Zamaica is a thin and modern display font. Add it to your most creative ideas and notice how it makes them come alive!

This unicase font features little curls and swirls to make it a little more flavorful. It is fun, optimistic, and upbeat in personality.

3D Cocoro is a rounded textured font. 3D Cocoro is extended, containing West European diacritics & ligatures, making it suitable for multilingual environments & publications.

This is a wild and vivid choice when you want to effortlessly make your designs stand out with a remarkable clearly crafted handwriting.

Claudya is a beautiful and feminine font. This script is equipped with alternate characters, making the possibilities of design more varied and unique.

Shunsine is a distinct and elegant display serif font. Its stylish alternates and ligatures make this font the perfect match for any project.

Rabbet is based on the handwriting of Maine furniture designer and maker, Aaron Fedarko. It's friendly, bold, condensed, and slants left. Rabbet's special feature, besides loads of boyish charm, is a load of handwritten fractions as discretionary ligatures. Whether you're curious about woodworking (a rabbet is a type of joint), or you just want a cool, maybe slightly rebellious font, Rabbet is ready to do the work.

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.

Heroic Mage - a cool marker typeface with natural handwriting style. It's all caps font that great for poster, headline, text overlay, logo, branding and more. Features: - Uppercase - Lowercase - Numeral & Punctuation - Multilingual Support

Solidarius is a chubby, friendly typeface which captures the innate legibility of well done felt-tip marker lettering. It's ideal for any poster needing that 'hand-lettered' look combined with optimum legibility.

Signal1885 is the abbreviated name for "(Sig)nature Jour(nal)" a font that harkens back to an era, when fine handwriting filled journals with observations of science and adventure. Intimate and reflective of an individual entering his thoughts in his personal journal or a ship’s captain documenting his voyage on a daily basis. Signal1885 is penmanship that reflects hand forms from by-gone days. Its a minimal glyph set which can be used at various sizes as small as 18 points. It includes a selection of ink drips and smudges, that are the “mark” of a hand done entry. These can be placed in strategic places on the type to indicate a hand dragging through or dripping fresh ink on to the paper. Set sail- and keep a diary of your voyage.

Coastland is a pretty handwritten script font. It’s simple and friendly style makes this font incredibly versatile, fitting a wide variety of creative ideas.

This font is a vivid choice when you want to effortlessly make your designs stand out with a remarkable clearly crafted and dynamic handwriting.

Quadrica is a stylish, retro script font. Its unique letterforms make this font perfect for logos, social media posts, packaging, magazine covers, and more.

Bollard is a smooth and cuddly font, with the ability to make any title look instantaneously fun and fresh. Features lower case and numerals.

FG Petra looks like usual handwriting yet very pretty! It has a large 'K' in lowercase; I think that is what makes it special.

Tribal Tattoos comes from the German tattoo artist Otto Maurer. This clean vector Tribal art is best for making good plott or printed art.

Conversation hearts! Use ALL CAPS for even lettering. For bouncy letters, alternate uPpEr and LoWeR cases to make the letters bounce up and down.

This is a groovy, modern Bodoni with a strong body and very subtle, beautiful lines. It will make your typography fresher and more impactful!

Calinea is thin handwritten style. Make it look simple and beauty. Recommended to use for memorable moment, beauty product, beauty tag and wedding invitation.

This font is based on 17th - 19th century woodcuts. It has many varied alternate characters and over 25 ornaments that make this font unique.

The concept of this font is very simple. Wide and Legible, No decorative, just simple. The variety of weights make your design more flexible.

The Avigail font family is a vivid choice when you want to effortlessly make your designs stand out with an outstanding clearly crafted handwriting.

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

Maga shares the skeleton with one of our first typefaces (Quaestor, from 2004), but we didn't want to simply expand an existent design, so we took a step forward—not just with improved features and new weights, but also making the italics more usable than its predecessor. The balance between the counters and the space between letters makes this a very space-saving typeface with plenty of legibility, yet stylish enough for contemporary magazine design.

Blackson is an elegant, urban-style brush handwriting font. It’s specifically designed to maximize your design projects that require a dynamic and personal touch. This font offers a unique sense of satisfaction, energetic, and confidence, making it perfect for use in logos, branding, signage, posters, packaging, flyers, merchandise, movies, motion graphics, and more. Blackson also comes with custom ligatures, special characters, and multilingual support to make your designs stand out even more.

Glastone is a modern serif typeface that seamlessly blends beauty and a feminine touch, infusing a sense of class and contemporary sophistication. Its graceful lines and modern aesthetic make it the perfect choice for projects seeking a balance of elegance and modernity. This typeface is ideal for greeting card, packaging, brand identity, poster, or any purpose to make your design project look eye catching and trendy. Feel free to play with this typeface!

Handpainted font with attitude! An attitude which will help you when designing posters, packaging, headline, invitations and alike, that needs that authentic brush-look! I haven't got the count of how many pieces of paper I used to make this font. It was a lot! Comes with “contextual alternates” which means that the font has 6 different version of each letter. These different versions cycle as you type, and makes the font look more realistic!

Introducing, new font, Billy Magie - a stylish stencil serif with ligatures and alternates! Billy Magie is a stylish and bold stencil serif with a bunch of ligatures and alternates that will make your presentation looks amazing and sophisticated! This font will make your project looks more clean and modern. You can use this font for logo, poster, event, or your social media post. Billy Magie also support Multi Language. and already PUA Encoded!

Introducing Blonden: A condensed sans-serif font that fuses modernity with streamlined efficiency. Blending style and compactness, Blonden brings a dynamic edge to any design. Experience the sleek versatility of Blonden's condensed form, perfect for making bold statements in tight spaces. This typeface is ideal for greeting card, packaging, brand identity, poster, or any purpose to make your design project look eye catching and trendy. Feel free to play with this typeface!

Monema is a modern serif font with a unique, high-contrast binding style. The letterform morphology makes this typeface ideal for display purposes such as large bold logos and titles. Also, thanks to its large x-height, it works flawlessly in headlines with tight prefixes. On the other hand, its high contrast and very simple and easily recognizable form makes it very easy to read, so it also works with small and long text.

Steffyray is a fancy Signature font, has slanted and fun characters. It has Opentype features of ligatures, makes it a perfect choice for branding and digital designs. Use this font for logos, social media, websites, blogs, instagram, social media, business cards, branding, and more! Steffyray font support multilingual more than 100+ language. and good pair for your secondary text font with sans or serif. Make a stunning work with Steffyray signature font. Cheers, MaulanaCreative

Bobar is a retro inspired variable font. Bobar is very eye catching, its groovy design and bold chunky shape makes it great for retro projects. Bobar comes with standalone fonts and a variable version, the variable version allows you to manually adjust the slant. Bobar is designed with creative alternate and engraved characters, this makes it perfect for a wide range of project such as: branding, magazines, logos, product packaging, advertisements and much more.

Introducing Becham: A bold sans-serif font that commands attention with its strong presence. With its impactful lines and modern appeal, Becham adds a bold touch to your projects. Elevate your designs with Becham's assertive style, making a striking statement that can't be ignored. This typeface is ideal for greeting card, packaging, brand identity, poster, or any purpose to make your design project look eye catching and trendy. Feel free to play with this typeface!

Chevane Dream is a decorative serif font, this font is inspired by starlight. The characteristic of this font is its sharpness and light weight, which makes this font look more elegant and luxurious. Chevane Dream can be used for various projects such as branding & identity, posters, magazines, logos, albums and much more. Chevane Dream also has several features including multilingual support glyphs, alternative glyphs and ligatures, this feature can make your writing look more stylish.

Introducing Sazzle - Compressed Sans Serif: A sleek typeface that demands attention with its tightly compressed design and minimal white space. With its clean lines and modern appeal, Sazzle adds a touch of sophistication to your projects, making an unignorable, bold statement. This typeface is ideal for greeting card, packaging, brand identity, poster, or any purpose to make your design project look eye catching and trendy. Feel free to play with this typeface!

RMU Siegfried Pro is another breathtaking Art Nouveau font from the fin-de-siècle period which underlines your stylish projects in a remarkable way. The font was carefully redesigned, some oddieties abolished, and the font was extended to make it usable for Central European languages too. Three embedded graphic elements let you make a fitting frame. The letter k has an alternative form, so look for all OT features in this font.

Introducing the majestic "Kingstone Serif Fonts," a typeface that exudes power, elegance, and timeless appeal. With its commanding presence and exquisite details, this font is designed to make a bold statement in your designs. Let the "Kingstone Serif Fonts" reign over your projects and elevate them to new heights of sophistication. Its sturdy serifs and balanced letterforms exude a sense of authority, making it ideal for prestigious branding, editorial designs, and luxury packaging.