Prattt is a stringent curvilineal tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Sariah is a beautifully simple handwritten typeface, composed of clean lines and exaggerated ascenders. It is perfect for a sweet note, a photo caption, an address label, or a graphic print.

Ramego is a smooth structural linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 240+ glyphs with ligatures and fractions available in opentype .otf and .woff format

A brush display font, Dark Mood. For stationery, logos, t-shirts, paper, print design, website headers, picture frames, flyers, album covers, posters, image sliders, and other things, this typeface is ideal.

Tokga is an articulate rounded linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

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.

Agobb is a subside convolution tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

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.

Ogibo is an intrinsic scintillating tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Dark Monsta font is very emotional and innovative products! unique look to company branding, logos, greetings, magazine layout, homeware, prints and invitations. I hope you like it Available : uppercase, lowercase, numerals

Introducing Cocweet font is very emotional and innovative products! unique look to company branding, logos, greetings, magazine layout, homeware, prints and invitations. I hope you like it Available : uppercase, lowercase, numerals

Woqna is a cubist pureness tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Parallel is unique quite thin and pretty "expressive" typeface, designed in order to serve the fashion industry. It also works pretty well as a typeface for print, headlines and identity issues.

Stoica is a font family for communication to the point. It supports 114 languages, features a total of 508 glyphs and includes an italicized version for each of the 5 weights.

Karvx is an arithmetic explication tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Agobb is a gridlock overflow tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Handshake is a striking display font. It is perfectly suited for stationery, logos, t-shirt, paper, print designs, website headers, photo frames, flyers, music covers, posters, image sliders, and much more.

Ogibo is a disciplined clairvoyant tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Roqbo is an esthetic puissant tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

A decorative Sans Serif, mechanically drawn and intended for display use at 24 point and above. Complements a wide range of text typefaces. Redeye Sans requires subjective display kerning and compensation.

Vobca is a dynamic fusion linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Magsk is a diminutive sagacious tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

This is a simple excursion into taking a prototype and recasting it along different lines, emphasizing the spontaneity of a hand cut look. It is primarily meant for the printed page.

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.

Rboca is a revolve consolidated unicase sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 150+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

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.

Gronra is a structural softness linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Goelt is a rigidity contrast linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 150+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Uegor is a roundel compact linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 150+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

To design a text typeface "at the top with, at the bottom without" serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs. The first tests of the design, by which I checked up whether the basic principle could be used also for the then current technology of setting - for double-sign matrices -, were carried out in 1970. During the first half of the seventies I created first the basic design, then also the slanted Roman and the medium types. These drawings were not very successful. My greatest concern during this initial phase was the upper case A. I had to design it in such a way that the basic principle should be adhered to and the new alphabet, at the same time, should not look too complicated. The necessary prerequisite for a design of a new alphabet for double-sign matrices, i.e. to draw each letter of all the three fonts to the same width, did not agree with this typeface. What came to the greatest harm were the two styles used for emphasis: the italics even more than the medium type. That is why I fundamentally remodelled the basic design in 1980. In the course of this work I tried to forget about the previous technological limitations and to respect only the requirements then placed on typefaces intended for photosetting. As a matter of fact, this was not very difficult; this typeface was from the very beginning conceived in such a way as to have a large x-height of lower-case letters and upper serifs that could be joined without any problems in condensed setting. I gave much more thought to the proportional relations of the individual letters, the continuity of their outer and inner silhouettes, than to the requirements of their production. The greatest number of problems arose in the colour balancing of the individual signs, as it was necessary to achieve that the upper half of each letter should have a visual counterbalance in its lower, simpler half. Specifically, this meant to find the correct shape and degree of thickening of the lower parts of the letters. These had to counterbalance the upper parts of the letters emphasized by serifs, yet they should not look too romantic or decorative, for otherwise the typeface might lose its sober character. Also the shape, length and thickness of the upper serifs had to be resolved differently than in the previous design. In the seventies and at the beginning of the eighties a typeface conceived in this way, let alone one intended for setting of common texts in magazines and books, was to all intents and purposes an experiment with an uncertain end. At this time, before typographic postmodernism, it was not the custom to abandon in such typefaces the clear-cut formal categories, let alone to attempt to combine the serif and sans serif principles in a single design. I had already designed the basic, starting, alphabets of lower case and upper case letters with the intention to derive further styles from them, differing in colour and proportions. These fonts were not to serve merely for emphasis in the context of the basic design, but were to function, especially the bold versions, also as independent display alphabets. At this stage of my work it was, for a change, the upper case L that presented the greatest problem. Its lower left part had to counterbalance the symmetrical two-sided serif in the upper half of the letter. The ITC Company submitted this design to text tests, which, in their view, were successful. The director of this company Aaron Burns then invited me to add further styles, in order to create an entire, extensive typeface family. At that time, without the possibility to use a computer and given my other considerable workload, this was a task I could not manage. I tried to come back to this, by then already very large project, several times, but every time some other, at the moment very urgent, work diverted me from it. At the beginning of the nineties several alphabets appeared which were based on the same principle. It seemed to me that to continue working on my semi-finished designs was pointless. They were, therefore, abandoned until the spring of 2005, when František Štorm digitalized the basic design. František gave the typeface the working title Areplos and this name stuck. Then he made me add small capitals and the entire bold type, inducing me at the same time to consider what to do with the italics in order that they might be at least a little italic in character, and not merely slanted Roman alphabets, as was my original intention. In the course of the subsequent summer holidays, when the weather was bad, we met in his little cottage in South Bohemia, between two ponds, and resuscitated this more than twenty-five-years-old typeface. It was like this: We were drinking good tea, František worked on the computer, added accents and some remaining signs, inclined and interpolated, while I was looking over his shoulder. There is hardly any typeface that originated in a more harmonious setting. Solpera, summer 2005 I first encountered this typeface at the exhibition of Contemporary Czech Type Design in 1982. It was there, in the Portheim Summer Palace in Prague, that I, at the age of sixteen, decided to become a typographer. Having no knowledge about the technologies, the rules of construction of an alphabet or about cultural connections, I perceived Jan Solpera's typeface as the acme of excellence. Now, many years after, replete with experience of revitalization of typefaces of both living and deceased Czech type designers, I am able to compare their differing approaches. Jan Solpera put up a fight against the digital technology and exerted creative pressure to counteract my rather loose approach. Jan prepared dozens of fresh pencil drawings on thin sketching paper in which he elaborated in detail all the style-creating elements of the alphabet. I can say with full responsibility that I have never worked on anything as meticulous as the design of the Areplos typeface. I did not invent this name; it is the name of Jan Solpera's miniature publishing house, in which he issued for example an enchanting series of memoirs of a certain shopkeeper of Jindrichuv Hradec. The idea that the publishing house and the typeface might have the same name crossed my mind instinctively as a symbol of the original designation of Areplos - to serve for text setting. What you can see here originated in Trebon and in a cottage outside the village of Domanín - I even wanted to rename my firm to The Trebon Type Foundry. When mists enfold the pond and gloom pervades one's soul, the so-called typographic weather sets in - the time to sit, peer at the monitor and click the mouse, as also our students who were present would attest. Areplos is reminiscent of the essential inspirational period of a whole generation of Czech type designers - of the seventies and eighties, which were, however, at the same time the incubation period of my generation. I believe that this typeface will be received favourably, for it represents the better aspect of the eighties. Today, at the time when the infection by ITC typefaces has not been quite cured yet, it does absolutely no harm to remind ourselves of the high quality and timeless typefaces designed then in this country.In technical terms, this family consists of two times four OpenType designs, with five types of figures, ligatures and small capitals as well as an extensive assortment of both eastern and western diacritics. I can see as a basic text typeface of smaller periodicals and informative job-prints, a typeface usable for posters and programmes of various events, but also for corporate identity. Štorm, summer 2005

HT Pasticceria is extremely eye-catching and high-contrast font. It is a chic typeface with a?sweet?and?perhaps?girly touch. HT Pasticceria is great for use in all kinds of display typography. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

A decorative сaps-only typeface designed for ParaType in 2004 by Gayaneh Bagdasaryan. Inspired by Russian fine art from the beginning of the 20th century - lettering by Sergey Chekhonin (1878-1936), graphic design by El Lissitzky (1890-1941) and the Suprematism painting. Sketch design of the font (under the name Klin) was awarded a TDC2 2000 diploma. For use in advertising and display typography.

BACCA LA HURRA is a vintage font in the style of sign painting, characterized by bold strokes and squares. Consisting of Uppercase, Lowercase, Numerials and Punctuations, this font is perfect for vintage food packaging designs or other vintage branding. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Cheers!

HT Osteria is a monoline script, but you don’t feel it monotonous because of distinctive shapes of the characters. HT Osteria is suitable for signage, package, and posters or any other kind of display use. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

Introducing Santhen! A handlettering styles brush font inspired by classic styles of paint stripped typography. It's the perfect choice for personal branding projects, handwritten quotes, homeware designs, product packaging or simply as a modern & stylish text overlay to any background image. Santhen is available in two styles. Santhen also comes with uppercase, lowercase, numerals, punctuations, common ligatures and also additional swash to let you customise your designs.

Branding Autumn introducing our new "Branding Autumn" Modern Calligraphy Script in Modern Elegant Style perfect for branding, logos, invitations, master heads and more. Branding Autumn Features: - Many languages - Alternative - PUA encoded - Ligature - Very easy to use in any software (Included Instructions) - No special software installation required. Compatible with Windows and Mac OS. Supported by Microsoft Word, Paint, Adobe, Corel draw, Cricut and other applications. Thank you...

Introducing! Merlandio is a hand painted font with a style natural, sweet and simple. Made with great care to provide the natural and modern elements. This font will look great if used single even with other pairing fonts. The great thing about this font is you can find some style when you use it, examples such as natural handwriting style, unique, simple, elegant, and bold.

Introducing our new product the name Brush Marker Hand Painted Font. Modern Display font that is beautiful classy, elegant, and modern. This font is perfectly suited for a wide variety of projects, such as signature, stationery, logo, wedding, typography quotes, magazine or book covers, website headers, clothing, branding, packaging design, and more. Also for fashion-related branding or editorial design and displays both masculine and feminine qualities.

This font consists of thin lines, we get very delicate impression.The straight lines are regularly arranged, at the same time, this font has very beautiful curved lines. So its overall atmosphere is intelligent and sophisticated. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

Best Mommy is a beautiful hand-painted font that looks more natural and fun, combines a mixture of lowercase ligatures, uppercase alternatives and several lowercase alternatives and makes it look attractive and unique, also includes some cute extras that you can use your designs for. This fonts can be used for various purposes such as headings, logos, invitations, t-shirts, letterhead, signage, labels, news, posters, badges etc.