Although ITC Styleboy has a retro feel, it isn't based on any earlier typeface. As far as inspiration goes," says designer Chester Wajda, "I'd have to say comic strips of the '20s and '30s, and silent-film marquee lettering from the '20s - with a hint of a Chinese brush?" He originally created the typeface for a children's book he was working on. "I wanted it to be fun, but still somewhat formal in its underlying structure," he says. "It's largely based on right and 45-degree angles, with slight tucks inward on the stems and bowls, and a few flourishes here and there." Styleboy's top-heavy look is most noticeable in the caps, but it's exaggerated too in the "8" and the lowercase "g." Styleboy is Wajda's first typeface design."

Adelicia Script is a stylish calligraphy font that features a varying baseline, smooth line, classic and elegant touch. Can be used for various purposes.such as headings, signature, logos, wedding invitation, t-shirt, letterhead, signage, lable, news, posters, badges etc. Adelicia Script features 565+ glyphs and 264 alternate characters. including initial and terminal letters, alternates, ligatures and multiple language support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). Copy any of the extra characters to paste into your favourite text editor/app.

Di Mare is a layered script inspired by Italian restaurant and cafe signs. It’s about delicious food and the joyful atmosphere of traveling: freedom, sea, fresh wind and warm sun. This font family has three styles: Regular, Line, Shadow. You can combine and overlay them to get different effects. Di Mare works well for menu, packaging, clothes, signs, magazines, and as a starting point for lettering and logos. Di Mare is designed with hundreds of contextual alternates and ligatures. It makes all connections look natural and harmonious. Di Mare supports most European languages, has small capitals, numbers, fractions, currency and mathematical signs. All contextual alternates are built into the “Liga” feature that is turned on by default. However, when your work with typeface, please make sure that “Liga” is turned on.

Jengotan is a rapid script, hand-painted with a brush to give a great contrast between thick and thin curves. It is drawn, scanned and vectorized from paper to screen, with the intent of being an authentic brush typeface, leaving the texture and imperfections the way they are, resulting in a vivid style for projects that requires dynamic handwriting. Use [ ] { } < > anywhere in a word to create a swash. Example: Jeng{otan In addition to the Jengotan font, also included is the Upright variation. The lettering is suitable for quotes, logos, watermarks on photography, signatures, branding, advertisement, album covers, business cards, clothing, magazines, posters, and more! It is a font of very extensive lingual support, covering all European Latin scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

Rogik by Holyline, Rogik is a expressive serif font family, This font very elegant, unique , has a strong and sharp character. This font comes in nine weight with italic so there are a total of 18 fonts and support variable for upright and italic. It's very unique, playful, elegant and very easy to combine with your design style. Rogik also inspire by metal, pop, punk and street ware, fashion brand. Rogik perfect for headline, sub headline ,custom logo, packaging, quote, merchandise, sticker, badges, social media posts, label, album cover and anything for your creativity. Rogik is perfect font if you want something new with your project, you can play the 18 fonts style, and you can pairing this font with the weight, its very satisfy. So happy creating!

Du is a self hommage to Uncertain Felttip. Uncertain, made in 2008, is a typeface which reproduced faithfully the style in which I am writing on copy paper, usually using the felt-tip pen. This time, I wrote the new family by the same method but using the tablet PC and the touch pen. Although, as for some characters, Uncertain differs in a form, it is the result of reflecting my hand writing. I wrote all the characters. If it is original, all the characters diverted and composed, for example, characters, such as Aacute and Agrave, are written. Different specification from Uncertain is family composition. Although Uncertain had only 3 weight, 7 weight were designed for Du. This way a user can choose his favorite weight because the variation of weights increased.

Virginia is a calligraphic script font with multiple baselines, designed to convey elegance and style. It is subtle, clean and feminine. Works perfectly for logos, magazines, menus, books, invitations, wedding/greeting cards, packaging, labels, t-shirts etc. All your designs will have a beautiful homemade touch with Virginia. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. and there are additional ways to access alternatives, using the Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). If you need any help or suggestions please contact me via email "chaidirgata@gmail.com" Thank you for your purchase.

Loyalty Script is a new modern, trendy calligraphy font with an irregular baseline and a feminine style. Loyalty Script looks lovely on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and more. Perfect for using in ink or watercolor. Loyalty Script includes initial and terminal letters, alternates, ligatures and multiple language support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). Thanks so much for looking and please let me know if you have any questions.

Lunatica Display is a single weight, all capitals, slanted typeface ideal for titles and headlines due to its strong presence. It is constructed in a very modular fashion, stepping away from some typographic conventions, while keeping the form of its characters familiar and easily recognisable. This typeface is heavily inspired on the aesthetics of the space related sci-fi movie genre, specifically on the movie Moon (2009), directed by Duncan Jones and starring Sam Rockwell, from where it also picks up the inspiration for the name “Lunatica”. It was first designed as a branding exercise, thought to be the official typeface of Lunar Industries Ltd. — the company through wich the movie exists and unfolds. You can use Lunatica Display in more conventional contexts like branding but also in more experimental and futuristic-looking ways.

Razom Script is a typeface with deep roots in pointed brush calligraphy that takes advantage of current font technology to go beyond handwriting and reach new limits. A successful blend between printed and handwritten letterforms is visible when comparing upper and lowercase. The weight of the typeface evolve in a way that pushes the limits of a script typeface to suggest new uses. Normally, families are developed in weights, not proportions. Also, having several weights in a script family is rather rare. But in Razon Script, as the fonts gain weight, big differences show up in the font outlines: the thin weight looks soft and delicate but as we examine darker variables, they also seem to get broken. The counters of the letters rotate from vertical to horizontal during this process.

Around 1931, the Los Angeles Times (in partnership with the Richfield Oil Company) installed on its building a moving message board similar to the one at the New York Times in New York City which they dubbed an “electric newspaper”. The style of characters used on this electronic sign were the basis for the namesake font Electric Newspaper JNL, which is available in both regular and oblique versions. A blank space to place between words is available on both the solid bar and broken bar keystrokes.

The Raleigh Hotel at 18th Street and Collins Avenue on Miami Beach is an Art Deco landmark and part of the city's popular tourist district. A vintage matchbook from the hotel had its name hand lettered in what is now Beachfront Hotel JNL; available in both regular and oblique versions. The lower case letters have been made more traditional, eliminating the Deco-influenced "overhangs" present on the capital letters, and an alternate "E" from the original matchbook design is available on the bar and broken bar keys.

Presentation QuarterBraille (Abbreviated as "QB" thereafter) is a decorative, steganographic and lattice font. Its core design concept is that Braille dots are represented as "quarters of a square"[1]. This is illustrated by posters 1 and 2 (NB: these glyph parts will be called "QB dots" thereafter). The other glyph parts (see poster 3) are purely decorative and meaningless in terms of Braille dots encoding[2]. All glyph parts are meant to generate a wide variety of patterns from horizontal and vertical combinations of glyphs. There is also a graphic convention to differentiate uppercase from lowercase letters with the presence or absence of shape subparts (in the "endings", "quarter of a circle with a ring" and "quarter of a diamond with a small square in the middle") like shown by poster 4. This font is suitable for very short texts (e.g. logos, acronyms, quotes, ambigrams, pangrams, palindromes, etc...) but on the other hand it may be used for steganographic purpose like geocaching as well as fictive alphabets (e.g. Alien/SciFi/Fantasy/Antique civilizations). Posters 1. Font Logo: the displayed text is " Quarter " followed by " Braille". There's a rainbow layer above the text to highlight the "QB dots", this is achieved by A..Z glyphs with "only QB dots" (codes 230..255) 2. Anatomy of a Glyph (L) and "QB Dots" (quarters of a square) 3. Glyphs Parts: Square and Cross (Inverted square), Circle and Inverted Circle (with or without the small circle in the middle), Diamond (with or without the small square in the middle), Inverted Square and Circle, Shape combos, Ending 4. Uppercase vs Lowercase (tiny shape subparts are shown in red) 5. Sample 1: Bathroom sink with QB tiles on the credence 6. Sample 2: Hands knuckle tatoos: "LOVE/HATE"[4] 7. Sample 3: Poker Hand: pocket Aces. It's an Ace of Hearts (Ah) on the left and an Ace of Spades (As) on the right. Like in regular cards, the card value (e.g. Ah) is displayed twice: at the top and rotated by 180 degrees at the bottom. This poster also illustrates that QB could be used to print embossed playing cards with tactile and visual display of card values. 8. Sample 4: Pangram: "Adept quick jog over frozen blue whisky mix" 9. Sample 5: Latin Magic Square: "SATOR AREPO TENET OPERA ROTAS" (NB: for compensation of the 2/3 glyph ratio, letters on each line are separated by a space: "S A T O R", ...). 10. Sample 6: Quote of Mahatma Gandhi: "Learn as if you will live forever, live like you will die tomorrow.". This is also a demonstration of border glyphs combinations. 11. Sample 7: Steganography use case: the text is a sequence of 64 aminoacids (1 Letter notation), this protein was described in a research paper "The complete Aminoacid sequence of an amyloid fibril protein AA of unusual size (64 residues) 1975". 12. Sample 8: Border Glyphs with the provided styles and mixed styles. The words are the same than in poster 9 ("SATOR AREPO TENET OPERA ROTAS"). Despite the 2/3 glyph ratio, the "TENET cross" was achieved by both inserting spaces in horizontally ("T ENE T") and by using the "thin borders glyphs". Notes a. Border glyphs[3] are meant to enhance the esthetics of text samples displayed with QB b. Special characters (e.g. *$()[].,;:&@# ...) are provided and follow the NABCC (North American Braille Computer Code) convention. c. A..Z Glyphs with only the "QB dots" are provided as demonstrated by posters 1 and 2 (A/N: this was very useful to create them). d. Glyph Map: 32..64: Special characters - 161..187: "Thin variant" of Border glyphs, 192..229: Border glyphs, 230..255: A..Z with only the "QB dots" - Codes 176 an 181 are "regular SPACE" (empty glyph). Footnotes 1. There is indeed two shapes which represent the braille dot: the "quarter of a square" and the "quarter of a cross". It's because a cross may be considered as an "inverted square" because the square corners are merged in the center. 2. That's why the SPACE glyph is only made of decorative/meaningless glyph parts (i.e. no "QB dots"). 3. For other fonts with border glyphs, please take a look at my other "decorative Braille fonts" (GoBraille, HexBraille, KernigBraille, StackBraille, MaBraille, DiamondBraille, LorraineBraille). 4. LOVE/HATE knuckle tatoos are inspired by the anthology scene from "The Night of the Hunter" movie (Charles Laughton 1955), it also appearead in "Do The Right Thing" movie (Spike Lee 1989). Disclaimer This font is not appropriate and not meant to print text documents in Braille for the blind readers audience.

Linotype Monticello was designed by C.H. Griffith in 1946. Its design is based on James Ronaldsons Roman No.1 and Oxford Typefaces from American Type Founders and was revised by Matthew Carter while he was working at Linotype between 1965 -1981.

Flox display typeface was designed in 2000 by Vladimir Pavlikov. Cyrillic was developed in 2005. The project was aimed to create a decorative vivid alphabet of geometric shapes. For use in advertising and display typography. Licensed by ParaType in 2005.

The FaRer family was originally made in 1997. The OpenType revision, with extended Latin characters, was made in 2009.

While throned before your keys, under your drumming fingers awaits the most astounding standard computer typeface ever devised: BuGlobal. In addition to all the usual alphanumeric characters and symbols, this lone font lets you type more than 400 accented letters appearing in more than 80 English-variant languages worldwide, 70 common math and science symbols, and dozens of other useful characters —more than half a thousand all told— all within the digital parameters of one standard computer typeface, without needing any alternate keyboards or other clumsy digital luggage. Here is a sample: You can add any accent appearing in more than 80 English-variant languages used around the world to any letter appearing in all these languages simply by typing ANY letter then the accent. This includes more than 400 diacritic-laden letters in all —without needing to remember several keystrokes to type any of these letters as a few of them appear in standard computer typefaces. You can type more than 50 math/science symbols that do not appear in standard computer typefaces. These new symbols include several kinds of arrows plus constants, centerlines, dimensions, and graphs and scales that when retyped create continuous scales and graphs. Common symbols such as ballot boxes, rating stars, checkboxes, hearts, fancy fleurons, and similar motifs that do not appear in standard computer typefaces. Dozens of flashy arabesques like ========= [in BuGlobal these equal signs are kerned together so when you type them you create a continuous double line]. In this typeface more than 30 symbols that never appear twice in a row are kerned together so when you continuously type them you create all kinds of flashy arabesques that will make your typing more attractive. No other standard compute typeface allows you to do this. As for Beauty, BuGlobal’s characters are designed according to several axioms of ocular perception until each profile is as iconically simple as Shaker furniture. These axioms make BuGlobal’s letters easier to read compared to other typefaces, and a few of them are: Each letter should look much like the others but for one defining detail. The letters should be as similarly wide as possible. The letters’ midbars should be the same height and thickness. The higher the lowercase letters are compared to capital letters, the more legible and easily readable are their texts. BuGlobal has a typeface user’s guide, titled A Lovely Face, in which a description of each ocular axiom compares BuGlobal with Baskerville, Georgia, Palatino, and other commonly-used standard computer typefaces so you can quickly see why the other typefaces are inferior. You can download a pdf file of this typeface user’s guide, for free, at BuGlobal’s website, butlerfontforge.com, at any time so you can learn all about BuGlobal’s many amazingly new features before possibly buying it. BuGlobal’s plain letters are perfect for texts, its italics are gracefully emphatic, its bolds are ideal for titles and headers, and its arabesques are a fancy way to make your texts look dressy —all of which will add more shimmer to your semantic plumage. One good typeface is more useful than an infinity of poor ones. Robert Bringhurst

Worldly Even though it’s a new arrival, FS Brabo has seen the world. Designed by a Brazilian working in London and studying in Belgium under a Dutchman, it’s certainly well-travelled. And it was inspired by the extraordinary archive of early book typefaces at the world-renowned Plantin-Moretus Museum in Antwerp, while Fernando Mello was attending Frank Blokland’s Expert class Type Design course at the Plantin Institute of Typography. It was there that Fernando became engrossed in the collection of early metal type, matrices, punches and type samples by figures such as Garamond and Granjon. So much so that he took on the mighty task of developing ‘a beautiful, functional, serifed text font’ of his own. Heroic FS Brabo’s journey from sketch to font family took an epic three years, starting in Antwerp, continuing at Fontsmith in London, and reaching its conclusion back in Fernando’s home city of São Paulo. No wonder Fernando was reminded of another titanic face-off: that of Antwerp’s Roman hero of legend, Silvius Brabo, and the evil ogre, Antigoon. Brabo came to the town’s rescue after the tyrannical giant had been charging ships’ captains extortionate taxes and chopping off the hands of those who refused to pay up. Having finally downed Antigoon after a long and terrible duel, Brabo cut off the giant’s own hand and threw it into the river Scheldt, unwittingly giving the town its name: the Dutch for ‘hand-throw’ is hand werpen. What better way for Fernando to name his literary typeface than after the hero of Antwerp’s oldest tale? The garalde factor FS Brabo is not a revival, but a very much a contemporary, personal interpretation of a garalde – a class of typeface originating in the 16th century that includes Bembo, Garamond and Plantin, with characteristically rounded serifs and moderate contrast between strokes. Brabo’s ‘ct’ and ‘st’ ligatures, upper-case italic swashes and contextual ending ligatures – ‘as’, ‘is’, ‘us’ – all preserve the beauty and character of traditional typefaces, but its serifs are chunkier than a garalde. Their sharp cuts and squared edges give them a crispness at text sizes, helping to bring a beautifully bookish personality to hardworking modern applications. A workhorse with pedigree It may give the appearance of a simple, four-weight typeface, but FS Brabo has hidden depths beneath its simplicity and beauty. OpenType features such as cap italic swashes, contextual ending swashes – programmed only to appear at the end of words – and stylistic alternatives make this a complete and well-equipped typeface. Comprehensive testing was carried out at text and display sizes, too, to prevent counters from filling in. All of which makes FS Brabo a very modern take on a traditional workhorse serif typeface: colourful and versatile enough to adorn not just editorial projects but also signage, advertising and logotypes.

Worldly Even though it’s a new arrival, FS Brabo has seen the world. Designed by a Brazilian working in London and studying in Belgium under a Dutchman, it’s certainly well-travelled. And it was inspired by the extraordinary archive of early book typefaces at the world-renowned Plantin-Moretus Museum in Antwerp, while Fernando Mello was attending Frank Blokland’s Expert class Type Design course at the Plantin Institute of Typography. It was there that Fernando became engrossed in the collection of early metal type, matrices, punches and type samples by figures such as Garamond and Granjon. So much so that he took on the mighty task of developing ‘a beautiful, functional, serifed text font’ of his own. Heroic FS Brabo’s journey from sketch to font family took an epic three years, starting in Antwerp, continuing at Fontsmith in London, and reaching its conclusion back in Fernando’s home city of São Paulo. No wonder Fernando was reminded of another titanic face-off: that of Antwerp’s Roman hero of legend, Silvius Brabo, and the evil ogre, Antigoon. Brabo came to the town’s rescue after the tyrannical giant had been charging ships’ captains extortionate taxes and chopping off the hands of those who refused to pay up. Having finally downed Antigoon after a long and terrible duel, Brabo cut off the giant’s own hand and threw it into the river Scheldt, unwittingly giving the town its name: the Dutch for ‘hand-throw’ is hand werpen. What better way for Fernando to name his literary typeface than after the hero of Antwerp’s oldest tale? The garalde factor FS Brabo is not a revival, but a very much a contemporary, personal interpretation of a garalde – a class of typeface originating in the 16th century that includes Bembo, Garamond and Plantin, with characteristically rounded serifs and moderate contrast between strokes. Brabo’s ‘ct’ and ‘st’ ligatures, upper-case italic swashes and contextual ending ligatures – ‘as’, ‘is’, ‘us’ – all preserve the beauty and character of traditional typefaces, but its serifs are chunkier than a garalde. Their sharp cuts and squared edges give them a crispness at text sizes, helping to bring a beautifully bookish personality to hardworking modern applications. A workhorse with pedigree It may give the appearance of a simple, four-weight typeface, but FS Brabo has hidden depths beneath its simplicity and beauty. OpenType features such as cap italic swashes, contextual ending swashes – programmed only to appear at the end of words – and stylistic alternatives make this a complete and well-equipped typeface. Comprehensive testing was carried out at text and display sizes, too, to prevent counters from filling in. All of which makes FS Brabo a very modern take on a traditional workhorse serif typeface: colourful and versatile enough to adorn not just editorial projects but also signage, advertising and logotypes.

Externa™ is inspired by science fiction culture. A typeface to be used in the outer space, outside the atmosphere of our planet. Perfect for logos, film, video games, packaging, signs, album covers and more. Included in Externa™: Support for over 94 languages. Over 400 glyphs. Take your designs to the future with Externa™. Please note: artwork is not included with font purchase. The images above are intended as Externa™ examples of use only. Externa™ was designed and created by Franz Noise. Designer: Franz Noise Publisher: Typenemy Format: OpenType OTF Release date: 2020/2021

Milafleur presents the second member in the series of pictorial fonts with calligraphic miniatures by Lyudmila Mikhailova. The first font of the series, Milanette, was released one month earlier. Milafleur contains more than 60 pictures -- mostly flowers which define the origin of its name. In contrast to Milanette the pictures in Milafleur are less abstract and thus can be used as small illustrations in greeting texts, postcards, intimate notes, diaries and even in Christmas cards because some of the pictures show strobiles instead of flowers and coniferous branches instead of leaves. Released by ParaType in 2011.

The starting point for Wildcat was the 3×5 squared grid popular for tiled lettering and American sportswear typefaces. However, Wildcat breaks free of the net whenever necessary. This typeface comes across as tough, it has no soft curves, and evokes strength and confidence. Unlike other collegiate-style fonts, Wildcat includes a real lowercase which makes the face particularly usable and adaptable. Wildcat also contains a full complement of Latin Extended-A characters. Three fonts are included in the download; Regular, College and Outline. The College and Outline fonts share identical spacing and kerning, so can be overlapped to create bicolor artwork.

Taro Why do designers make more and more geometric fonts? There are already many geometric sans in the world. Because It is a natural flow of design. It is true that we like geometric type instinctively. Taro was designed to archive a good balance between the following three things geometrically. 1. To be Natural, Flowing, Organic. 2. To be Neutral, Unbiased, Universal. 3. To be legible, distinguishable, readable. Consists of eight weights and their matching italics. Supporting almost all latin languages. All-caps text for one line or a few is as wonderful as normal mixed-case typesetting.

Linotype Rowena is part of the Take Type Library, selected from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This text font was designed by the Latvian artist Gustavs A. Grinbergs and is available in six weights, from light to black. The font has a light stroke contrast and its basic forms are the circle, rectangle and triangle, making it a constructed face. The impression of the font on the reader is elegant and cool, very like poster fonts of the 1930s. Linotype Rowena is suitable for headlines and shorter texts with point sizes 12 and larger.

Usagi is a display font created with original handwriting. It was created with the Japanese style in mind, therefore it’s ideal for Japanese-themed projects. If you utilize this font in all of your projects, you will achieve a stunning, appealing, and great result. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out

Controlled casualness is the watchword in this new handwriting script from the prolific young French designer Éric de Berranger, who also designed the sans serif type family ITC Octone. ITC Berranger Hand has its roots in chancery calligraphy, yet its surface looks like contemporary informal lettering that was written quickly with a felt-tip pen on slightly absorbent paper. The counters of some letters appear to almost fill in from ink spread, yet Berranger Hand is admirably readable at small sizes. The capital letters are restrained, without swashes, so they can be used together in all-caps combinations.

Artographie is a Art Deco sans-serif family. The lettering was designed by Måns Grebäck during 2019 and 2020. It gives any project a moderist appearance, as a reinvention of the hundred-year-old style of design, adapted and adjusted to fit in present-time purposes and technology. The typeface is a family containing five styles: Thin, Light, Medium, Bold and Black. The weights are top quality and created to balance perfectly against each other. It has a very extensive lingual support, covering all European Latin scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

Bandalero is a witty display font from British designer Richard Yeend. The letterforms in this poster/display typeface are quite square-ish and geometric. The lowercase letters have short x-heights, and the uppercase letters look dressed for a showdown, with bandoleer-like elements strapped across their tops. Because of this, Bandalero should only be used in large sizes, where it can really stare down its opponent, or reader. This might be the best font yet for a keep out sign! Bandalero was designed in 2003, and is part of the Take Type 5 collection, from Linotype GmbH."

DaiVernon is based on the handwriting of card magician extraordinaire Dai Vernon. Known as "The Professor", Vernon was a beloved expert in sleight-of-hand and card magic. These fonts are based on the penmanship in his notebooks from the 1920s, which feature almost no lowercase letters. DaiVernon Direct is based on what appears to be his hastier style, while DaiVernon Misdirect is based on his neater hand. Numerous OpenType bonus glyphs, contextual alternates and discretionary ligatures help to create the feel of his handwriting. Thanks go to Michael Albright, David Ben, and Gene Matsuura for helping to provide access to Vernon's notebooks.

Flawless Flygirl is a quirky sans-serif font inspired by the titling sequence from the 1964 film, "The World of Henry Orient". Fun and full of personality, it is one of those lettering styles that was a joy to flesh out and make into a typeface filled with double letter ligature alternates to keep the typesetting weird and wonderful. With a pseudo unicase character set, and offbeat letter weighting, Flawless Flygirl is fun to typeset, with ligature combinations that are pleasant surprises. You’ll find this Flawless Flygirl is ready to dance to the beat of your designs.

Carolyna is an elegant, yet whimsically handwritten calligraphy font that was created with readability in mind. It uses open-type features to assist with letter flow and to give each creation that modern, hand-lettered touch. With over 1000 characters, there are many stylistic alternates to choose from, tons of foreign characters so you can write in other languages, and fun swashes to give headings a little something extra. Note: The Pro version contains ALL characters - but if you can't use open-type, I highly recommend opting for one of the other options where what you see is exactly what you get!

I found this type specimen on the statue of Jan Hus in Prague’s Old Town Square. The statue was designed in 1903 by Ladislav Saloun, and its writing is the cutest Nouveau font I've ever seen. Filling in the blanks, I realized the need for a standard lower case because the caps are so wild. The result is a very type-able and dynamic Nouveau. I encourage you to mix up your upper and lower cases for curious results. Use the lower case for running type. Go to http://facebook.com/frostfoundry to share this and see more!

Adrian Frutiger designed Egyptienne F for the Deberny & Peignot Foundry in 1956. This was the first of several Egyptians designed by Frutiger, see also Glypha and Serifa. “Egyptian” or “Egyptienne” is a typographic designation for roman typefaces with slab (or square or rectangular) shaped serifs; and those that have bracketing between main stroke and serifs (like this one) are known as “Clarendon-style Egyptians”. Egyptienne F has a medium x-height and excellent character spacing for setting text in small point sizes. Legible, flexible, and neutral in appearance, Egyptienne F is a good choice for books, magazines, and on-screen presentations.

This is Avris, an exceptional and feminine stencil font. The base was designed in 2015. The word ‘avris’ derives from the latin rara avis, which means “rare bird”. Stencil fonts were initially designed for mass production and transportation companies. Unlike this one, Avris’ curvy and minimalistic design feels and looks like the wings of birds, flying above the quiet ocean. It also has a roman, calligraphic and cryptographic touch to it. It can be used for editorial (fashion) magazines and poster designs. Looks great in headlines! Also the numerals are a must see when you put it in use.

First Prize typeface has simple shapes. It is a narrow, heavy sans serif typeface with geometrical logic and quite predictable constructions of characters. The idea behind it was to combine constructed structure of the skeleton and some calligraphic ideas, swashes and cursiveness. At the moment First Prize typeface consists of three narrow styles: bold, upright italic and italic. Cursive weights have beautiful ending swashes and initials. There are few alternative shapes for A&N. As a Display typeface First Prize will work very well with any other typefaces for the good of any project in print or online.

Gingo is a wild brush script. The typeface was drawn and created by Måns Grebäck between 2018 and 2020. Its thick strokes are inspired by mid-century advertising, is full of spirit and progressiveness. The handwritten family consists of three weights: Gingo Thin, Gingo Medium and Gingo Bold. Its multiple alternate alphabets gives the font a true handwritten feeling. Use it for a logotype, a greeting card or as a headline. The font contains all characters you'll ever need, including all punctuation and numbers. It has an extensive lingual support, covering all European Latin-based scripts.

Chrysante is a flowing pen script. The typeface was drawn and created by Måns Grebäck between 2018 and 2020. Its thin lines are inspired by mid-century advertising, emits optimism and has a strong personality. The ink script family consists of three weights: Chrysante Thin, Chrysante Medium and Chrysante Bold. Its multiple alternate alphabets gives the font a true handwritten feeling. Use it for a logotype, a greeting card or as a headline. The font contains all characters you'll ever need, including all punctuation and numbers. It has an extensive lingual support, covering all European Latin-based scripts.

The Diamonds type family was designed by Hannes von Döhren in 2012. It is an experimental search for geometric new letterforms, which are still easy to read and generate some unexpected attention. Hannes wanted to create a straight and clear typeface but pull away from the path of classic and well learned letter shapes. The Diamonds type family is equipped for complex, professional typography. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages. Each font includes alternate letters, fractions, scientific superior/inferior figures and a set of arrows and geometric forms.

I bought a pineapple the other day, because my kids really like pineapples. Ok, ok, it may not sound like something special to you - but keep in mind that pineapples in Holland are an expensive fruit. We mostly get the canned ones (which I don’t like too much). Anyway, when I was slicing up the pineapple, I thought I should name a font after this bizarre, but tasty, fruit. And so I did. Pineapple Daydream is a handmade serif. I am not sure how to classify it, but I am sure you’ll figure that out. Comes with a plantation of diacritics.

Berliany As the name suggests, berliany are handwritten fonts that look like they were written by hand perfect mix modern calligraphy, Add a touch of luxury and style to your projects too, with Berliany font Collection. It's highly recommended to turn your Opentype features on while using the script font, to make use of it's best features - the multitude of OpenType ligatures. As you type, your text looks like natural handwriting, and less like a monotonous font. Berliany font was created to help you designing makes gorgeous logos, posters, wedding invitations, blog posts, social media etc