Kaleko 205 Round is a rounded variation of Talbot Type font Kaleko 205. It's a well-balanced, versatile, modern sans, highly legible as a text font and with a clean, elegant look as a display font at larger sizes. The rounded terminals give it a friendly, approachable look. The Kaleko 205 Round family comprises of six weights and is closely related to Kaleko 105 Round. The most notable differences between the two variations are the two-storey lower case a and g in Kaleko 205 Round, where they are single-storey in Kaleko 105 Round.

MultiType Glitch, an all caps typeface focused in display purposes. 9 styles with a glitchy look. This is the third release of an expanding multiverse of mixable fonts. The whole family of typefaces has been designed to work at big sizes and display purposes such as branding, headlines, thumbnails, posters and animations. You can swap between the three additional alternate sets through all the styles to add diversity to your composition, even in Cyrillic. MultiType Glitch is inspired glitch effects, errors and hacks. Have fun mixing all the styles in your projects.

Building on Hiruko’s success, Hiruko Stencil continues the tradition of minimalism and clarity with support for a wide range of languages. Cut in such a way that each character works well with those surrounding it, this font is created with an understanding that even the most minor seeming things can make a big difference. The thick nature of the font makes it work wonderfully at larger sizes, but thanks to the carefully considered cuts in each letter, it remains incredibly legible even when shrunk down, so it’s useful in whatever you intend to craft.

Kaleko 105 Round is a rounded variation of Talbot Type font Kaleko 105. It's a well-balanced, versatile, modern sans, highly legible as a text font and with a clean, elegant look as a display font at larger sizes. The rounded terminals give it a friendly, approachable look. The Kaleko 105 Round family comprises of six weights and is closely related to Kaleko 205 Round. The most notable differences between the two variations are the single-storey lower case a and g in Kaleko 105 Round, where they are two-storey in Kaleko 205 Round.

MultiType Rows, an all caps typeface focused in display purposes. 36 styles with retro gaming vibes. This is the sixth release of an expanding multiverse of mixable fonts. The whole family of typefaces has been designed to work at big sizes and display purposes such as branding, headlines, thumbnails, posters and animations. You can swap between the three additional alternate sets through all the styles to add diversity to your composition, even in Cyrillic. MultiType Rows is inspired by video games and arcades. Have fun mixing all the styles in your projects.

PT Petroglyph™ was designed by Ekaterina Kulagina and licensed by ParaType in 2002. The type was created on the basis of petroglyphs (rock-carvings) that are known in 77 countries. They remained in a form of geometrical drawings in the caves of North Spain and France. Scientists claim that the radial spread-out of circles or center-pointed circles that are usually depicted show the development of solar symbolism at that period of time. We know for sure that such mysterious signs as drawings carved on rocks already existed 40 centuries ago.

MultiType Brick, an all caps typeface focused in display purposes. 6 styles with retro gaming vibes. This is the fifth release of an expanding multiverse of mixable fonts. The whole family of typefaces has been designed to work at big sizes and display purposes such as branding, headlines, thumbnails, posters and animations. You can swap between the three additional alternate sets through all the styles to add diversity to your composition, even in Cyrillic. MultiType Brick is inspired by video games, arcades and block patterns. Have fun mixing all the styles in your projects.

Here's a font with a special backstory. Prickly Pear is a handwritten font, created in a moving car, on the way to the Simpson Desert. At the mercy of every bump, hump and hole in the road, this font is as rough and realistic as its conception. A unique and messy handwriting font reminiscent of the rugged landscape; it'll be perfect for that design project where you need a little raw authenticity. Prickly Pear has a comprehensive character set of over 160 custom ligature combinations and 56 multi-lingual characters.

Round, firm, and bursting at the seams with good humor, ITC Mister Chuckles is based on the premise that barrel shapes have pleasant associations. Think: beer-barrel polkas, a barrel of fun, or a barrel of laughs, and you'll get the idea. Designer Nick Curtis has combined sans serif sturdiness, a hint of 1930s deco and a handful of giggles in this remarkably versatile all-cap face. If the typographic occasion calls for mirth and merriment, invite Mister Chuckles to the party. You'll have more fun than a barrel of monkeys!

ITC Binary was designed by Mauricio Reyes in 1997 as a semiserif font with a pronounced stroke contrast. A distinguishing characteristic of this font is that many of the lower case letters seem to be missing a small piece of their forms, either at the base line or x-height. Setting the letters together makes an impression of waviness which draws the attention of the reader. Binary is a reserved, elegant font which should be used in point sizes of 10 or larger and only in headlines and short to middle length texts.

Azalleia is a new exaggerated flourished caps typeface. Well elaborated and unusual design, inspired by old cross-stitch and craft books. Works great when used for display artworks. Entirely designed by hand, without use of auto-tracing and available in two different designs. Buying the two fonts pack you get free the exclusive collection of Azalleia native colored eps vectors, zipped with the font and ready to use. Take a look at the banners in the gallery section to see samples of this nice collection of eps free vectors.

Unveiling Arabico, a captivating typeface that bridges cultures and aesthetics with its exquisite design. Arabico is a tribute to the elegance and fluidity of Arabic script. Its letterforms are carefully crafted to echo the aesthetic beauty and expressive nature of Arabic writing. Every stroke and curve of its letters pays homage to the graceful artistry of the flow of Arabic calligraphy. Arabico fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview.

MultiType Lines, an all caps typeface focused in display purposes. 36 styles with retro gaming vibes. This is the septh release of an expanding multiverse of mixable fonts. The whole family of typefaces has been designed to work at big sizes and display purposes such as branding, headlines, thumbnails, posters and animations. You can swap between the three additional alternate sets through all the styles to add diversity to your composition, even in Cyrillic. MultiType Lines is inspired by video games and arcades. Have fun mixing all the styles in your projects.

MultiType Maze, an all caps typeface focused in display purposes. 9 styles with an intricate look. This is the fourth release of an expanding multiverse of mixable fonts. The whole family of typefaces has been designed to work at big sizes and display purposes such as branding, headlines, thumbnails, posters and animations. You can swap between the three additional alternate sets through all the styles to add diversity to your composition, even in Cyrillic. MultiType Maze is inspired in labyrinths and geometric patterns. Have fun mixing all the styles in your projects.

Introducing Luxca, a font that epitomizes modern luxury within the serif category. This typeface seamlessly blends contemporary sophistication with timeless elegance, making it the perfect choice for designers seeking to infuse their projects with an air of opulence and refinement. With Luxca as your font of choice, you have at your fingertips a versatile tool that can elevate a wide range of design applications. Whether it's high-end branding, editorial layouts, invitations, or packaging.

Introducing, Tahnia Modern Script, a lovely modern font that bring you natural handwritten feel with lots of alternates. This font is suitable for you who needs a typeface for headline, logotype, quotes, apparel, invitation, branding, packaging, advertising, etc. to access the underline just type _ + (number 1-3) for example _1 _2 _3 We hope you enjoy the font, if you have any other questions feel free to email me at rillatype@gmail.com

Goudy Stout was designed by Frederic W. Goudy in 1930. This version was created by Vincent Connare while at Microsoft. Goudy Stout is a decorative typeface that is quite unusual, a novelty of sorts among Goudy's many typographic achievements. The Goudy Stout font is considered a frivolous typeface. Goudy wrote In a moment of typographic weakness I attempted to produce a 'black' letter that would interest those advertisers who like the bizarre in their print."

ABsunDO PROJECT is a playful font for your fun and happy design projects. The main idea of this font is a quirky replacement of uppercase and lowercase symbols. Uppercase is heavy and bold, at the same time lowercase is light and narrow. You'll get a playful font for fun advertising, fashion stickers, summer posters, wedding logos, retro sale themes, and much more. Please feel free to request to add characters you need: kaer.pro@gmail.com

A DISTANT SOIL is a classic bold and beautiful science fiction/fantasy comic book series by creator, writer, artist AND letterer Colleen Doran! A DISTANT SOIL is being remastered and re-released by those awfully nice chaps at Image Comics and Colleen commissioned Comicraft to create the definitive bold and beautiful Colleen Doran font, based on her original pen lettering, so that she might re-letter the series without excessive eye strain or hand cramp.

Retjeh is a handcrafted vintage font, comes in Six styles there are Pressed, Linned, Dotted, Rough, Regular, and Sans. That makes Retjeh perfect for any Vintage styles as you needed. This font come with only All Caps, Number, and also Multilingual characters. If you purchase the complete family package, I'll send you a bonus of 10 Editable Badges. Please email me at wellhellomusan@gmail.com with your MyFonts order number to get the bonus!

Dempster is a geometric sans serif design by Jim Ford. It is tall, bold and square with interesting details such as the angled terminals on the lowercase letters and friendly-looking punctuation. This typeface could feel at home with Art Deco and Modernism themes, as well as Sci-Fi and high-tech flavored graphics. Medium to large headline sizes work best when using Dempster. Dempster features include Extended Latin, Greek and Cyrillic support.

NovaHispane typeface is a serif typeface with a clear, serious, elegant, old and modern touch at the same time. This typeface is perfectly suitable to be used in books, magazines or any printed media that requires showing a set of traditional or modern styles. Its four weights Light, Regular, Bold, and Heavy make a well-marked visual game for highlighting words from text; in addition to having the italic forms for each weight.

“The Emperor Has Clothes” Like in music — the Allegro Sonata form consists of three main sections—the Exposition (section), the Development, and the Recapitulation — so in regard to this Allegro Sonata font family — there is an Exposition (font), a Development, and a Recapitulation—in which each theme is restated alongside its development material. While the Recapitulation font is perfect for titling and branding, the Exposition is perfect for branding {as demonstrated in the Inspiration Gallery pertaining this font} as well as being a comfortable read in long runs of text. The Exposition rounded, mono-line, with great x height, contemporary—A Synthesis Between Geometric & Hand-drawn—font, is at times geometric and at times hand drawn; in the end it all came down to finding the balance in a typeface between the robustness needed to function as a text face and enough refinement to look good as a display font. Following the Exposition, comes the Development (section), decorative, botanic-like, exuberant and playful font, signifying ABUNDANCE [of possibilities] & BENEVOLENCE—in regard to each theme/character, and to demonstrate—that 'structures' in music, are solid structures—like architecture {contrary to the words of J. W. von Goethe, who said: “Music is liquid architecture; Architecture is frozen music”}, just in some spiritual domain that is far beyond one's physical senses to grasp. Like in my art and music works in which I consider its 'Texture' element of vital importance, so is the case when it comes to type, as apparent in my previous Phone Pro/Polyphony font, as well as in this current Sonata Allegro/Development font. Each glyph has its own uniqueness, and when meeting with others, will provide dynamic and pleasing proximity. And due to the [individualistic] nature of this Development font, just a minimal amount of kerning/pairing were necessary... The development font is an extravagant design that looks best when used at large sizes—perfect for titling, logo, product packaging, branding project, wedding, or just used to express words against some [light or dark] background. Finally, “The (Exposition Font) Emperor Has (the Development Font) Clothes!” As said, there are three fonts/styles altogether in this Sonata Allegro type family, designed with the intention of harmonizing between Latin and Hebrew, which makes it an ideal font for the side-by-side use of Latin and Hebrew characters. However, they are being sold separately (kindly search for “Sonata Allegro Hebrew” on this MyFonts site), so they are economical for those interested just in either one of them. My aim is to shake up the type-design world with a range of distinctive fonts which break away from the generic letterforms, to make your design projects stand out—as a graphic designer, add this font to your most creative ideas for projects. This typeface has [lots of ligatures /] OpenType features, to enhance your designs even more — happy designing! Sonata Allegro Features: · 3 Weights/Styles · Multilingual Support · Proportional Figures & Ligatures While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to write to us; we would love to hear your feedback—in order to further fine-tune our products. Copyright Tamar Fonts/Hillel Glueck 2022 ALL RIGHTS RESERVED Any unauthorized distribution of my work is strictly prohibited, and will be prosecuted; do the right thing, and do not participate in the piracy of my typefaces; if you appreciate my work, then please pay for it and help me prosper — thank you!

“The Emperor Has Clothes” Like in music — the Allegro Sonata form consists of three main sections—the Exposition (section), the Development, and the Recapitulation — so in regard to this Allegro Sonata font family — there is an Exposition (font), a Development, and a Recapitulation—in which each theme is restated alongside its development material. While the Recapitulation font is perfect for titling and branding, the Exposition is perfect for branding {as demonstrated in the Inspiration Gallery pertaining this font} as well as being a comfortable read in long runs of text. The Exposition rounded, mono-line, with great x height, contemporary—A Synthesis Between Geometric & Hand-drawn—font, is at times geometric and at times hand drawn; in the end it all came down to finding the balance in a typeface between the robustness needed to function as a text face and enough refinement to look good as a display font. Following the Exposition, comes the Development (section), decorative, botanic-like, exuberant and playful font, signifying ABUNDANCE [of possibilities] & BENEVOLENCE—in regard to each theme/character, and to demonstrate—that 'structures' in music, are solid structures—like architecture {contrary to the words of J. W. von Goethe, who said: “Music is liquid architecture; Architecture is frozen music”}, just in some spiritual domain that is far beyond one's physical senses to grasp. Like in my art and music works in which I consider its 'Texture' element of vital importance, so is the case when it comes to type, as apparent in my previous Phone Pro/Polyphony font, as well as in this current Sonata Allegro/Development font. Each glyph has its own uniqueness, and when meeting with others, will provide dynamic and pleasing proximity. And due to the [individualistic] nature of this Development font, just a minimal amount of kerning/pairing were necessary... The development font is an extravagant design that looks best when used at large sizes—perfect for titling, logo, product packaging, branding project, wedding, or just used to express words against some [light or dark] background. Finally, “The (Exposition Font) Emperor Has (the Development Font) Clothes!” As said, there are three fonts/styles altogether in this Sonata Allegro type family, designed with the intention of harmonizing between Latin and Hebrew, which makes it an ideal font for the side-by-side use of Latin and Hebrew characters. However, they are being sold separately (kindly search for “Sonata Allegro Hebrew” on this MyFonts site), so they are economical for those interested just in either one of them. My aim is to shake up the type-design world with a range of distinctive fonts which break away from the generic letterforms, to make your design projects stand out—as a graphic designer, add this font to your most creative ideas for projects. This typeface has [lots of ligatures /] OpenType features, to enhance your designs even more — happy designing! Sonata Allegro Features: · 3 Weights/Styles · Multilingual Support · Proportional Figures & Ligatures While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to write to us; we would love to hear your feedback—in order to further fine-tune our products. Copyright Tamar Fonts/Hillel Glueck 2022 ALL RIGHTS RESERVED Any unauthorized distribution of my work is strictly prohibited, and will be prosecuted; do the right thing, and do not participate in the piracy of my typefaces; if you appreciate my work, then please pay for it and help me prosper — thank you!

This family was inspired by a Type Battle over at Typophile: How would you design a font metrically compatible with Helvetica, but better than Arial? Working with preset letter widths was an interesting constraint, both a relief and a limitation at the same time. I have done all the 4 basic weights, and the skewed obliques (done to a slightly less steep 10 degrees angle as opposed to the originals 12) has been optically adjusted. The letters have been designed quite close to the german/swiss grotesk tradition, but by using super-elliptical rounds, rounded dots and slightly curved outer diagonals the end result is a friendly looking font family that still looks... familiar. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Press combines aesthetic and functional attributes which make written text highly readable. It was originally designed for a newspaper with medium contrast to withstand harsh printing conditions. Its structure is quite narrow which makes this typeface ideal for body text and headlines where space is at premium. Supports Latin and Greek. This is a modern serif typeface which may be the right choice for newspapers, magazines and corporate communications.

Papillon Woodcuts is a digital revival of an ornate alphabet by French engraver Jean Michel Papillon dating back to 1760, when engraving was very fashionable in France. Each letter is displayed with a different themed background, such as a ship at sea; a fancy table topped with a bounty of fruits; flying birds; a parasol with flowers; playful cherubs; rich textured drapes and tapestries; and many more. These woodcut initials are especially beautiful when used at the beginning of a paragraph as in olden texts.

Akagi Pro is a complete rebuild and expansion of my popular Akagi typeface. Contemporary, clean, simple and friendly continue to serve as the adjectives for an expansion that includes 250+ additional characters per weight, many new ligature options, expanded stylistic alternates, 4 sets of figures, new symbols, case-sensitive punctuation, superscripts, subscripts, ordinals, expanded language support and two new styles that provide even more flexibility within the lighter weights of the family. When I designed Akagi in 2007, I wanted this new sans serif to "smile" at you — with this new expansion, I hope you smile back. Akagi Pro is economical while keeping a distinctive, expressive personality on the page that distinguishes it from among many of the mechanical/rigid/emotionless sans out there without becoming cliché. Perfect for the page and the screen, the flexible weights available allow for pinpoint selection at whatever size. Each style of Akagi Pro has a robust character set made even more functional with expansive OpenType features. A typesetter's dream — case-sensitive punctuation, tabular and proportional variants of lining and oldstyle numerals, true italics, small caps, expansive language support, an alternate 'g' and 'y', highlight a wealth of features of the typeface. This versatility infused within Akagi Pro will allow it to assume both roles of the utilitarian workhorse and light-hearted go-to typeface — and make the user happy.

Мир is Mir. The Russian word Мир (Mir) means both World and Peace. The rendezvous of the two terms seems quite unique and utopistic today, but it is comforting to see that it was natural at some time deep down in Russian history. Bits of both meanings were going through my mind while I was designing this typeface. Mir’s character set is multiscript – Latin, Cyrillic and Greek – and extends to many parts of the linguistic world. In fact it covers more than 100 languages. Stylistic consistency between the language systems make typographic border crossings painless even where national borders are still closely guarded. And in regions where mathematics, physics or chemistry are to be expressed, a rich set of OpenType features lets Mir master also these situations. Serious things are best be said in a relaxed, unpretentious way. So Mir doesn’t put on a show. Mir has authority without being authoritarian, it is serious but not stern. It can explain difficult things and stay calm and down to earth at the same time. Mir Medium has another useful feature: It can be freely downloaded and used by anybody anywhere. You can test the Mir Family with free Mir Medium and get more styles when you need them. @juliasys

The concept for ‘Scroll’ came to me fully formed when setting out to design a bold display typeface. The premise for this was to base the letter-forms on a rolled strip of paper. A simple enough idea in principle but one I hadn't seen before. After working out the basic characters I set about completing the full effect I was after. This was achieved by applying a suitably incised line following the curve at each turning point to convey the important three-dimensional aspects of a scroll. Although the phonetic name personifying the font was there as a working title from the outset, I didn't commit to it fully until everything was completely resolved.

A “latin” alphabet modelled on the ethiopian Ge'ez script - an experiment that works. Amhara was created by transferring the typical forms of the Ethiopian Amharic script to the west European alphabet. Because Amharic is traditionally written with an expanded pen tip, it shows the typical ductus also characteristic of the uncial scripts of late antiquity and the early Middle Ages. So this font »Amhara« has a somewhat sacramental effect. And, although the individual forms look foreign, the overall picture is strangely familiar. The two styles of »Amhara« include a number of ligatures which dispose of many non-attractive letter combinations. Stylistic alternates are available for some letters, too. Read more about this font at ingoFonts...

Inspired by 16th century Venetian roman book texts, Fifteen36 has a traditional elegance and lots of character. Whether used at larger sizes for headings or at book sizes with plenty of leading Fifteen36 has a very attractive old school letterpress appearance.

Sign Style – Elegant Signature Font Bring your business to life with Sign Style – an elegant signature font, created by a passionate designer. The font combines a personal, hand-drawn feel with modern design, making it perfect for signature logos, branding, packaging, and advertising. Sign Style font has been designed in such a way that capital initials can be easily used at the beginning of a sentence to add a natural signature feel. This is a unique font that can make your signature brand stand out from the crowd while keeping it personal and friendly. Sign Style features: A full set of upper & lowercase characters Numbers & punctuation 35 Gorgeous ligatures A full set of alternate uppercase characters Lowercase ending swashes Lowercase alternates characters Multilingual symbols PUA Encoded Characters – Fully accessible without additional design software. Feel free to give me a message if you have a problem or question. Thank you so much for taking the time to look at one of our products.

Merc is a four-letter word that stops just one y short of Mercy. Merc is also the standard street abbreviation for mercenary, or a soldier for hire. Now that the global security business has become a two hundred billion dollar industry, we thought you would like to have your very own affordable merc. Knew you'd be pleased. Merc is based on an all-cap metal face called Agitator, designed by Wolfgang Eickhoff and published by Typoart in 1960. The rough brush letters look like they were made by someone who is capable of elegance but has no time for it. These are letters that live to catch the eyes and warn them loudly: Doom is here, and if you want it screamed out, this Merc is at your service. This font contains more than 460 glyphs, which means quite a few stylistic alternates and support for the majority of Latin languages.

This is a large group of typefaces inspired by those borders and patterns you see going across documents from the Middle Ages and Medieval times, eventually becoming this collection of fonts where you can scroll various repeating patterns across a page, for example. You can get a repeating pattern that scrolls seamlessly by repeating the same letter. The default text displaying on the web-page is bbbbbbbb, for example. There's over 2 dozen basic styles, and each style has 52 designs within it, using the characters Upper Case A - Z and lower case a - z, with the lower case being the negative/reverse colour of the Upper Case version, it will be the corresponding design just reverse coloured and with an edging strip. There's also a space - but nothing else. The styles in these fonts usually have groups of six characters (A to F, G to L, M to R, S to X), and where the second group is a variation on the first - usually thicker lines - and the third grouping is another variation on that, usually thicker lines again, making the first 24 letters. (Sometimes there's three groups of eight characters). The pattern within a group normally starts off plain then gets busier as it progresses - such as there'd be a more complex pattern of circles and diamonds as you go through the letters. Then the letters Y & Z are somewhat different to the rest. There's four versions starting with Z, and they're a little bit different, and they're grouped in fives - getting bolder as you progress through the letters, but with similar patterns within each group of 5, and that makes the first 25 characters. The letter Z character is extra busy. Again, lower case is the reverse colour of the Upper Case. Mostly you can get patterns and borders that combine seamlessly by using letters within the same group of 6 or 8 (like maybe abdcedcb). There are a few occasions when that doesn't work out, because there may be circles or diamonds at the sides of the letters that don't match up with another letter that has a different pattern at the side. But you can create a pattern with the exact level of complexity you want perfectly easily. You can see examples of this in the poster images. Neighbouring letters without embellishments at the sides of the letters will usually fit together. Have fun with it, that's what it's there for. aah yes fonts

Flicker - Vintage Calligraphy Font We're Introducing the "Flicker" Font we created in 2022. To talk more about the character of this font, please see a preview of how each Glyph in the font will look when applied to a design. This font has a vintage touch and a modern look to each letter, slightly rounded and neat shapes in each curve, plus a Stylistic feature at the end of the letters. We design this font in such a way that it is suitable when used for design projects so that it looks very attractive. And you can also use this font for logos, branding, brochures, names on product packaging and so on. Uppercase & Lowercase, Numeral, Punctuation, Miltilingual, Swash

Brilliant - Lettering Script Font We're Introducing the "Brilliant" Font we created in 2023. To talk more about the character of this font, please see a preview of how each Glyph in the font will look when applied to a design. This font has a vintage touch and a modern look to each letter, slightly rounded and neat shapes in each curve, plus a Stylistic feature at the end of the letters. We design this font in such a way that it is suitable when used for design projects so that it looks very attractive. And you can also use this font for logos, branding, brochures, names on product packaging and so on. Uppercase & Lowercase, Numeral, Punctuation, Miltilingual, Swash

The Declaration of Independence was authored by Thomas Jefferson, but his is not the classic handwriting on the engrossed copies familiar to most Americans. That belonged to Timothy Matlack, an early patriot who fought in the Revolution, sat as prosecutor at Benedict Arnold’s court martial, and also penned copies of a number of documents for then-General George Washington. Matlack’s script was compact but legible, perfect for the first and most famous of American documents. Now you, too, can write that way. Please note: The font does not include any of the signatures from the Declaration of Independence.

The inspiration for Jeeves came from Leslie Carbarga's wonderful book LETTERHEADS, One Hundred Years of Great Design, 1850-1950. It was based on a secondary type usage for the letterhead for Sutherland in New York. The rest of the letterhead had features that were more typical of the Art Deco period, but this script added a touch of timeless elegance. And since at the time I was reading every scrap of P.G. Wodehouse I could get my hands on, the name Jeeves seemed like a perfect fit. The font is loaded with a plethora of extra glyphs, ligature characters and OpenType features.