A fancy and elegant handcrafted font that create to impress your audience and make your branding shine. Make your projects dance with this elegant and wonderful font wherever you use it. Use it for your headings, logos, ads, printed quotes, packaging, and even your website or social media branding. every letter has unique and beautiful touch, which will make your design come alive! This is a smooth font - perfect for cut machines like Cricut and Silhouette!

Sheko is a creative headline pixel font that looks great on any retro design. Sheko is designed to be very eye catching, it’s tight kerning and bold letters makes it great for bold headline vintage designs. You can use Sheko for a wide range of projects, including print and web. If you are looking for something bold and retro for you next project, Sheko is the font for you. I hope you enjoy using the Sheko font.

LEPPERTREZ is a font that is basically a classic serif font then to make it different from other serifs is to give the effect as if it were a letter on a letterpress machine, it will add a vintage impression because remembering that letterpress machines were the beginning of a printing press. 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!

Up until the advent of vinyl plotters, computers and a myriad of other typesetting and printing changes the world has experienced over the past few decades, the art of hand lettering flourished. An early 1900s book on show card writing displayed a nice example of a Grotesk typeface (a popular style of sans serif of the time). This has been redrawn digitally as Simply Grotesk JNL and is available in four varieties - regular, oblique, condensed and condensed oblique.

A fancy and elegant handcrafted font that create to impress your audience and make your branding shine. Make your projects dance with this elegant and wonderful font wherever you use it. Use it for your headings, logos, ads, printed quotes, packaging, and even your website or social media branding. every letter has unique and beautiful touch, which will make your design come alive! This is a smooth font - perfect for cut machines like Cricut and Silhouette!

A fancy and elegant handcrafted font that create to impress your audience and make your branding shine. Make your projects dance with this elegant and wonderful font wherever you use it. Use it for your headings, logos, ads, printed quotes, packaging, and even your website or social media branding. every letter has unique and beautiful touch, which will make your design come alive! This is a smooth font - perfect for cut machines like Cricut and Silhouette!

D Blues its a sans serif typefamily of 9 weights plus matching italics. It is inspired by the neo humanist typefaces with a mix of 20st grotesque sans typeface. D Blues serve very well in web & print design areas, body text, excellent web-font legibility etc… D Blues is equipped with a complete set of opentype features including alternative glyphs, fractions, ligatures and many more. It is perfectly suited for highlighting lettering, magazines, web, interaction design, advertising & logotypes.

Mahezty is a modern, bold and fashionable serif display font. This font is imposing and features uniquely shaped letters, and as a result, it will easily match a wide range of creations that require a distinct touch. Mahezty is perfect choice for people looking for modern, minimalist, elegant, clean, beauty design styles. Suitable for almost any graphic designs such as identity, business cards, branding materials, gift cards, t-shirt, cover, thumbnail, print, poster, photography, quotes .etc

Boardwalk Avenue Rough is a textured version of Boardwalk Avenue. It’s a robust type collection of three styles and two weights of each. It’s divided into Boardwalk Pen, Boardwalk Antiqua and Boardwalk Serif. Boardwalk Avenue’s core is a connected mono linear script that works fantastic when paired with either of the impressive serif styles. All the fonts work great on their own but try putting them all together for a complete display font setup for a project. Here’s a short introduction on what’s included: Boardwalk Avenue Rough Pen is a connected Script. It’s great for headlines, quotes or in packaging. It has a casual hand drawn vibe to it but it’s clean and legible. It’s equipped with automatic Contextual Alternates that keep the connections smooth and versatile. For instance when you type double letter another of them will automatically change to add variation. Or if you type “i” for example, as a first letter after space or after capital letter the code will add starting point to the letter to keep the letterforms more balanced. If you need more ambitious letterforms you can try Swash or Titling Alternates -there’s alternates for every standard letter and seek for even more alternates from the glyph palette. Boardwalk Avenue Rough Antiqua is a high contrast serif with strong character. It’s great for glamorous headlines or as a logotype. Boardwalk Avenue Rough Serif is a low contrast serif with bulky character. It’s great for strong and sturdy headlines or as a logotype.

SemikolonPlus: Optimal readability by reduced, distinct letter forms. Appropriate for 
early readers of any age in schools and other educational institutions. SemikolonPlus minimizes the risk of confusing similar characters and therefore is predestinated for the use in text blocks, work sheets, educational games et cetera. Furthermore, with its accented characters, currency signs, true fractions and other special characters, SemikolonPlus is suited for numerous typographic tasks and – thanks to its distinct letter forms - offers great readability, even in lower point sizes. SemikolonPlus is recommended by the German association of alphabetization and basic education, which uses it for adult education, reading magazines, teaching material and the own YouTube-channel. SemikolonClassic: Is the familiar font with alternative character forms. E.g. it contains the lower case double level a and g, as well as glyphs harmonically formed to the typeface. The SemikolonClassic is suitable for diverse uses in various sectors. Together or in combination SemikolonPlus and SemikolonClassic offer extensive possibilities for the layout of text material with their heavy font weights.

WAVE is characterized by curved lines and intricate details. Each character was individually made in Illustrator and Type Tool using my original illustrations. Wave is a decorative font best used for titles or short bursts of texts in large point settings. The typeface is based on the uppercase letterforms, but I have also created lowercase letters, numbers, and glyphs. The motion lines used in the making of Wave mirror an art deco-style. Inspired by an illustration of a large wave, I was fascinated that by using only lines and solid colors we as artists can depict the translucency and ever-changing movement of waves. I began by delicately sketching out all of the letters using graph paper and micron pens. My work always begins with traditional media. I'm an illustrator, freelance artist, and graphic designer from Chicago, IL. I studied at Texas Christian University, and received my Bachelors of Arts in Graphic Design from Columbia College Chicago. Visit www.jennyddesigns.com for more! :)

Lu Nolasco, also known as Lunol, is a fresh representative of a new generation of Souther American lettering artists. She was born in Lima, Peru. After learning from some of the region’s best teachers and exploring the pointed nib on her own, she became a prolific lettering workshop instructor herself. Miraflores is one of Lima’s main tourist attractions. An upscale district with a great window on the Pacific ocean, it is the place where Lu looks for inspiration. It particularly inspired this “Looking flowers” (Miranda las flores), Lunol’s first typeface, designed in collaboration with Ale Paul. It is a comprehensive informal script that comes with many alternates, swashes and ligatures, along with small cap and quite a few ornaments. The fonts cover an expansive range of Latin languages, and are intended for use in stationery, menus, packaging, and general design where the main objective is to relay a sense of fun, playfulness and sensibility.

An unconventional classicistic Roman typeface This Roman typeface has a livelier effect than is typical of the epoch of classicistic style. In the lower case letters, an echo of the smoother forms of historically early scripts is identifiable. Typical of a classicistic Roman typeface are the emphasized and clear contrast in the weight of the strokes, the fine serifs and the accentuation of the vertical bold stem. Charpentier Classicistique is pleasantly legible. Its effect is much less harsh than other classicistic fonts. The pointed forms of M and N are uncommon. At 30°, the italic version of Charpentier Classicistique is unusually strongly slanted. The italic lower case letters refer, in part, to English handwriting, which also falls under classicism. Especially the curves show forms influenced by writing. Charpentier Classicistique supports all European languages including Turkish, Greek and Russian. It includes lots of ligatures, also discretional ones, as well as tabular figures and cap-height figures.

Solar is a font family designed by Carlos Fabian Carmargo G. Its members, together or separate, can be used in packaging, posters, cards, invitations and logos that need expressive letters with craft features. First, a set of arbitrary ideas were designed on rough paper, and through changes five styles resulted to mix and compose bright words and phrases. Solar Script comes from crossbreeding and the collusion of primitive visceral strokes and calligraphy on textured paper. This way its letters were planned for empty and full areas deteriorated sometimes simulating irregular ink clots. Therefore, the simulate trajectories with bold brushstrokes made that it works especially well in sizes larger than 12 points. Its rhythmic vitality and energy give personality, reflected in uninterrupted rapid and logical talics with strokes. Solar Words has more than 115 words unstable and inclined. Solar Dingbats has more than 100 brightness generating drawings, Solar Sans and Serif are capitals combined with other members of the family.

ITC Kendo is the work of British designer Phill Grimshaw, suggesting the dash and verve of quick, sketchy calligraphy, complete with splatters of ink. Grimshaw says he worked deliberately against his own habits to create the forms, drawing the letters with slow deliberation" and a pointed pen. He overloaded the pen with ink and drew on rough paper, "applying a lot of pressure at the beginning of a stroke and easing off towards the terminals. Accidental splashes occurred frequently owing to the nib catching the 'tooth' of the paper." Those splashes were refined into features which enhance but do not overwhelm the characters and carefully worked so as not to leave an obvious white strip of unsplattered space between lines and letters. The initial capitals can be used alone or combined with the lowercase alphabet, and the font includes a full set of f-ligatures and some extra ligatures as well as decorative elements."

A truly faithful ally for every designer looking for fresh yet familiar and reliable font choice. Geller was created as a part of graduation project in Typowa Pracownia at Academy of Fine Arts in Warsaw. It is a typeface family especially intended for newspapers, magazines, and advertising. Geller family comes in two optical sizes - headline and text, so it is a complete solution for editorial purposes. During the design process, the technical needs of certain typographic fractions were examined. The capital letters were specially and purposely designed: its modern proportions (derived from Didone fonts) with optimized inner lights as well as short ascenders and descenders work very well within titles and leads. In addition to a wide range of OpenType features, Geller contains bullets & dingbats providing many possibilities of entry points in editorial design. Compact diacritics, proportionally tall x-height, narrow letter construction, all these features allow easy typesetting of narrow text columns and spreads.

Envisage is a distinctive new grotesk design by Alex Kaczun. Characterized by distinct details throughout as particularly visable in the capitals A, H and N. There is a more organic and natural feel to the overall design as in the sutle curves introduced in many of the lower case letter forms, specifically the a, h, m and n. And, especially evident in the warm overall curves within the l‘case g. In addition, incorporating flexibility in form and function, Alex has also included alternate letter forms in this OpenType font; allowing the graphic designer a choice in the overall look and feel. Envisage has impact and zeal. It's a wonderful choice for a distinctively unique headline treatment, and works equally well in text in a large range of point sizes. Use this friendlier sans serif as an alternate to Futura and Gill Sans. We think you will like what you see. The large Pro font character set supports most Central European and many Eastern European languages.

Kisba Nova – A character actor that turns heads. Spiky serifs, soft ball terminals. All eyes on Kisba Nova: enter a typeface designed to arouse attention. Kisba Nova is that one guest who joins a party, and a murmur goes through the crowd. Kisba Nova is pure charisma. Opposites attract: Kisba Nova combines sharp wedge serifs and spiky spurs with round and soft ball terminals. Infuse this with a neoclassical stroke contrast and you get a thrilling typeface driven by visual extremes. Sure: Kisba Nova is a diva. But it’s a pro, after all. That’s why it comes in two optical sizes: Headline and Text. This makes sure it looks gorgeous in any situation. The Kisba Nova Headline subfamily is flaunts the trademark flamboyant looks and extravagant letters like f and k. They bring you all of the excitement of the showbiz in large applications—use it for sizes of 24 Pt. and more. The extraordinarily designed, thin and monolinear diacritics, punctuation marks, and symbols of Kisba Nova Headline add to this modern and elegant character. Kisba Nova Headline consists of seven weights from Thin to Black, offering plenty of possibilities to set headlines and titles. With about 600 characters per weight, it contains enough functionality for the demands of a skilled typographer. OpenType features, such as a large set of ligatures, extended language support, case-sensitive forms, different sets of figures, and arrows, enable sensational designs both in web & print layouts. The Kisba Nova Text subfamily comes with decreased contrast, more generous letter proportions, and wider spacing. Instead of employing flashy thin and monolinear diacritics, punctuation marks, and symbols, Kisba Nova Text aims for a more even texture on the page. It retains the true, elegant Kisba DNA while allowing you to set legible copy in sizes between 9 and 18 Pt. Nothing will distract your reader–Kisba Nova Text aims to please. Kisba Nova Text consists of seven weights from Thin to Black, offering plenty of possibilities to set body copy and subheadlines. With about 600 characters per weight, it contains enough functionality for the demands of a skilled typographer. OpenType features, such as a large set of ligatures, extended language support, case-sensitive forms, different sets of figures, and arrows, enable sensational designs both in web & print layouts. Kisba Nova celebrates the dual nature of softness and sharpness in a single typeface. It’s a character actor that turns heads.

Malabar is a type family for extensive text. Its design was developed with a nod toward newspapers. Malabar's characters are seriffed and of the Old Style genre. A strong diagonal axis is apparent within the curves. Sturdy serifs help strengthen the line of text in small point sizes, as well as define the overall feeling of the face. Malabar's x-height is very high, a deliberate choice that makes the most important parts of lowercase letters visibly larger in tiny settings. The height of the capital letters is also rather diminutive, allowing for better character fit, as well as eliminating a bit of clumsiness in German, which often includes quite a few uppercase letters. Diacritical marks and additional alphabetic forms required by many Western, Central, and Eastern European languages are naturally a part of the character set, including those needed in the Baltic states, for Romanian, and for Turkish. Malabar's accents are bold and direct, sitting well with their base glyphs. The family includes three weights, each with a companion Italic. Malabar Regular is equipped with small caps, and both it and Malabar Italic include oldstyle figures. All members of the family have both proportional and tabular-width lining figures, as well as special variants of certain punctuation marks vertically adjusted for all-caps text setting. Malabar is informed both by contemporary ideas of typeface design (sheared terminals, the wider-drawn s) as well as by 16th-century masters. Malabar Heavy and Heavy Italic are very loud; their blackness almost shouts out from the page. The Regular's wedge serifs become more slab-ish in nature as the letters' weight increases. Malabar Heavy and Heavy Italic are best relegated to headline use only. Malabar Bold and Bold Italic may be used for text emphasis, a job for which the Heavy is to dark. Malabar received a Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2009.

This family was inspired by the pure Jenson set of fonts used in Venice to print De preparatio evangelica in the year 1470. The present font contains all of the specific latin abbreviations and ligatures used in the original. Added are the accented characters and a few others not in use in this early period of printing, also small caps, these, contained in a separate file in the Mac TT version. This font supports strong enlargements as easily than small size remaining very smart, elegant and fine. Decorated letters like 1512 Initials, 1550 Arabesques, 1565 Venetian 1584 Rinceau or other fonts from GLC Foundry, can be used with this family without anachronism. If Italic style is required, we recommend the use of 1557 Italique.

Say hello Geraldyne Signature, a handwritten script-inspired font that flows with an aesthetic touch. Geraldyne Signature is flexible enough for web and print and can be used in a wide variety of projects such as stationery, packaging, apparel, wedding stationery, prints, quotes, social media graphics, planners, greeting cards, logos, branding, and more. This font includes a character set of uppercase, lowercase, numbers, symbols, multilingual, alternates, and ligatures. Make sure you enable OpenType Ligatures to see the magic as you type. Software requirements: No special software is required to type with standard font characters. To enable additional alternative letters and ligatures, you can use a design application that supports the Opentype Feature in Fonts, such as Photoshop, InDesign, Illustrator, etc.

Speedy Space Goat Oddity is the font with really interesting mood. My purpose was to transfer freedom, immediacy, and a bit of insanity with it. I've painted it with self-made paint and brush in a trippy environment. You can use Speedy Space Goat Oddity almost everywhere (not for body text). It's great for posters, clothes design, package design, music album covers. Also, with the right approach, you can use it as horror font. Speedy Space Goat Oddity Features: Pant texture 2 ligatures for tt and ff 14 contextual alternates for most common double letters Carefully tuned kerning (preview above doesn't show it for some reason) If you have some issues or questions, please let me know: lhfonts@gmail.com Hope you'll enjoy using Speedy Space Goat Oddity!

Described as “An extended script type that lends itself well to fine fashion, ready-to-wear and all quality merchandise” in a marketing blurb pitching Beaufont by the Morgan Sign Machine Company of Chicago for their Line-O-Scribe sign printing system. This advertising script font was originally manufactured exclusively for Morgan Sign under license by the Hamilton Wood Type Manufacturing Company. The source patterns and original artwork for this typeface exist in the archives of the Hamilton Wood Type & Printing Museum, and were used for this fresh digitization of this font. This digital take includes alternate letters as originally designed in the mid-century wood type version, and now includes a full extended latin character set with over 350 characters.

A display style, with protuding bulb round ends at the serifs and mid-points, very bold, lower case originally not designed.

Technomat takes inspiration from matrix or thermal dot printers. Minimalistic construction and soft edges makes it legible from 3 point size.

Solantra is a solidly crafted handwritten script. I’ve long felt that beautiful writing is more pleasing to the eye than the more attention grabbing swashes and flourishes. That being said, both have their role in design and Solantra has a large slice of each. Solantra combines vintage style handwriting with all its quirks and English Roundhand of that same era. The result is a solid setting script filled with charm and personality. With default Adobe Illustrator settings for Ligatures and Contextual Alternates active, the vintage charm is in full display. Want to add more flair? There are loads of more embellished letters inside the full version. Solantro takes into account how scripts are actually written so that connections from letter to letter are more fluid and rhythmic than the average script font. In natural script/handwriting most letters end at the bottom right and move up to connect with the next. Some letters like o, v, and w, however; end at the top right. Rather than force these letters to dip down and go back up they should ideally connect from that upper right point. This is accomplished through a series of alternate letters and ligatures with extensive contextual feature programming. So, for example, you might get one version of a ligature in the middle of a word and a different one at the beginning or end of that word. Solantra also takes into account another often overlooked feature of natural handwriting. When you write you inevitably pick your pen up from the paper at times. This is often just to reposition the hand, but in the days of writing with dip pens this was also needed to attain a fresh supply of ink. Having these occasional breaks in connections makes the writing less static and more rhythmic. While the Basic versions are limited to a standard character set and several ligatures and alternates for better settings of text, the full pro versions contains 1292 glyphs and an abundance of features. Even with numbers there are options like Oldstyle numbers, fractions, and ordinals. Central European language support is included as well as some select ligatures that use accents. To see more on the technical aspects and instructions on using Solantra, please check out the user’s guide in the Gallery section. **Note: The Pro versions of Solantra which do not have the word “Basic” attached to the title, have everything in them. So if you license a Pro version there is no need to get the Basic versions.

1913 Typewriter Carbon is the bold version of GLC foundry's 1913 Typewriter. It is available in two styles: Normal, and Underlined (Bold). It is a complete alphabetic font. It is used as variously as web-site titles, posters design or books editing. It may be preferable, if possible, when printing, to choose a pale color - dark grey instead of heavy black, for exemple - to give a good appearance, just like the real one, and still benefit from the full details. With inkjet printers, it may be used the economic or draft option with a good result too. The old typewriter characters size is 11 or 12 points, but this font supports easily enlargement.

Rikkia is synonymous with glamour and innovation and has an immediate high-end look that is both timeless and universally appealing. The font family is distinguished by modern ovals and subtle architectural angles. Stylish and versatile, Rikkia comes in wide and standard widths – from hair to bold. The font also has an alt character set for key glyphs like "a" and "R." You'll find a professional set of ligatures, multilingual options, fractions, and a the estimated symbol. Cosmetics, AI, engineering, healthcare, sports, editorial – and all points in between, Rikkia has you covered for a variety of layout needs. Clean, distinctive, memorable, and easily readable — an ideal choice for both print and screens.

The pages of vintage type foundry catalogs yield so much wonderful type design and artwork. Found within their pages are hundreds of classic text and display faces alongside delicately engraved cuts as well as print shop borders, ornaments and embellishments. These books are treasure troves of their respective times, and Typesetter Ornaments JNL preserves some of that art in digital form. Redrawn from this source material are twenty-six basic design elements that include corner pieces, end pieces, pointing hands, spot illustrations and other designs. Also included are old style parentheses, brackets, an Rx (prescription symbol), two cent signs and a few extra elements located on the number keys and their caps shift counterparts.

Maria Martina Schmitt was born in Vienna, Austria in 1950. Since 1998, she has been working as a freelance designer, focusing on cultural collateral, economic publications, illustration, type design, and logo design. Airam blends contemporary legibility with historic blackletter forms, creating a contemporary text face that speaks to the old European past. Airam certainly appears darker than most other contemporary text faces. Airam’s letterforms are slightly broken, too. They display angled joints in lieu of smooth curves. This “broken” aspect actually aids legibility at smaller point sizes. While Airam may not be suitable for setting whole books or newspapers, this font will add a splendid touch to short tracts of small text. Additionally, Airam looks superb in large headlines.

Whether with pen on paper, or in digital, realistically connecting vertical handwriting is never an easy task to accomplish. After working with many handwriting fonts, and after intently dissecting so many different handwritings, one tends to expect such things to be quirky, disconnected, and almost never upright. In fact, in spite of vertical handwriting’s academically-sung virtues of rationality, efficiency, clarity and logic, very few people manage to deviate from the natural slant when writing. Even fewer manage to make the vertical handwriting connect and keep its natural flow. Calligraphy and upright cursive aside, it is almost impossible to make a vertical letters connect and maintain a real handwriting appearance. This is where the genius of this design comes in to bridge the gap between upright handwriting and calligraphy. Sincerely is based on one of the most fascinating handwriting designs to ever come out of Germany: Karlgeorg Hoefer’s 1968 Elegance for the Ludwig & Mayer foundry. It is a handwriting with the full meaning of the word, yet it possesses the rare, very commanding and appealing trait of being both vertical and connected while managing to remain realistic. It is the ultimate branding iron of handwriting fonts. When set and printed, Sincerely simply cannot be ignored. Ideal for humanity-asserting poster designs, lettering of short wording with plenty of space, poetry, notes, greeting cards, craft literature, book covers, history-related designs, and a whole range of other applications.

Alf R. Becker was a noted sign painter, designer and the creator of hundreds of unique alphabets which were published in the trade magazine Signs of the Times during the 1930s through the 1950s. Thanks to Tod Swormstedt of ST Media [and who is also the curator of the American Sign Museum in Cincinnati], Jeff Levine received some reference material on Becker's work. Becker displayed many of his type styles within decorative panels—a popular trend in the days when signs were hand-lettered. Using the reference material as a guide, Jeff has re-drawn twenty-six sign panels for adaptation to digital print work. While the designs in themselves are not thoroughly unique to Alf Becker, he has left behind some tangible examples of how sign painters embellished their lettering work. With the use of complementary colors and tones, these panels—joined with vintage lettering - classically recreate the warm and attractive advertising of years ago.

Unchain My Heart is Font that renders hearts on a string with a capital letter in the middle. All hearts are designed to align to a perfect string by remaining the handmade look. Lowercase letters produce a heart with outline. Uppercase letters produce a filled heart. Type in a parenthesis and a loose string end will be rendered either on the right or left side. Look in the full character set to find out more about the special decoration. Ideal for individualized mailings and greeting cards. Unchain My Heart is a part of the Light Hearted Font Collection that is inspired by a recording of Jean Baudrillard with the title, "Die Macht der Verführung" (The Power of Seduction) from 2006. Further inspiration came from the article, "The shape of the heart: I'm all yours". The heart represents sacred and secular love: a bloodless sacrifice. by British writer Louisa Young printed in EYE magazine (#43) London, 2002.

Hipster Script is another of my habitual attempts at trying to reduce the divide between manual and digital. In this case, I try to articulate brush lettering, try to get the computer to emulate continuous painting. The process wasn't that different from my work with Feel Script's shot at computerized commercial lettering, though here we have a more casual contrast, rather than the high seriousness of the Copperplate script. Swashes, alternates, ligatures — too many of them, all trying to make the interplay between the tool’s two extreme widths remain faithful to hand movement subtleties. I also toyed with ligatures containing apostrophes, something I've never seen before. With this typeface I think I've become more balanced in uniting the spontaneity of post-war ad lettering with the current trends in illustration and design. Hipster Script received a Judge’s choice Certificate of Excellence at the Type Directors of New York and was selected to be part of the Bienal Tipos Latinos 2012.

Penang is a modern take on an old piece of Art Deco signage I had discovered in Penang Malaysia. The font is available in four styles: Regular, Bold and Italics of both. It looks great as All Caps but works equally well in standard copy. The font is loaded with plenty of extras and glyphs (256 but who is counting). I have various cuts of certain letters available as alternates to enhance whatever design you’re working on. I’m really happy with how this font finished, so I hope you enjoy using it.

Gedhibold font is a retro groovy display font. Use this display font to add that special retro touch to any design idea you can think of! Masterfully designed to become a true favorite, this font has the potential to bring each of your creative ideas to the highest level! It will look great on headlines, magazines, logos, branding and so much more! Gedhibold latest style letters are perfect for wall displays, wedding invitations, social media post logos, advertisements, product packaging, product designs, labels, photography, watermarks, invitations, stationery, and any project that requires handwritten taste.

Carefully messy, sweetly odd, this friendly family conveys a cool - but warm - organic feel. With mixed letterforms and somewhat unexpected choices here and there, each font brings a handful of alternates for a nice natural look: there are five alternates for letters, three for numbers plus alternates for punctuation marks. All cleverly programmed into Contextual Alternates feature to instantly cycle at your command. This is not an usual font. Is that one just strange enough to nicely fit a wide range of designs, carrying your idea with plenty of personality. Quite cool. Hand it!

Every day we are faced with designing on small screens and new formats; This is where condensed fonts have great potential, as they make the most of tight spaces in big headlines. Manchester Condensed is a typeface family designed by Vástago to be applied in large headlines in different formats, such as web, editorial or packaging. Just to mention a few. Different Manchester weights enhance performance at large type sizes, providing hierarchy and imposing style with its elongated shapes. Its use in capital letters is remarkable and fits perfectly into very precise diagramming spaces.

SK Clumster Sans is an extravagant multilingual geometric grotesque, developed under the impression of the unique and exciting aesthetics of font design. Its structure is enlivened by an innovative combination of geometric and organic shapes that transform the familiar letter pattern. SK Clumster Sans creates a unique visual impression through a combination of shapes, a large symbolic and weights set, in addition to lively and dynamic angles and lines. The font is suitable for creating original design works that reflect the creative potential of the author and his bold experiments in the field of design.

Gérard Mariscalchi is a self-made designer. Born in Southern France of a Spanish mother and an Italian father, he has worked as a mechanic, salesman, pilot, college teacher – even a poet (with poetry being the worst-paying of these professions, he reports.) “Throughout all this, the backbone of my career has always been design,” Mariscalchi says. “I’ve been drawing since I was five, but it wasn’t until I was twenty-four that I learned that my hobby could also help me earn a living.” It was about this same time that Mariscalchi fell in love with type. He studied the designs of masters like Excoffon, Usherwood and Frutiger, as well as the work of calligraphers and type designers such as Plantin, Cochin and Dürer. With such an eclectic background, it’s no surprise that Mariscalchi’s typeface designs are inspired by many sources. Baylac and Evita reflect the style of the art nouveau and art deco periods, while Marnie was created as an homage to the great Lithuanian calligrapher Villu Toots. However, the touch of French elegance and distinction Mariscalchi brings to his work is all his own. Baylac Who says thirteen is an unlucky number? Three capitals and ten lowercase letters from a poster by L. Baylac, a relatively obscure Art Nouveau designer, served as the foundation for this typeface. The finished design has lush curves that give the face drama without diminishing its versatility. On the practical side, Baylac’s condensed proportions make it perfect for those situations where there’s a lot to say and not much room in which to say it Evita Mariscalchi based the design of Evita on hand lettering he found in a restaurant menu, and considers this typeface one of his most difficult design challenges. “The main problem was to render the big weight difference between the thin and the thick strokes without creating printing problems at small point sizes,” he says. Unlike most scripts, Evita is upright, with the design characteristics of a serif typeface. Mariscalchi named the face for a close friend. The end result is a charming design that is light, airy, and slightly sassy. Marnie Based on Art Nouveau calligraphic lettering, Marnie is elegant, inviting, and absolutely charming. Mariscalchi paid special attention to letter shapes and proportions to guarantee high levels of character legibility. He also kept weight transition in character strokes to modest levels, enabling the face to be used at relatively small sizes – an unusual asset for a formal script. Marnie’s capital letters are expansive designs with flowing swash strokes that wrap affectionately around adjoining lowercase letters. The design easily captures the spontaneous qualities of hand-rendered brush lettering.