Eydis Regular is a casual script font that retains the original texture of the stroke on the paper. This font has good legibility as body type and strong expressiveness to be used as headlines or logotypes in all media requirements. These calligraphy fonts have already an extended character set to support Central and Eastern, Cyrillic as well as Western European languages. It has several especial alternatives for all letters that offer an infinity of design’s combinations. There are plenty of options to allow you to create something unique and special: standard and discretionary ligatures, several swashes and stylistics alternates for each letter, catchwords and much more. You may enrich your design using the Eydis Ornament set, with his 91 glyphs, tails and ornaments, whatever allows even more combinations. Eydis was made for turn your project more expressive, beautiful, and attractive! Have fun and be successful with it!

This "Leaf" font has been swirling in my head for years - I remember my sister and I making letter formations like these when I was young. It was exciting to see the lettering look even better on paper than it did in my mind! "Leaf" surprised me by having two distinct looks: in size 24 or smaller, the look is delicate, because your eye doesn't see any space in the letters. In size 28 or larger, the eye can discern spaces, which gives a different facet to its personality. As much as I like this font when viewed on a monitor screen, it really shines when printed. The "Leaf" font is a perfect blend of quaint hand-written style mixed with crisp letter formations. This font has a very "happy" quality to it. May using it bring a little more happiness to your day!

Robeaugo is pronounced as “ro-bo-go”. The name is originated out of the 3 words: robo, beau (French) and go. It’s a mix of Art Deco with round shapes and is best used in headings and logos.

Chico was by designed by Javier Mariscal and Josema Urós specifically for the final roll of credits in the animated film Chico y Rita. The goal was to design a typeface with a good readability but that conveyed a strong script character and, in some way, tuned to the style of line used throughout the film. Using a modular sans-serif as a template, Javier Mariscal reinterpreted the forms freely, while maintaining gridlike proportions. Chico can be useful for comic-book lettering, editorial work and display applications.

Introducing our newest font Gerakent. What a fun font that brings a little sunshine to your day! Bring your next project to life with this retro-inspired typeface and create elegant typography that gives it a retro or vintage feel. You can use it for branding, product packaging, or even editorial work. It’s easy to use in any design program or even as a pre-cut vector and works best as text but you can also mix it with other fonts for added flair!

Winchell is the only identified typeface designed in Buffalo, NY prior to the formation of P22 type foundry. It was created by Edward Winchell of the Matthews-Northrup Printing Works and released by the Inland Type Foundry in 1903. The Winchell typeface was also made in Wood by the Hamilton Manufacturing company in the mid 20th Century. The Winchell typeface is a Clarendon styled slab serif that clearly has the look of a pre-modernist design. E.E. Winchell’s Arts & Crafts tendencies show through in this design

It was used in parts of Transylvania until the 1850s, although it was banned by Istvan, the first Christian king of the Hungarians (Szekel), in line with an order to "destroy all pre-Christian inscriptions". Hungarian runic script was usually written on wood-stone pieces in the bustrofedon style. In this method, the writing was written consecutively from right to left and from left to right. This article is available in Bosnian, Carpathian and Glozel editions. Whenever possible, I will present the fonts in these versions.

After Bird Script's ballet, Sproviero comes with these fast strokes, resulting in a font full of life and a youthful spirit. The aim of Live was again to see how far calligraphy & lettering could dive into the world of type-design. The font is perfect for logos, posters, magazines, perfumes and all pieces of design related to music, and the feminine world. You can also have a lot of fun with Live More, which contains a set of pre-designed catch words and lovely ornaments.

Prop-a-ganda offers retro-flavored fonts inspired by lettering on retro propaganda posters, retro advertising posters, retro packages all the world over. This is perfect font for your retrospective project. PAG Karogs is geometric, art-deco font that had been used for a match box. The bowls of this font is based on a positive circle. The contrast of a circle and straight line effective in producing brisk structural rhythms. This is great for branding, packaging and posters or any other kind of display use.

Step better font Inspired by street graffiti markings, Urban Tag comes with the iconic round tip markers, this style is often used by several graffiti artists around the world because of its very unique style, very fun to write on markers. Perfect if you want a realistic street art or hip hop style for your designs, posters, props, etc. Features : All Caps numbers and punctuation multilingual Swash / Ornament PUA encoded Please contact us if you have any questions. Enjoy Crafting and thanks for supporting us! :) Thank you

Charles W. "Plot" Plotner was a cartoonist who had developed a template-based cartooning set for kids circa 1952 called "Plot-O". A companion set was called "Plot-O the Clown". "Plot-O" consisted of two plastic templates with pre-cut and numbered cartoon shapes. By following the simple directions and tracing the corresponding parts, any youngster could create basic cartoons of people and finish them off with their own details. The hand-lettered instruction booklet provided the design inspiration for Cartoon Panel JNL.

Kwersity is a boxy, geometric, slab-serifed typeface with strokes of uniform weight. Its circular elements are almost rectangular. The narrower style has a high x-height. Both the narrower and wider variants come in three weights, regular, semi-bold, and bold. (In its original, pre-2020 form, what is now semi-bold was bold. What is now bold is new as of 2020.) There is also a shadow version; Kwersity-semibold can be layered on top of it to color the interior of the letters.

The Azbuka™ typeface family has its roots in a fairly pedestrian source. “The idea came in part from an old sign in London that read ‘SPRINKLER STOP VALVE’,” says Dave Farey, designer of the typeface. Like all good sign spotters, Farey took a photograph of the sign and filed it away for possible use in a lettering or typeface design project. In Prague a number of years later, the street signs reminded Farey of the London signage - and his camera came out again. Comparing the two back in his studio, he realized that the signs from London and Prague were not as similar as he initially thought. However, they were enough alike to serve as the foundation for a no-frills, 21st century sans serif typeface family. “I wanted to draw a wide range of weights, italic and condensed designs all in one go,” recalls Farey, “rather than add on to the family later.” His goal was to create a family that could be used for text and display copy, with sufficient weights to provide a broad typographic palette. Indeed, the completed design, created in collaboration with fellow type designer Richard Dawson, consists of twenty typefaces in eight weights ranging from extra light to extra black. The five mid-range designs have complementary italics. Seven condensed designs round out the family. Azbuka’s lighter weights perform remarkably well in blocks of text composition. “They’re clean and legible - and perhaps a little boring,” says Farey, “but they are perfect for copy with a down-to-earth, yet contemporary flavor.” The heavier weights are equally well suited for a variety of display uses. The designs are authoritative but not overbearing and will readily make a strong statement without calling attention to themselves. The condensed weights of Azbuka are ideal for those instances where you have a lot to say - and not much room to say it. The name Azbuka? It’s Russian for “alphabet.” And what more appropriate name could there be for this utilitarian, industrial-strength type family than alphabet? The Azbuka family is available as a suite of OpenType Pro fonts. Graphic communicators can now work with this versatile design while taking advantage of OpenType’s capabilities. The Azbuka Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages

Developed over several years by the late Otl Aicher and first released in the late 1980s, the Rotis® typeface has become a timeless classic. ROTIS II SANS HISTORY Aicher was a renowned German designer and corporate image consultant. He created the four basic designs of Rotis – sans serif, semi sans, semi seif and serif – within an extended typeface family concept, wherein all designs share a common cap height, lowercase x-height, basic stem weight and general proportions. While each version is part of the large, integrated family, each was also designed to function on its own as a distinctive typestyle. The result is that all members of the Rotis family combine smoothly with each other. Aicher, however, did not design the Rotis family with the weights and proportions normal for more contemporary releases. Rotis Sans Serif, for example, was drawn with just six weights and only two italics. Starting in 2010, Robin Nicholas, senior designer for Monotype Imaging in the UK, and freelance designer Alice Savoie collaborated to bring Rotis Sans Serif up to current standards. The result is Rotis II Sans, a completely new addition to the Rotis family. “We devised our approach together,” recalls Savoie, “deciding which weights to start with, what kind of alterations to make to the original Rotis, etc. I went to work on the typefaces, regularly submitting proofs to Robin. We would then decide in tandem on the next steps to take.” Nicholas elaborates, “We revisited the range of weights and added matching italics so that the new additions to the family offer increased versatility. We optimized the outlines, corrected the weight of several letters and re-examined overall spacing and kerning. In addition to a new set of numerals, with a height similar to the capitals, we also drew case-sensitive punctuation.” ROTIS II SANS USAGE The new Rotis II Sans suite comprises 14 typefaces: seven weights, ranging from extra light to black, each with a companion italic. The designs are available as OpenType® Pro fonts, allowing for automatic insertion of ligatures and fractions. Pro fonts also offer an extended character set supporting most Central European and many Eastern European languages. Aicher’s original Rotis designs were widely used for branding and advertising. With the addition of Rotis II Sans, the family is again poised to become a powerful communicator.

The purpose of the original DIN 1451 standard was to lay down a style of lettering which is timeless and easily legible. Unfortunately, these early letters lacked elegance and were not properly designed for typographic applications. Ever since its first publication in the 1930’s, several type foundries adopted the original designs for digital photocomposition. By early 2000, it became apparent that the existing DIN-based fonts did not fulfil the ever-increasing demand for a diverse set of weights and additional support for non-Latin languages. Parachute® was set out to fill this gap by introducing the PF DIN series which has become ever since the most comprehensive and sophisticated set of DIN typefaces. It was based on the original standards but was specifically designed to fit typographic requirements. Its letterforms divert from the stiff geometric structure of the original and introduce instead elements which are familiar, softer and easier to read. The first set of fonts was completed in 2002 as a group of 3 families which included condensed and compressed versions. With its vast array of weights, the extended language support, but most of all its meticulous and elaborate design, it has proved itself valuable to numerous design agencies around the world. Ever since its first release, it has been used in diverse editorials, packaging, branding and advertising campaigns as well as a great number of websites. It was quoted by Publish magazine as being “an overkill series for complex corporate identity projects”. The whole PF DIN Text type system (with normal, condensed and compressed styles) includes 45 weights from Hairline to Extra Black including true-italics. Additionally, every font in the Pro series is powered by 270 very useful symbols for packaging, environmental graphics, signage, transportation, computing, fabric care. There are 2 versions to choose from: The PRO version is the most powerful. All weights support Latin, Cyrillic, Greek, Central/Eastern European, Romanian, Baltic and Turkish, with 20 advanced opentype features including small caps. The standard STD version is more economic. All weights support Latin, Central/Eastern European, Romanian, Baltic and Turkish, with 18 advanced opentype features including small caps. In 2010 Parachute® released 4 new families DIN Monospace, DIN Stencil, DIN Text Arabic and DIN Text Universal. All these are complemented by the popular DIN Display version. Altogether the Parachute DIN series is a set of 8 superfamilies with a total of 96 weights.

Gotlen Say, I hope you are interested in this font, if you want to use it for your work This font can be used easily and simply because there are many features in it it contains a complete set of lowercase and uppercase letters, various types punctuation, numbers, and multilingual support. Fonts also contain several Binder and Device Style Style for those of you who have software it can work. Any question? Send me a message! I'm ready to answer any pre-sale or post-purchase questions you may have about this product!

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.

Bridget I hope you are interested in this font, if you want to use it for your work. This font can be used easily and simply because there are many features in it contains a complete set of lowercase and uppercase letters, various types punctuation, numbers, and multilingual support. Fonts also contain several Binder and Device Style Style for those of you who have software it can work. Any question? Send me a message! I'm ready to answer any pre-sale or post-purchase questions you may have about this product! Enjoy! Regards,

The inspiration for Deco Eccentrique JNL was initially hand drawn contoured lettering from a mid-1920s piece of sheet music; the style of the letters showing influences of the upcoming Art Deco movement. This was made into a digital font entitled Poster Contoured JNL. Once all of the excess parts of the previous design were stripped away to only the inner letters, the pre-Art Deco influences remained along with characters of varying stroke widths and shapes. This non-conformist type face is available in both regular and oblique versions.

PT Reforma Grotesk was designed for ParaType in 1999 by Albert Kapitonov based on the letterforms of Russian pre-revolutionary hand composition typefaces: Uzky Tonky Grotesk («Condensed Thin Sans»), Poluzhirny Knizhny Grotesk («Semibold Book Sans») and Reforma, of H. Berthold and O. Lehmann foundries (St.- Petersburg). This extra compressed sans serif with distinctive letter shapes is typical for display fonts of the late 19th and early 20th centuries. For use in advertising and display typography. The face got 'Galina' prize at Kirillitsa'99 International Type Design Competition in Moscow.

CANNABIS company is a vintage display typeface, it has an old American feel. CANNABIS company typeface includes 5 font styles: serif, sans serif, rough, outline, round. CANNABIS company font with bonus cannabis leaf, hemp, CBD, pre-roll, joint illustrations are great for CBD company logo design; label for cannabis products and CBD packaging design; badges, clothing and t-shirts; posters and headings; distillery and brewery branding design; spirits label design (such as rum, gin, whiskey, bourbon, vodka, tequila, mezcal, beer); coffee and tea; supplements and cosmetics design and much much more.

Although the Art Deco movement is generally attributed to the 1930s and 1940s, a number of design influences were showing up during the late 1920s in what is referred to as the Art Nouveau period. The Dutch illustrator Anton Kurvers’ hand lettering on the front cover of the (1927) magazine “Het Vlaamsche Volstooneel” clearly shows the clean lines and Avant Garde geometrics that foreshadow Art Deco. This attractive pre-Deco lettering has been recreated digitally as Dutch Deco JNL, and is available in both regular and oblique versions.

Remember back in the day when medals where for The Beatles and foreign dictators only? No more! Psychophante is a 64 pixel medal-building dingbat. Make fresh pixly medals (like the 'I Really Like Your 'fro medal' and the 'Best Hotel Booker medal') for yourself and/or for friends who deserve them. Each medal is made up of three interchangable parts: - Uppercase consonants are the top of the medal. - Vowels are the middle. - Lowercase consonants are the dangly bit. Numerals are special characters, to be followed by a lowercase consonant

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.

Prop-a-ganda offers retro-flavored fonts inspired by lettering on retro propaganda posters, retro advertising posters, retro packages all the world over. This is perfect font for your retrospective project. Almost all the letters of PAG Trust are drawn by bold line, but some bars are very thin line and counters are extremely small. With this font, regular typed text transformed into unique typography. We can’t decide the impression of PAG Trust, depending on how to use it, it can be cute package, retro book cover or propaganda poster of Cuba.

Looking for an elegant but unique serif font that looks equally great on screen as well as on paper? Introducing Bellvyne - A Serif Font. Stylish with a touch of modern, Bellvyne is perfect for making your brand stand out. It’s a great choice for web pages, apps, ads, banners, promotions, printed cards, packaging, and pretty much anything else your project needs. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office Keynote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

Komu is the revival of a style of letters frequently used on billboards during the socialist period in the former Czechoslovakia. These were usually uppercase letters made of paper and covered with a layer of aluminum foil. People just had to pick the letters (that included a variety of widths and sizes) out from a box and pin them up on a styrofoam billboard, thus making it easy to announce any event. Komu consists of two styles. Version A is rather squarish and includes some weird characters (K, 5, narrow E, strange diacritics) while version B is more rounded with most letters equally wide (with the exception of E, F and L, which look really wide next to the rest). The optical disparity of the original letters was kept, so that some of them look slightly darker than the others. Komu is intended to be used on posters, books and other products about Socialism in our region and includes full support for languages based on latin script.

Oddsorts’ Ciao Bella family pairs the funky elegance of a hand-drawn copperplate script with a bouquet of ornament fonts. Ciao Bella’s expansive range of alternate opening and closing forms, word-connecting ribbons, and swash characters use the power of OpenType to create a genuinely hand-lettered look. Bursting with over 2,000 characters, the Ciao script mates broad linguistic support with expressive possibilities galore in an easy-to-use software experience. But then there are the ornaments! What’s truly innovative about Ciao Bella’s ornaments is that most of the characters come in pairs that can be set in multiple colors without any stacking, layering, or aligning. They work in any application that supports kerning — even most word processors. See the slideshow and Gallery link above to see how they work. Ciao Bella marries the best of the old world — the warm, classic feel of ink on paper — and the new — the amazing capabilities of “smart” OpenType fonts — in a union that’s sure to delight.

ITC Japanese Garden Ornaments is a symbol font designed by Akira Kobayashi (before Kobayashi became Linotype's Type Director in 2001, he worked as an independent typeface designer in Tokyo). The images in Japanese Garden are, as the name suggests, mostly floral or herbaceous, derived from designs used in Japanese indigo stencil dyeing. In Japanese Garden," Kobayashi says, "I tried to create a set of type fleurons that are very familiar to a Japanese eye, but not too exotic to people in other countries." Several of the designs fit together seamlessly in repeating patterns; others work either together or as isolated ornaments, a flexibility that also characterizes traditional Western type fleurons. "The original illustrations," notes Kobayashi, "were mostly cut from white paper squares, about two by two inches in size, and were simply scanned and traced. That is why there are few smooth curves and perfectly straight lines in the illustrations. I simply liked the ragged textures of them.""

Introducing Costiera – Elegant Handbrush is a brush script that is written casually and quickly. Letters are made with brushes on paper. Then scanned and carefully drawn into vector format. That is why Costeria has charming, authentic and relaxed characteristic,has 2 styles of regular and slant variations with a more natural look to your text with a more natural look to your text. You can activate Ligature OpenType panel to make these two styles. It also has many alternatives and underlines that make your text and design more interesting. Costiera is perfect for homeware designs,branding projects, Logo design,Quotes roduct packaging Works on PC & Mac Simple installationsAccessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support Image used : All photographs/pictures/vector used in the preview are not included, they are intended for illustration purpose only. Cheers! Thank You

FranklinGothicHandCond is another part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked in advertising. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past, Gert Wiescher.

Rapuntaz – A Handwritten Signature Script Font Rapuntaz is an exquisite handwritten signature script font that embodies elegance and sophistication. With its graceful strokes and fluid curves, each letter exudes a sense of personalized artistry, mimicking the nuanced movements of a pen gliding effortlessly across paper. The font captures the essence of a carefully crafted signature, adding a touch of refinement to any design or document. Rapuntaz seamlessly blends cursive elements with a contemporary flair, resulting in a timeless and versatile typeface that conveys both individuality and class. Whether used for formal documents, invitations, or branding, Rapuntaz lends an air of authenticity and style to every project it graces. Rapuntaz is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

Diverda Sans is a geometric family of typefaces that are all free from ornament. Swiss designer Daniel Lanz optimized Diverda Sans for maximum legibility. In contrast to many other modern typefaces, which try to squeeze the traditional rounder forms of the alphabet into square designs, and which often attempt to equalize the widths of the capital letters, Diverda Sans remains true to the proper proportions of the Roman alphabet. The x-heights of Diverda's characters are low, and the differences between curved, square, and triangular elements are very clear. Like the more calligraphic typefaces of the past, Diverda's strokes exhibit contrast that is inspired by movements of the pen on paper; down strokes are heavier than up strokes. Possible applications for the Diverda Sans include magazine design, as well as advertising for fashion, design, or architectural products. Because of its 10 different individual styles or weights, Diverda Sans is also a good fit for Corporate Identity solutions.

Bourdos is an energetic script typeface. Its vivid letter forms move quickly over the paper, with active calligraphic movements and a joyful humour. A beautiful handwriting font, Bourdos should be used for a modern logotype, an enthusiastic headline, or any graphic that needs that extra spark of life. The Bourdos family consists of four styles. The weights Bold and Regular, as well as Italic and Bold Italic. Use underscore _ to make a swash. Example: Amaz_ing Use multiple underscores to make different swashes. Example: Price__less (Download required.) The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

The Distillery Set is a collection of 5 fonts: Display, Strong, Script, Caps, and Icons. The fonts' influences are in lettering from different eras and styles. They reflect forms from the Arts & Crafts movement, the Roman majuscules, artistic printing, traditional tattoo lettering, sing painting and showcards from the early XX century and some typography trends started from 1970s America and being used today like chalkboard art or handmade labels in packaging. This is collection of fonts that strongly hints of the spontaneous ways of pencil on paper, the dynamic rebellion and simultaneous imperfection and elegance of DIY. This set contains a wide range of characters, including alternates, ligatures, variations on ascenders and descenders, initials and terminals, icons and ornaments, providing endless application possibilities. The different fonts can be used individually, but of course it is their combination in use that creates the magic. The Distillery Set was designed by young talent Carolina Marando. Alejandro Paul produced and expanded the digital work.