Are you planning to do an amazing piece of work to make lots of people smile happily while taking your hat off every time? If so, this is the right time to give your work a little touch with a sincere and elegant writing. Introducing Anthea- A Elegant Handlettering Font Anthea is a elegant and beautiful handlettering typeface with characters that dance along the baseline. It will add a luxury spark to any design project that you wish to create! This font will be very interesting if you use it for all your design purposes such as; logos, wedding invitation, business cards, printed quotes, invitations of all sorts, cards, packaging, and your website or social media branding. Anthea includes Multilingual Options to make your branding globally acceptable. Features: Standard Ligatures Swash collection Stylistic Sets Multilingual Support PUA Encoded Numerals and Punctuation Thank you for your visit and downloading premium fonts from Gie Studio

Are you planning to do an amazing piece of work to make lots of people smile happily while taking your hat off every time? If so, this is the right time to give your work a little touch with a sincere and elegant writing. Introducing Right Moment- A Elegant Calligraphy Font Right Moment is a romantic and sweet calligraphy typeface with characters that dance along the baseline. It will add a luxury spark to any design project that you wish to create! This font will be very interesting if you use it for all your design purposes such as; logos, wedding invitation, business cards, printed quotes, invitations of all sorts, cards, packaging, and your website or social media branding. Right Moment includes Multilingual Options to make your branding globally acceptable. Features: Standard Ligatures Stylistic Sets Multilingual Support PUA Encoded Numerals and Punctuation Thank you for your visit and downloading premium fonts from Gie Studio

Meet Ollie, a casual signage script whose friendly, bouncy exterior belies a heart of sophisticated OpenType programming. This font is designed to make the most of OpenType savvy applications, and as such is recommended for professional design use. Or to put it another way: Make sure that contextual alternates and ligatures are always turned on! Ollie includes about 900 glyphs, many of which are automagical substitutions to keep the text flowing smoothly, and to pseudo-randomly pick different glyphs to avoid repetition. With contextual alternates turned on (as they should be by default), most lowercase letters will alternate between at least two different forms. The powerful OpenType programming makes the font itself ‘look back’ (up to eight characters) on previously used letters; typing “banana” will give you three different a’s and two different n’s (the last a is a special ‘end form’ character). The calt feature controls many other ‘special effects’ which all add together to give a smooth-flowing, hand-lettered look. These effects include start and end forms (and indeed, ‘loner’ forms) of many letters, which are automatically substituted in at beginnings or ends of words, or when the previous or next letter doesn't connect. Another special feature tests to see if there is room for the crossbar of t (or tt ligature) to extend further over the previous or next letter, or both, as is often the case. The last main effect of the calt feature is to substitute certain letters typed before any ‘e’ character, to make for a more natural connection (see the pe combination in ‘Eclectotype’ in the first poster). Ligatures should be on by default, for a much nicer looking tt combination, and a few others besides. The swash feature should be used sparingly (one glyph at a time, really) to apply a more extravagant look to g,j and y in the lower case, and quite a few of the upper case too. Oldstyle figures are included, as well as the lining defaults. Now to delve into the stylistic alternates... These are all included in the salt feature, or for uses of applications that support them, separated into stylistic sets thus: ss01 - (with swash feature on) L and G swashes get even swashier. ss02 - standard s changes to a connected script s form. ss03 - r takes on a script form. ss04 - z also gets a scriptier look. [the previous three sets also change any versions of s, r or z with diacritics] ss05 - a useful underline function. When enabled, typing two or more underscores will extend a cool underline under the previous letters. More underscores = longer underline. ss06 - the Polish script lslash changes to its more standard form. ss07 - E, S and B change to a more top-heavy alternate form. ss08 - An alternate form for A characters. ss09 - Alterative rounder forms of M and N. ss10 - An alternate ampersand. That about wraps up the features. Now all that’s left is for you to license the font and get experimenting!

Inspired by Timeless, Korpus Serif Pro is a completely fresh redesign of this former Typoart font family. All four styles - Regular, Italic, Demibold and Demibold Italic - contain besides the West and Central European glyph tables also those of Greek and Cyrillic as well as Small Caps and Oldstyle figures. All these features make this font family a highly versatile one.

Deco Signage JNL was inspired by the cast metal letters of a German wall sign “Kaspar Stanggasinger-Haus” in an online display of European signage photography - and is available in both regular and oblique versions. Although the original age of the sign is unknown, the tall, thin monoline font it’s based on evokes a definite 1940s Art Deco design influence.

Hailing its roots from the much-prized Modern Didot and Bodoni families of the late 19th century, Pyes Pa re-introduces the intuition of calligraphic script while utilizing the contrast available to contemporary digital fonts to produce a highly refined alternative for those of us who are bloody serious about our Bodoni Poster Italics. Pyes Pa features automatic OpenType ligatures and contextual alternatives.

ITC Caribbean is the work of California designer Jill Bell, earthy yet exotic. In her typeface experiment, Bell combined unusual angles and curves to produce tall, thin letters whose stroke style completes the suggestion of palm trees which this typeface brings to mind. The typeface contains capitals and small caps. The natural look of ITC Caribbean lends any work a human touch.

There was a time in this country when many young people studied a trade via a correspondence course through the mail. While this method still exists, it's now more common to find students taking online classes. From an early-1960s course in sign painting comes Sign Merchant JNL, a classic brush stroke type design popularized on show cards and posters.

Spika is a geometric, monospaced sans serif font. This tall, condensed typeface is simple in its structure yet strong in its design. Informed by basic geometry and inspired by simplistic, clean design principles. Spika has an almost retro style but its no nonsense design would fit well within any contemporary design applications. The font contains over 400 glyphs including loads of accented characters.

This font style is commonly seen in traditional tattoo artist portfolios all over the world. Inspired by graffiti seen in bathroom stalls, taco stand tables, public transportation windows, and brick walls in the suburbs of East LA. This font will go great on a banner for a tattoo design, and even on a t-shirt design for all your urban clothing lines.

Raeling is a display font inspired by a visit to Luxembourg, capturing shadows falling intricately from park railings appearing as broken-script lettering. A mixture of manmade / natural, traditional / new, ugly / beautiful reflecting the paradox and contradictions of the city. A single curve and stroke developed into a grid block from which characters emerged and broke free of their barriers and conformity.

Inspired by the work of famed Swiss artist Alberto Giacometti, the German designer Thomas Finke created Bergell, a lively and natural script face. Bergell's calligraphic style is both dynamic and elegant, like the kind of special, festive handwriting many desire, but few ever manage to achieve. Why spend so much time at your drawing table when there are great fonts like this one?

Friendly is an homage to Morris Fuller Benton's adorable Announcement typeface. It is not a strict interpretation, digital revival or reverent reproduction of the original letterforms… but I would be remiss and shady to not acknowledge the letterforms that inspired this typeface. If you are looking for a more accurate 'scanned revival' I would recommend searching "Announcement" on MyFonts. As stated earlier, it is an homage to the original letterforms of the typeface but takes a great bit of freedom tightening the construction up in order to loosen up the movement of the variant letterforms to allow a great deal of usable personality. I enjoy stating this dichotomy… "loosen up to tighten up the forms" and vice versa. It seems counterintuitive or silly but by allowing the letterforms to normalize, I felt more comfortable going back and adding rather indulgent personality. Infused with stylistic alternates, swashes, titling, many many contextual alternates, 9 stylistic sets and 2 stylistic sets with wordmarks, the typeface became far more 'friendly' for me… how could it not? With so many loops, swashes and typographic indulgences, it was bound to be fun. The more elaborate and 'overdone' Friendly got, the more I wanted to slant it. Here's where my thinking differs from MFB's original. I like slanted romans… especially ones with long ascenders, but I do not like much of a slant. It has to be the lettering person in me. It's hard for me to do a completely upright serif and not pair it with an angle, but I did not feel Announcement's 'Italic' offered much and the actual slant needed to be far less. If it's not an italic, I prefer the letters to slant with an angle equivalent to the thickness of the vertical stroke. The Slanted version of Friendly is set at 3.6 degrees, is quite subtle, and very fitting for me. You will find that most characters have a contextual, stylistic, swash and titling alternate assigned to them and some have an echoed alternate to the swash and titling options if the stylistic alt has been selected in tandem. Additionally, all of these are accessible in the glyph palette directly from the base glyph typed or through selecting options through the Stylistic Sets 1–9. Stylistic Sets 10 & 11 are a little different. They are actually configured as complex majuscule ligatures… a result of me getting carried away. Other features like a default old style numeral set and coordinating glyphs have been produced along with case support, ordinals, and more have been added to make it more relevant for contemporary use.

Chapman is the result of spending too many hours staring at the often all-capital engraver typefaces from long-gone foundries. The wide serifs, high contrast, and various widths seem to have so much character but also remain so neutral. From these references, Chapman began to emerge. It seemed natural that the lowercase would be based on a Scotch Roman model, much like the original all-capital faces. Chapman does not pull directly from any one source but from the genres themselves. It was, from the beginning, the goal to create a typeface that would be relatively neutral but not boring; an adaptable solution that works anywhere and, depending on the chosen width, can be squeezed or stretched to fit anywhere. The idiosyncrasies of the original designs are tamed in some places and turned up in others. The result is something familiar but unique and contemporary.

Fette Deutsche Schrift also known as Koch-Fraktur or Kochschrift was created by Rudolf Koch for Klingspor foundry between 1908 and 1910. The basis of this font is a publication in the magazine “Das Plakat” of September 1921. The font contains swash capitals to use as dropcaps, contextual alternates, glyphs for line endings, ligatures, discretional ligatures for use in German, ornaments and other OpenType features. It supports all the European languages using Latin alphabets (including slashed S and slashed long s used in Latvian old orthography till 1930s).

Num.91 is a strong and elegant street art display typography. Inspired by currently popular street art, this is the answer to the long-awaited need for a street art font. Num.91 is superior and very different from the street art fonts currently circulating. This font really has the soul of street art in it. And another amazing thing, you get bonus vector illustrations in it. Its weight is superior in posters, social media, headlines, titles, large-format print - and anywhere else you want to get noticed.

Do you need a hand-drawn, heavy, creative typeface? If so, WILK is perfect for you! This font was created specially for fairy tale "Little Red Riding Hood" and it was inspired by the fairy-tale's character of wolf . The typography is tight- knit and fat but also free and funny. It consists only of uppercases, but it has two up to five alternative gifs for each letter. This great choice of gifs makes WILK perfect for long texts but not only! It's also great in a large magnification.

Bocksay Mira is a text font family inspired by the manuscript Mira Caligraphiae Monumenta created between 1561 and 1596 by Georg Bocskay and Joris Hoefnagel for the Holy Roman Emperor. All shapes were taken from the original records in both regular and italic style: lower case (p. 5, 72), uppercase (p. 47, 121), small caps (p. 122, 7). The high contrast forms and the wide spacing makes this family suitable for long texts but also for titling uses, having always that calligraphic and stylish look. Find the original script here

Hakim Ghazali, designed by Hakim Ghazali in 2005, is an Arabic typeface in the style of Maghribi and a winner in Linotype’s first Arabic Typeface Design Competition. This style, which originated in western North Africa, is characterized by a strong baseline and long, fluid, and curvaceous curves. It can be used in headlines or in text and gives a very fresh and calligraphic look. The font includes a matching Latin design and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.

There was a big climate protest in Amsterdam a couple of days ago. During Greta’s speech, a man jumped onto the stage and grabbed her microphone, because he didn’t approve of what she was saying. Some English media referred to him as ‘the stage invader’, which I really liked. Long story short: I made a ‘protest-ish’ font, using cheap black finger paint from the local store and a brush from my kids. The result is a rather unique font called Stage Invader. And yes, you can use it for your protest signs too!

Rockner is a family of fraktur typefaces designed by the calligrapher/designer Julius de Goede. Like all Blackletter styles, fraktur evolved out of Northern Europe's medieval manuscript tradition. Fraktur was the most used Blackletter variety between the sixteenth and twentieth centuries. Unlike many similar fraktur font families, Rockner is available in three weights: Regular, Medium, and Bold. This flexibility allows for richer design possibilities. The OT fonts contain the many alternate characters, such as the long s and historical ligatures, which are often necessary for the setting of historical documents.

Blanquotey is a simple and modern font. Whether it�s for web, print, moving images or anything else � Blanquotey will look spectacular. This font is very suitable for the needs of branding, logos, technology themes and others. very easy to use and can be installed on any graphics software such as Adobe illustrator, photoshop, Microsoft Office and others. Works on PC & Mac Simple installation Can be accessed in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even works in Microsoft Word. Long-term support, Can be accessed completely without additional design software.

A few scant examples of some condensed Roman style water-applied decals inspired Sign Letters JNL. The decals were once part of the gold and black "Signmaker" letters and numbers once manufactured by the Duro Decal Company of Chicago and were sold through hardware and variety stores across the country. The condensed letters (which were eight inches in height) did not sell as well as Duro's mainstay sizes of 1/2 inch to 3-1/2 inches and were discontinued long before the rest of the line was supplanted by self-adhesive lettering.

Litera was designed in 1983 by Michael Neugebauer, who used the same strict constructed design found in his typeface Circulus. In its figures are the clear geometric forms of the circle, triangle and rectangle, which were also the main forms of Bauhaus designs. The overall look of Litera is modern, clear and light. Distinguishing characteristics are the openness and the e and P and the particularly long cross stroke of the G. The cool Litera is best for middle length texts and headlines. Similar typefaces include Futura from Paul Renner and Avenir from Adrian Frutiger.

Laca Text is a sans-serif version of Laca. It was designed starting from the shapes of Laca. It is a cleaner version of Laca. Laca Text has characteristics like a bigger x-height, open counters, and smaller ascenders. It works better in smaller text than Laca because it keeps the structure without the stylistic features of Laca. Laca Text has more straight lines and follows the round shapes of Laca. Laca Text, as the name says, is more proper for long text but also for identity and branding.

Mission Art contains 26 design elements from many of the California missions. From a dove about to alight on a mission wall, to floral accents of all kinds, to a mission cross, there's a design here for everyone and every purpose. An important part of this collection is 6 decorative borders that are designed in such a way that they can be used as single elements by themselves, or repeated to make a long border across a page. They join seamlessly by simply typing the appropriate letter over and over again.

This font was inspired by the well-known philosopher René Descartes' hand writing. In 1634, from Amsterdam, he wrote a famous letter to his friend Mersenne, a great scientist monk, in which he spoke about Gallileus works. The greatest part of our glyphs is based on this document. We have added some letters Descartes himself didn't use, like modern s and j (he used exclusively s long and i instead of j). A lot of ligatures and alternates are enriching the font, giving a better appearance of real handwriting.

Cherolina is a lovely elegant script font that includes a full set of uppercase and lowercase letters, numerals, multi-lingual support, punctuation and ligatures. You also get short lowercase beginning and ending swashes, and lowercase ending swashes which serve to connect two words or letters. Those are so perfect for invitations, monograms. This font also includes long lowercase beginning and ending heart swashes. Cherolina has a smooth texture so would be perfect for all types of printing techniques. You can use it for embroidery, laser cut, gold foil and more.

Galaktik is a fresh embodiment of the monospace font. Born out of creative ideation, it attempts to pay homage to a long history of display fonts while exhibiting contemporary, playful accents. This balance of geometric shapes and creative expression allows Galaktik to feel both familiar and yet unique. Features Numerals Punctuations Special Characters Galaktik's freshness fits modern typographic schemes, futuristic logos, and even command-line consoles. The limits are boundless. Thank you for your purchase! Feel free to reach out for any issues or if need any assistance.

Introducing Varia Display, a font that emerged from the renowned challenge of 36 Days of Type. In the 2023's edition, I embarked on a journey to explore a wide variety of styles, leading to infinite possibilities for crafting unique letterforms. The result is a meticulously crafted variable font with a single weight axis, designed to push the boundaries of typographic aesthetics across all characters. With each letter and number embodying a distinct and innovative approach, this font offers a captivating typographic experience. With its distinctive and varied letterforms, this font is ideally suited for eye-catching main headlines and complementary typography. Whether you seek diversity or a touch of uniqueness, this font is sure to meet your creative needs. Embrace the world of possibilities it presents and elevate your designs to new heights. Key features: Meticulously designed Variable Font Single Weight Axis Multilingual support 374 glyphs Contact: If you have any doubts or questions please ask me via mail or Instagram hello@tomascastiglioni.com @tomtype

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.

Just before the end of 2020 all schools in Holland closed for the second time, because of an increase in the number of COVID 19 cases. This means that my wife and I have to educate our three kids at home. The kids are great and take their tasks seriously, but it is difficult, as all three of them require different educational levels. I am sure you parents understand. Trying to get some work done is virtually impossible, so my wife and I made a schedule and we live by ‘on duty’ and ‘off duty’ days. I was thinking of this when I created this font (obviously on an ‘off duty’ day). Home Education is a handwritten scribble font. It was made with a Sharpie pen (possibly used by one of my kids, because I noticed tiny ink stains on my wooden dining table…). It comes with all the diacritics you can hope for and lovely double letter ligatures for you to play with.

Sicret is a perfectly geometric typeface family. It was drawn by Måns Grebäck in 2020, and each one of its glyphs was manually created by following a strict mathematical pattern consisting of only two basic shapes, in four different combinations, set on a three units tall grid. The resulting product is a true monoline font with a solid character, with an official look while yet going towards sci-fi because of its digital nature. The family consists of nine weights: Thin, Extra Light, Light, Regular, Medium, Semi Bold, Bold, Extra Bold and Black. The range of weights makes it very adaptable, and all the weights works very well together to give a sentence or graphic tone and emphasization. As Sicret is a font with over 850 glyphs, it is guaranteed to contain all characters you'll ever need, including all punctuation and numbers. It has a very extensive lingual support, covering Greek, Cyrillic, Hebrew as well as European and American languages.

SoftMaker’s Cooper Black Pro is a friendly, chubby typefaces with rounded serifs and tilted back ovals. It is perfect whenever an informal, friendly character is desired in your designs. Oswald Cooper designed Cooper Black in 1919 for Barnhart Brothers & Spindler; later it was popularized by ATF. This release adds variations not present in the original design: In addition to a true italic and a condensed version, you can also experiment with a “poster” variant (tighter spacing, integral umlauts and accents) and a “stencil” variant. SoftMaker’s Cooper Black Pro typeface family contains OpenType layout tables for sophisticated typography. It also comes with a huge character set that covers not only Western European languages, but also includes Central European, Baltic, Croatian, Slovene, Romanian, and Turkish characters. Case-sensitive punctuation signs for all-caps titles are included as well as many fractions, an extensive set of ligatures, and separate sets of tabular and proportional digits.