Headlines are transformed into clear-cut messages with the handwriting type family Slandic. Its robust appeal combines the elegance of script typefaces with the lightness of handwritten notes. What makes the Slandic so playful is the synergy between the quite narrow lowercase letters and the wide uppercase letters. Therefore it might rather be an upright chancery italic of a humanist sans. You can see it very clearly in its sharp upward angles and its long-limbed ascenders. Its visual appeal sets a reliable tone. It is precisely balanced with a solid stroke contrast and confidently angular-shaped curves. Slandic perfectly enhances exciting contrasting typography adding a personal note without giving it a comic spin.

OkayCursive began over coffee, in a local flower shop, where my wife takes a floral arrangement class. I discovered a book there, with old photographs from Paris of flower shop displays. What caught my eye in the background of one of these photos, was the hand-painted lettering on a sign. Inspired, I quickly sketched some of the letters on a napkin and stuck it in my pocket. I began to sketch more over the next few days, looking to construct a full-out cursive font with this distinct French look. I wanted my design to be creative & free flowing, but I also wanted it to be at least somewhat proper. So, I consulted some schoolbooks for reference on the correct cursive forms. After more drawing, I began to create the final vector art. Gradually, these ideas -- plus many hours of careful kerning and metrics -- came together to form OkayCursive. Use OkayCursive any time you want fancy, legible, and luxurious text. Works great if you are designing a logo, or use it to create some beautiful titling. Use it for advertisement copy, or even for short to medium-length bodies of text -- go ahead and have fun with it. OkayCursive is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications.

The typeface was designed at the Polygraphmash type design bureau in 1951-53 by Lev Malanov, Elena Tsaregorodtseva et al. Based on Cyrillic version of Excelsior, 1931, of Mergenthaler Linotype, by Chauncey H. Griffith. Excelcior Cyrillic was developed in 1936 in Moscow by Professor Michael Shchelkunov, Nikolay Kudryashev et al. A low-contrast text face of the Ionic – "Legibility" group.

Arventa was designed to be highly legible and flexible. Arventa offers a high quality alternative to contemporary humanist sans serifs and is a flexible family for editorials and corporate branding. Arventa comes in seven weights (ExtraLight, Light, Regular, Medium, Bold, Black and UltraBlack). I wanted to create a very refined family that could be used for display or body copy, for print or digital.

One day shortly after Christmas 2004, the art-director of Vogue Moscow called me. Would I maybe make a Cyrillic version of my Bodoni Classic Text typeface? Well, since I had been thinking about doing it since a long time, this was the perfect reason to finally do it. It was not an easy venture, since I do not have the faintest idea of Russian but, together with those nice people in Russia and a fellow helpful type designer in Kiev, I managed. I did an enormous amount of kerning, thanks to the help of the Moscow Vogue office. Here the fonts are now for all of you: five text cuts, plus one standard roman cut that has no Cyrillic letters but an extra set of medieval numbers. At Vogue they are happy with the fonts, even though I did not quite adhere to Bodoni's originals in this case. Nastarowje (or whatever you say in Russia), Gert Wiescher

Hello, friends! Just this year I went to the United States for the first time. To my surprise, the neighborhoods, streets, and parks that I had only seen in the movies turned out to be true. There is a soul in them. I really enjoyed wandering these endless streets, soaking up this spirit. They feel childishly carefree, as if you were in a movie.Just try this font and understand my feelings. The font will work for almost anything: social media, cards, invitations, announcements. Good luck and love to you!

As a kid, I often fantasied about which superpowers would be the coolest. That was a time before the internet and social media, so my references were limited. But I guess that being invisible or fast speed was the top wishes. Not much, but still great powers - today, I think I’d wish for “world peace” or “with a blink of my eyes, sushi appears” as superpowers. Anyway, say hello to my multilingual graffiti-inspired comic font, Fictional Powers, that even comes in a super-duper-sonic-speed version!

Hazzard is a script that is inspired by a retro style and combination with hand lettering style. I have made with personality in every single curve. I hope this can inspire your work with its very bouncy baseline. It also includes a super handy set of bonus swashes. Hazzard is ideal for logos, handwritten quotes, product packaging, header, poster, merchandise, social media & greeting cards.

Fiorentina is a ecstatic, abundant, embellished script in the Renaissance tradition. It could have been made for the Medicis or Sforzas. But I designed it completely new after being inspired by colorful Florentine wrapping papers. I gave it many different swashes and understrokes, alternate upper- and lowercase characters, 659 characters in all! The font has all accents for the European languages, Baltic, Roumanian and Turkish. Yours very versatile designer of beautiful typefaces Gert Wiescher

Transylvanian punchcutter Nicholas Kis cut a leading figure in 18th century Amsterdam. Series of his matrices survived at the Ehrhardt typefoundry. From these Chauncey Griffith at Mergenthaler cut the Janson series in 1936. Morison at Monotype followed with Ehrhardt. David Berlow takes full advantage of current techniques to produce these splendid and adventurous display series to complement one of the great oldstyle texts; FB 2007

The German poet, painter, calligrapher and type designer Emil Rudolf Weiß originally created this eponymous typeface for the Bauer Foundry of Frankfurt. Long known and loved by metal type enthusiasts under the name "Weiss Antiqua," this design was inspired by typefaces from the Italian Renaissance while still distinctly reflecting the artistic and poetic personality of its twentieth-century designer. Weiss has tall ascenders, sharp apex points, and a low-slung midsection on the caps. The italic moves like a classical ballerina. Weiss is one of the earliest contemporary serif types to have italics based on the chancery style of writing. The Weiss family works well for warmly legible text typography; and it's also an original choice for refined headline and display graphics."

You came to the right place, if you need a Bold Clean Script font to make your project perfect such a logo design project, poster design, brand identity, heading, wedding, greeting cards, invitation and more this script handwritten font is into it ! I Created this font for social media need first, but i think this logo is great for corporate branding or logo design project too and boom ! Of Course !

Carpe Noctem (Latin for ‘Seize The Night’), was a bit of a surprise. Someone asked me if I could create a lower case for my Closet Skeleton font. I began working on it and lo and behold, a beautiful font started taking shape. So, if you’re in need of a slightly scary fairytale font, complete with angled edges, swirly bits, a couple of alternate - even more curly - glyphs and an alternate medieval ampersand, then Carpe Noctem is your typeface!

I am First Contact, a super ultra condensed all caps font with support for over 90 languages and over 540 ligatures. I am a cutting-edge font that is both cool and chic, yet still personal. I am perfect for a wide range of design projects, from logos and branding to headlines and posters. I am the future of your typography. I am the font that will take your designs to the next level. I am bold, I am confident, and I am here to make a statement. I am not like other fonts. I am not afraid to be different. I am unapologetically myself. I am First Contact, and I am here to shake things up. I am the perfect font for anyone who wants to stand out from the crowd. I am the font for the bold, the brave, and the innovative. I am First Contact, and I am the font for the cool kids. I am the font for the trendsetters. I am the font for the people who want to be ahead of the curve. I am First Contact, and I am here to help you create something truly unique. I am more than just a font. I am a movement. I am a call to action. I am a challenge to be different. So what are you waiting for? Use me today!

“I originally drew the primary characters with a felt tip marker, scanned them and then proceeded to noodle on the computer,” says George Ryan of his new typeface, Koorkin. “Over the years, I’ve designed many original typefaces, but Koorkin has become one of my favorites. I’ve worked on hundreds of highly structured text faces. For the most part, the roots of all of them can be found in the handwritten letterforms we learn as children. I enjoy going back to these shapes whenever the opportunity presents itself. ”The happy result of Ryan‘s felt tip marker sketches and his love of simple letterforms is a new family of upright and italic scripts in medium and bold weights.

This is the display version of Librum. Librum means “book” in Latin, which I thought was appropriate. Bream is Latin for proclaim—appropriate for display work. The fonts are very close to Librum-Book and Librum-Italic, with the same OpenType features. The glyphs are modified a bit to make them a little more elegant, but that’s not very noticeable. Mainly, the letterspacing and kerning is tighter and more carefully fit to large point sizes. As for classification, I like oldstyle, Venetian, geralde, English oldstyle. There’s discrete modulation, slanted crossbars, full brackets serifs of medium thickness and sharp cut ends. For a great deal, see Librum Book Design Group, for a package containing all fifteen fonts!

Rahere Informal is a slab semi-serif typeface that has a seriously charming personality and a little spring in its step. Serifs bend and flick, giving the characters a spirited, almost calligraphic feel. It's lively and friendly without being whimsical, great for messages that need a casual but credible tone with a bit of zing in the mix. Rahere Informal is suitable for a wide range of applications such as information signage, packaging, advertising, brochures, catalogues, screen text, visual identities and opera festivals. Want an annual report that pleases the board, shareholders and investors? Set it in Rahere Informal - that’ll put a smile on everyone’s face. The family comes in six weights from light to extra bold with corresponding italics. The lighter weights are more delicate, an evenly-spaced flamboyance of flamingos basking in the sun. As the weights get heavier, characters transform into a tight-knit group of line dancing rhinos. All styles contain a set of swash caps, a few ligatures and alternatives. Nice. The character set covers most European languages plus Vietnamese. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles (matching Rahere Sans and Rahere Slab). If a companion sans serif is needed, Rahere Sans is the ideal partner. They are both part of the extended Rahere typeface family and have been designed to complement each other. Seriously charming, charmingly serious. Seriously, what more do you want from a typeface? Rahere, founder of St Barts in London The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded the Priory of the Hospital of St Bartholomew, London in 1123. In 2007 I was successfully treated at Barts for relapsed testicular cancer so I’m indebted to all the doctors, nurses and support staff who work there. A special shout out to Orchid Cancer – a UK charity that helps men affected by cancer – who funded the research for my treatment.

Part of the extended Rahere typeface family, Rahere Slab is a humanist slab serif (or Egyptian) in six weights from light to extra bold with corresponding italics. Rahere Slab – like its sibling Rahere Sans – features subtle detailing, giving the typeface a distinctive, warm appearance without distracting the reader. Legible at large and small sizes, Rahere Slab is a versatile, workhorse typeface that is suitable for a wide range of applications such as information signage, packaging, annual reports, advertising, brochures, catalogues, screen text and visual identities. Slab serifs are ideal for projects that need to convey a sense of authority tempered with diplomacy or messages that just need some serious oomph – and Rahere is a great slab for the job. The italic lowercase is more cursive and expressive than the roman and when they’re used together it displays enough character to create emphasis without looking out of place while harmonising admirably. Set on its own (for example, pull-out quotes), the italic exudes a charm that draws attention to the text. The character set covers most European languages plus Vietnamese. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles (matching Rahere Sans too) – indispensable for financial tables in annual reports. If a companion sans serif is needed, Rahere Sans is the perfect partner. They are both part of the extended Rahere typeface family and have been designed to complement each other beautifully. The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded the Priory of the Hospital of St Bartholomew, London in 1123. In 2007 I was successfully treated at Barts for relapsed testicular cancer so I’m indebted to all the doctors, nurses and support staff who work there. A special shout out to Orchid Cancer – a UK charity that helps men affected by cancer – who funded the research for my treatment.

Menoka is an elegant and modern serif typeface inspired by the late renaissance period. Menoka was designed with a very thin hairline and long serifs, this reflects the elegance and sophistication that was evident during the 17th century. With over 90 stylistic ligatures, Menoka is great for headlines and short to medium texts. Menoka is compatible with 93 languages and contains 433 glyphs, including several alternatives. I hope you enjoy using the Menoka typeface.

Eksperiment is danish for experiment. Without much guessing or knowledge to danish, you probably already knew that! I like those danish words containing a "k" - is it because my name is spelled with a "k"? I don't know - maybe it's because it kind of represents the danish language, which is full of words with "k"s. Anyway, the reason for the name is that I wanted a font looking like it had gone through tough times, a bad copy machine and perhaps even crumpled paper...but the experiment is that the font is 100% made using digital media. I used my MacBook and my iPad creating this font. I find it quite amusing, that something 100% digital looks like something organic. I've added 5 different versions of each letter, which is really helpful when working with grunge fonts. It looks more natural, when the same letter rarely repeats itself.

introducing MILKY RAINBOW - Bold and Bouncy Handwritten Font - MILKY RAINBOW is natural handwritten font. come with a bold style, it is very eye-catching. It is great for packaging, branding, quotes, cards, banner, book, cutting, silhouette, social media content, and anything of your craft project. I created some ligatures to make it look so natural. Features: - Uppercase - Lowercase - Number & punctuations - Multilingual - PUA encoded I hope you love it. regards, Abo Daniel Studio

introducing CHEERFUL GIRL - handwritten font with doodles - Cheerful girl is natural handwritten font. It is great for quotes, cards, banners, books, cutting, silhouettes, social media content and anything of craft project. I created the doodles to make this product perfect. and it is very easy to access. What's included? - CHEERFUL GIRL - CHEERFUL GIRL DOODLES Features: - All Uppercase - Number & punctuations - Multilingual - Doodles - PUA encoded I hope you love it... regards, Abo Daniel Studio

introducing LOVELY PURPLE - catchy and quirky handwritten - LOVELY PURPLE is natural handwritten font. It is great for quotes, card, banner, book, cutting, silhouette, social media content and anything of craft project. Lowercase and uppercase are matching each other, so you can combine them as you want. I created some ligatures to make it look so natural. Features: - Uppercase - Lowercase - Number & punctuations - Multilingual - PUA encoded I hope you love it... regards, Abo Daniel Studio

Palatino Sans Arabic is a collaboration between Lebanese designer Nadine Chahine and Prof. Hermann Zapf. The design is a low-contrast companion to the award winning Palatino Arabic and comes in both regular and bold weights. It is designed for use in print in both large and small sizes, and brings into Arabic the informal and friendly appearance of Palatino Sans. The counters are wide open to allow for better readability in small sizes as well as to maintain an open and friendly appearance. The font has 1091 glyphs and includes a large number of extra ligatures and stylistic alternates as well as the basic Latin part of Palatino Sans and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.

ZapfinoExtra is an OpenType format typeface available in two versions. The Contextual version contains a treasure-trove of extra contextual features. When created in 2004, this was the most advanced OpenType font released to date. By purchasing the Contextual version, users of OpenType-supporting applications, such as Adobe InDesign, may access all of the features available in the entire Zapfino family through just two fonts, Zapfino Extra LT Pro (Contextual), and Zapfino Forte LT Pro! Unfortunately, most non-Adobe applications currently do not support the contextual features made possible by recent OpenType developments. Users of Quark XPress and Microsoft Office should instead purchase all of the non-contextual fonts of Zapfino Extra Pro family, in order to access all of the Zapfino family's 1676 glyphs. The Zapfino family's character set supports 48 western and central European languages. More Zapfino History: Today's digital font technology allowed the world-renowned typeface designer/calligrapher Hermann Zapf to finally realize a vision he first had more than fifty years ago: creating a typeface that could capture the freedom and liveliness of beautiful handwriting. The basic Zapfino™ font family, released in 1998, consists of four alphabets with many additional stylistic alternates that can be freely mixed together to emulate the variations in handwritten text. In 2003, Herman Zapf completely reworked the Zapfino design, creating Zapfino™ Extra. This large expansion of the Zapfino family was designed in close collaboration with Akira Kobayashi. Zapfino™ Extra includes a cornucopia of new characters. It features exuberant hyper-flourishes, elegant small caps, dozens of ornaments, more alternates and ligatures, index characters, and a very useful bold version-named Zapfino™ Forte. Use Zapfino to produce unusual and graceful advertisements, packaging, and invitations. Zapfino Extra is so joyously abundant that it's tempting to over-indulge, so be sure to check out the tips for working well with the possibilities!"

A pen stroke Roman with a medium thick to thin contrast and slightly flared stroke endings. Capital was designed for all media and works best at 30 point and above. Capital requires subjective display kerning and compensation.

I always admired the beauty of Gothic letters, but lamented their low readability. The revivals of Gothic faces are beautiful, but they revive everything, including the traits that prevent readability. Blackletters are fine in ads and titles, but can’t be used in long texts (like books on Middle Ages, Medieval romances etc) where they would be the perfect historical choice. And I wanted to change this scenario. With Giureska, instead of taking one particular face to revive, I chose the best traits from many Gothic faces, i.e. the forms that were pleasant to look and easy to read. For the ‘small caps’, I studied uncial scripts and made a similar selection, adapting everything to make a unified font. With three weights, true italics and the uncials, Giureska can endure a variety of projects, bringing the appeal of Middle Ages much beyond the cover.

Cherubina means ‘Blessed’. It is a name derived from the Akkadian “karabu / kuribu”, meaning “blessing, blessed”. A cherub is a type of spiritual being mentioned in the Hebrew Bible, often depicted as a baby with wings. This font was based on the hand lettering I found on a 1962 Japanese poster for the movie “Mother Joanna Of The Angels”. The poster was designed by Hiroyoshi Oshima. Cherubina font is an all caps font (upper and lower case differ and can be used together) with a medieval feel to it. I tried to keep the ‘spirit’ of Hiroyoshi Oshima’s lettering, but changed the glyphs and designed most of them myself, as I had nothing but the title of the poster to work with. I have added some ligatures as well. Comes with my blessing and an eternity of diacritics.

The purpose of Brutman was to create a typeface that reimagined the incise style for the 21st century. Its roots emerge from the humanistic style, adopting the structures of the roman capitals for the upright version and some features of the chancery style for the italics. On the other side, its contours are forged by the frankness of the brutalist style, which can be seen in the asymmetrical flared terminations, the sharp shoulders and the diagonal cuts that emulate the stress of the broad nib pen. The result is a typeface that combines a sleek character with a historical flair. It conveys a feeling of modernity and sophistication when it comes to shine in big sizes, but on the functional size has sharp shapes that make it perform very well on small ones.

Allysha Script is a handmade font created with passion and love. I love my work and the people who support me inspire me to always make it with my heart. Allysha Script is very elegant with smooth and soft lines, equipped with upper and lower case letters and alternative lowercase letters, swashes, multi-lingual symbols, numbers and punctuation. It is perfect for many design projects such as logo design, branding, blog graphics, stylish quotes, wedding stationery, art prints, collateral design, packaging, social media, and so on. I really enjoyed the process of making this font and I hope that you will make amazing designs with this font.

Tola is a modern, reversed-weight, experimental display font with a spirit of the 70s. Looks better in large sizes but in smaller thanks to the thick bottom makes also interesting effect. It’s based on my letter shape experiment. I was drawing one single letter in the hope to find interesting results. I started Tola font with the letter “G” and based on that shape I created the rest of the alphabet. Tola looks good in modern graphics. It contains uppercase, numbers, and some punctuation signs, and is multilingual. Perfect for logos, posters, and social media graphics that need a super superhero with a sentimental touch.

Crostini was designed as a fun-filled, vigorous brush script, originally intended for restaurant logos and menus. As it evolved, I realized that it was more versatile than I'd thought - great for feminine, girly media as well as for more “in your face” marketing. While the characters are bold and dramatic, they are also feminine and rounded. Crostini contains all the accented characters used in the major European languages. Use Crostini for invitations, scrap-booking, advertising media, fashion media, restaurant media, food media, greeting cards - it’s great fun!