’ name for this hand drawn Baskerville, but I ended up with a Scottish one. Greyfriars font was hand drawn with a Japanese brush pen. It is based on Baskerville, a font I really like. The glyphs are a bit rough and jumpy, which adds to Greyfriars’ unique look. Use it for your titling, book covers and product packaging, or stick it in a website and see what happens! Comes with a jolly bundle of diacritics.

I was listening to the radio and a song caught my attention. It was ‘Demagogue’ by a band called the Urban Dance Squad. That song brought back memories from when I was a student, so I decided to name this font after it. Demagogue was made using a Sharpie pen and a piece of expensive paper. The result is a very legible, very neat and very bold font. Demagogue is ideal for when you want to get your message across, but hopefully not in a demagogue-ish way! ;-)

An early drawing tablet was largely responsible for the LeakorLeach typefaces. They resemble hand lettering using cake icing or done with an ink pen that leaves lots of ink blobs or ink blots. The family has two widths, plain and condensed, and in addition to each having an oblique style, each also has a leftward-inclined style. There may not be many uses for a leftward-inclined typeface, but for those needing one, the LeakorLeach family offers two. The LeakorLeach typefaces are unlike any other faces from IngrimayneType.

The Swiss designer, Hans Eduard Meier, originally designed Barbedor for the Hell Digiset machine. Barbedor is based on handwritten humanist book scripts of the 15th century, and its chracters are typical of the style of those made by broad tipped pens. Tiny serif-like elements reveal the line of the writing utensil and emphasize the nature of this typeface. Classic and legible, Barbedor is a clear, harmonious typeface and an excellent choice for longer body texts. Its large choice of weights offers variety, which makes the typeface suitable for multiple design applications.

Diorite is modern face built on classical letterforms -- but left with a bit of residual roughness. Some might call Diorite forthright, others brutal. (It reminded the designer of the dark, hard igneous rock of the same name, treasured by the ancient Egyptians for statuary.) The typeface has a relatively chunky, four-style family; the italics are true cancellaresca corsiva, also writ heavy. "The cancellaresca is of course a Gothic design," notes the designer. "Just use a broader pen, and you'll see!" Has four styles: regular, bold, cursive, and cursive bold.

It's unpredictable! It's enigmatic! It has a winning smile and a devil-may-care personality. It can be charming and obliging and yet also elusive and impractical. It is the doer of deadly deeds, it is the dextrous hand of ELEPHANTMEN artist Justin Norman. It is swift and decisive, hesitant but packed with Talent. Ladies and... uh, More Ladies... Moritat has entered the building. Whoops, actually Moritat has LEFT the building. Moritat is the alias of Justin Norman, comic book artist and illustrator. The font is based on his pen lettering.

Atrium, designed by Alex Jacque, is a strong, linear, geometric sans-serif display typeface based off century-old pen art by W.E. Dennis. Atrium's stubbornly geometric letterforms are set off with a few softening flourishes on a few glyphs. It's sharp corners, straight verticals and horizontals make Atrium pack some punch when used in headlines, pull quotes, and logotypes. Atrium was released in 2012 in OpenType format and comes in three different weights: light, regular, and bold, with a regular and oblique version of each for a total of 6 styles in the family.

Rainbow Paper is a stylish, cute, friendly, and original display font. It is made from a marker pen. Its casual charm makes it look very down-to-earth, easy to read, and, in the end, very versatile. Add this beautiful display font to your every creative idea. It is PUA encoded, which means you can easily access all of the glyphs and swashes! Fall in love with its incredibly versatile style and use it to create spectacular designs! Use this font for any crafting project that requires a personalized look!

Respect! Our tribute to hand lettering culture. This exuberant new script font family draws inspiration from the traditional craftsmanship of sign painting and brush pen calligraphy techniques. Our aim was to create a modern interpretation of brush script, which referenced old-school hand lettering but also adds some contemporary forms, terminations and swashes you might expect to find in street art. The slanted angles and curved steams are designed to give this font an active energy, plenty of attitude and a courageous/brave character. We recommend to combine Timberline with: Turquoise

Introducing The Skytripe font is modern and elegant handwritten with a quick stroke pen effect. This font was created to look as close to a natural handwritten script, as possible by including lowercase alternates, ligature and underlines. Perfect for any awesome projects that need hand writing taste. Comes with regular and italic. With built in Opentype features, this script comes to life as if you were writing it yourself. Don't hesitate if you have any questions. Thanks for checking out this font. I hope you enjoy it! AminMario

Samhain is a Gaelic festival marking the end of the harvest season and the beginning of winter. There is no set date, but normally it is held around the end of October and beginning of November. Samhain font was made with a bamboo pen and Chinese ink on rough paper - hence the grungy look. It is quite a heavy font, so I wouldn't set a complete text in it, but it is ideal to create headlines, posters, postcards and invitations. Of course, Halloween comes to mind! Samhain comes with extensive language support.

The hand lettered sans serif title on the1931 sheet music for “(Potatoes are Cheaper-Tomatoes are Cheaper) Now’s the Time to Fall in Love” presented another opportunity to create a typeface from the wealth of unusual alphabets found on the covers of vintage and antique song sheets. However, it seems that even as late as the 1930s, song writers had the urge to pen long-worded titles for their musical compositions. This thirteen word verbal excursion became the model for Casual Deco JNL, which is available in both regular and oblique versions.

Foundry Old Style was the first typeface to be released by The Foundry. Inspired by the incunabula typefaces of Nicolas Jensen, the letterforms were first created as calligraphy, with the aim of retaining the structure and free form of the pen stroke in the final drawing development. The resulting face is a contemporary translation that retains the classical tradition of the transitional roman style. Originally conceived as a text face, with a small weight range for good book work, Foundry Old Style is a versatile design that contrasts and compliments Foundry Sans.

Caffe was originally designed for the Artz Gallery Cafe in Budapest Hungary. The design is a contemporary handwriting style adapted from examples in lettering exercise books. It has been redrawn and expanded into six styles. The four weights were created by drawing the style using different mediums: Cappuccino in pen, Pastry in felt-tip, Lemonade in brush, and Tobacco—the original—in pencil. Poster and Poster Inline round out the family and are well suited for display purposes. This font family is perfect for bistro menus or other European-flavored poster and print design.

Trapstyle is a handwritten face made with a Ruling Pen. This tool is usually used in calligraphy for expressive lettering. This font will tear through your text with unmistakable energy, dynamic and spontaneous flow, to help you create the look of stunning custom hand-lettering. Trapstyle comes with alternate characters, ligatures, upper and lowercase characters, punctuation, numerals. Also included is a bonus extras swashes, handmade designed to perfectly for headlines and short texts. Use it for magazines, t-shirt, packaging, logos, advertising, quotes, branding, posters, editorials, cover artwork, movies, websites, etc.