Show your lovely, unique points of view with this font script. Honest Sky is a script font made from handwriting to show modern, elegant designs to any of your designs. The letters are created in interconnected cursive styles with a lot of curved wipes. The lines’ proportions and thickness are consistent enough. Use Honest Sky for big-sized texts for a legibility reason. Enjoy the available features in this font. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Honest Sky fits for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great experience using our font. Feel free to contact us for further information when you have a problem using the font. Thank you. Happy designing.

Koralle was an abundant family of grotesque font styles which had been released by Schelter & Giesecke in the first quarter of the previous century. Out of this family four of the most impressive styles were revived, whereby I stuck as close to the original as possible. All styles contain even the weird-looking capitalized German double-s of which I am a strong opponent.

Adis Ababa is a font based on an ancient Ge'ez script. The Ge'ez alphabet is the written language of the ancient ancestors of the Ethiopian and Eritrean nation. It is not a Latin or Greek based alphabet and I have striven in this font to present a readable Latin alphabet that visually reminds me of some of the examples of the writing that I have seen.

I am a HUGE fan of Bernard Cornwell’s ‘The Saxon Stories’. Ever since a television series has been made, the series of books is also know as ‘The Last Kingdom’. I have read them all, at break-neck speed and I can’t wait for the next book!! Wintanceastre (Winchester) is based on a 10th century Latin manuscript. I have tried to stay close to the original letters, but since Latin does not have all modern glyphs, I found myself designing the missing ones. So, before you scold me for having made a font that is historically inaccurate: it was never meant to be an exact replica, nor would anyone want an exact replica, as it would be useless for modern texts and designs. Wintanceastre comes with a whole bunch of ligatures and alternate glyphs. Use it for any design that needs a little ‘Dark Ages’ look!

An elegant calligraphy script. I named it after my hometown, Kazincbarcika. I think it looks interesting written down.The first letter I designed was the initial "K" and I have built the whole set around that.

Just Believe is a simple and organic handwritten font. Natural and a bit quirky, this font will brighten up each of your designs. Add it confidently to your projects, and you will love the results.

Petite Smile is a cute and friendly display font. Its childish and playful character is perfect for creating a wide spectrum of designs. Add it confidently to your projects, and you will love the results.

A sign of something better When designer Stuart de Rozario surveyed the fonts used in signage on London’s public transport systems, he reached a dead end. They seemed staid, sterile, lacking in personality, and ill-suited to use by modern brands. He was pointed in another direction entirely. ‘The driving force behind my thoughts was to design something more current and fresh without compromising legibility and clarity. A font with both personality and function, that’s versatile and large and small sizes, and effortless to read, but which also says something new.’ Speed reading Late for a meeting and can’t find your way? Trying to catch a flight? Lost in a hospital? Reading signs is a different business to reading a book or a newspaper. Text on signs needs to be deciphered quickly and effortlessly. So the legibility criteria for signage letterforms are different to those for normal reading, too. Throughout FS Millbank’s uppercase and lowercase alphabets, characters have been given features for extra definition, including: wide ink traps on the A, K, M, V, W, X and Y; a serifed i, accentuated spurs on the a, d, l u; and different x-height shapes on the b, g, p and q. Distinctive forms and generous, open internal shapes all help the quick reading of sign text, and wide, open terminals and counters allow similar letter shapes to be distinguished easily when viewed at different angles. Running down a corridor, maybe... Positive/negative Standard type tends to glow on the kind of dark backgrounds often used for signage, and look heavier than its true weight. To correct the imbalance caused by this optical trick, special weights of the typeface have to be drawn for these ‘negative’, light-on-dark applications. These are lighter than their comparable positive weights to overcome the ‘glow’ effect. After extensive tests of the negative weights, at all sizes, we achieved the right optical balance. Glowing, glowing, gone. Icons This wouldn’t be a signage typeface without its own set of icons, or symbols, to help people find what they’re looking for. So, to sit alongside the positive and negative fonts, we’ve created a comprehensive set of 172 icons, covering a wide range of applications from transport and user interface to information and directional. Designed within the typeface capital height, they sit on the baseline and are spaced centrally.

Merchantry is a hard-working display font inspired by vintage signage you might find in local supermarkets of days gone by.

I used to be an exchange student in Canada. I noticed my handwriting was quite different from the handwriting of people who are from countries where the roman alphabet is used. So, I thought why not make a font based on my natural handwriting. This font can be used whenever a cute and different style like mine is needed. "Exchange Student" is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications. Enjoy!

The inspiration of the name of the font comes from a song by Smashing Pumpkins, but the real reason why I named the font "Krooked Teeth" is that the font has got a crooked look to it, almost like crooked teeth! Furthermore I like the handwritten look. It works great in small sizes, but also loveable at large sizes! I replaced the 'C' with a 'K' in order to make it look more Danish. Just like my name: Jakob with a "'k" !

A very glitzy Blitz! I always wanted to design a typeface that was top heavy, but I never knew how not to make it look like Antique Olive, until recently -- I had an idea. My new family is very readable despite it beeing top heavy, thin on the low end and thick on the upper end. The font gets a special shine because of this effect. And it stays readable despite its special design. Your designer of surprising typefaces, Gert Wiescher

Elbow Grease was made with, yes, you’ve guessed it: Elbow Grease! It started off as a grungy font, but it didn’t look right, so I reworked all the glyphs. Then I forgot to save the font, so I had to start all over again. Naming a font was never this easy! Elbow Grease is a didone-ish font with some seriously warped glyphs, a lot of panache and a ‘get-it-done’ attitude. Also comes with a toolkit full of diacritics.

I have never stayed at a boarding house myself, but I’ve heard some horror stories. When I have finished painting the three fonts (using Chinese ink and a small brush), I didn’t have to think long for a name. Boarding House family consists of three distinct hand painted fonts - the complement each other, but can be used separately as well. Use Boarding House for your halloween posters, mystery novels or websites. All fonts come with an attic full of diacritics.

Monospaced become very popular among graphic designers. Nevertheless, I’ve noticed that in most cases that designers use monospaced typefaces is not because of their particular features caused by the strict rules of design — all characters share the same advanced width — rather because of it’s ‘electronic derived’ appearance. So, I decided to create a typeface that keeps the characteristics that, in my opinion attract designers to this particular sort of types, but deliberately break the main rule: characters do not share the same width — but they they look like they do! Characters are better balanced compared to truly monospaced types, giving more even typographic color while used in text setting. One weight might enough to please electronic type lovers. Designed in 2000.

Huxley Alt is just that — an alternative to Huxley Vertical by ATF. It represents one of my earliest efforts. I liked the crispness of Huxley Vertical, but wanted a lowercase and with some modulation of the strokes as in Empire, also by ATF. Huxley Alt is the result. Highly condensed. Set it large or lose it. Huxley Alt is a bargain-priced font with 226 glyphs, covering the usual Western European accents (ref MS Code Page 1252). If you like the style, but would like more glyphs and/or a range of weights, may we suggest our Huxley Amore. Huxley Amore has 379 glyphs and covers the Eastern European, Baltic and Turkish code pages (1250, 1254 and 1257). We also offer Huxley Cyrillic in a single weight.

My latest book production group is quite conservative. I discovered my need for a pair of headline fonts with the same vertical metrics which are looser and more lively. Since the serif family is Biblia Serif, and the Sans family is Draetha [which is Welch for preach], Araldo [which is Italian for herald] makes sense to me. Narrow has my normal set of Opentype features with small caps, small cap figures, and the rest of the figure sets. Bold is too heavy for small caps, without messing with the metrics. So, it has the normal figure sets, plus a decent set of discretionary ligatures. They both work well, and are meeting my need for a headline family to add to the book production group.

FACE FRONT, True Believers, This is The Issue You’ve Been Waiting For! In response to requests from our Hawkeyed customers, we’re making this Super Team of fonts -- which our fontmeister Assembled for the pages of THE AVENGERS -- available for the first time! A handsome collection of characters that would put a Norse God to shame, FACE FRONT is composed of Earth’s Mightiest regular, italic, bold and bold italic faces -- in UPPER and lower case. And now, these Living Legends can now be yours! Rick Jones not included! Remastered Face Front includes improved spacing and kerning, an upright Bold weight, Central European & Cyrillic characters,Crossbar I Technology™ to place it in exactly the right spots, plus hearts, stars & music notes for Manga lettering.

Typeface designer and Letraset type director Colin Brignall created the font Romic. The character of the strokes as well as the serif forms give the font its calligraphic look. The placement of the serifs, on the upper left and lower right of a character, also distinguishes this typeface and allows the figures to be set very close to one another. The dots on the i and j do not hang in the air, rather, they are connected to the rest of the letter with a light, serif-like stroke. The elegant and lively Romic font is legible even in smaller point sizes. It is best used in middle length texts and headlines and wherever an individual and sophisticated image is the goal.

RuthClair Lovely Script Calligraphy whisk you away for a romantic rendezvous with your love of handwritten scripts. A little bit chic, a little bit classy, RuthClair is a must-have for any script font collection. this Fotn comes with alternatives and ligatures that create stunning logos, quotes, posts, blog posts. branding projects, magazine imagery, wedding invitations, and much more Features : Multilanguange PUA Encoded Web Font Included Contact me with an inbox message If you have any question. Thank you! Happy Creating.

Since my first contact with blackletters in 1999, I became more and more fascinated by these artistic looking typefaces. It all started in the USA at the age of 16, when I took an art class. I decided to trace some blackletter typefaces because they looked very interesting. From this point on I was intrigued by blackletter fonts from all over the world. I studied their different body structures and their cultural background as well as the type designers behind it. Full of information and inspiration I started to draw my own blackletter typeface in 2006. While studying in Hamburg I got in touch with the studio of URW++, where I got skilled in type software and development. Creating a type takes an eye for detail and patience but also lots of time and so it took almost 4 years until the project was finished. And so Ruca was born. Ruca is a refined and expanded typeface. When you look at the spines, the tails or the flags you can see the detailed drawing, which makes the font also extremely good looking in very tall letters. The full character set contains over 400 characters, many ligatures, two number sets and all important currency symbols. Over 300 kerning pairs and many OTF-features make the font easy in use for professional type applications. The typeface is very well applicable for strong headlines and mastheads. Because of its unique appearance, Ruca is perfectly suitable professional graphic applications such as fashion design or branding.

Introducing Buddy Smile, a unique handwritten font that adds a splash of color, cheerfulness, and playfulness to your designs. With its charming and lively style, this font is perfect for enhancing your brand identity, book covers, children's events, quotes, and more. Buddy Smile brings a touch of personality to your projects with its combination of uppercase and lowercase letters. The fluid and organic strokes create a friendly and approachable feel, making your text feel warm and inviting. Whether you're designing a logo or crafting a heartfelt message, this font will leave a lasting impression. With its extensive language support, Buddy Smile ensures that your message can reach a diverse audience. Express yourself in different languages and connect with people from around the world. The font also includes numbers and punctuation marks, allowing you to maintain consistency throughout your designs. Experience the convenience of PUA (Private Use Area) Encoding, which provides access to special characters and glyphs. Customize your typography and add extra flair to your compositions, making them truly one-of-a-kind.

Maris is a rich, elegant script, subtly characterized by a whimsical handwritten calligraphy. The family is composed of six different weights, each one bolder than the last but all equally as filling. The lighter weights move delicately through each line, showing a gentle strength in their smaller frame. The six weights from these lighter forms to the bold include some textured versions such as jean, wood, print, rough and halftones. The Maris family performs superbly in custom headlines and logotypes. Turn on Swash, Stylistic or Contextual Alternates for even greater emphasis. Opentype lets you "auto-magically" swap out letter sets with alternate versions and creates the visual diversity that gives you the one-of-a-kind look of custom lettering. It also uses OpenType features to assist with letter flow. When you choose to make use of its open-type decorative glyphs, your headlines will dazzle. For the greatest benefit, grab the entire Maris family. Thanks to its variety of styles, Maris makes it easier for you to design. With this large font family, solve your design problem with just one typeface.

A tessellation is a pattern in which a shape or tile fits together with copies of itself to fill the plane with no gaps or overlaps. One type of tessellation is formed with sides of center-point rotation, that is, one half of an edge is rotated 180 degrees to form the other half. If a square template is made with sides of identical center-point rotation, there are exactly four shapes that are possible. If these shapes or tiles are fit together not edge to edge but vertex to vertex, the result is a checkerboard-like pattern of tiles and voids. However, the voids have four edges formed by the four possible shapes that the tiles can have, so the voids are limited to the same four shapes that that make up the tiles. The FabFours have 22 tile families that allow a wide variety of fascinating patterns. They form one, two, three, and four tile tessellation. Eleven of the seventeen symmetry groups can be formed with these patterns. In each tile family two of the shapes have two possible orientations, one shape has four possible orientations, and one has eight, for a total of 16 tiles. Each font has two families, one on letters A-P the other on a-p. For some of the families there are also other tiles using the same edge but using triangular and hexagonal templates. To get proper results, the leading must be set equal to the point size of the font. I discovered these fabulous families and their decorative possibilities as I was working on a book about tessellations. I have not been able to find anyone else who has written about these families of four and their decorative possibilities when arranged vertex to vertex.

Cutting Corners is all about letters made of squares that also suggest circles. That’s it. This is one of several fonts I’ve created based upon a strictly geometric form; in this case, a round-cornered square. The width is equal to height (except for i, I and most punctuation). Usage recommendations: logos, samplers.

Dragonblood is quite an unusual font: it was made with Parker ink and a Chinese fur brush. When all the glyphs had been vectorized, and I saw them in a text for the first time, the only appropriate name I could think of was Dragonblood. Dragonblood comes with a realm of diacritics.

A ‘Brochette’ in French is a skewer. I used to be a tour guide and some years ago, I guided a couple of tours in Mali. Every night at dinner we had the choice of a ‘Brochette de Capitaine’ (grilled Nile perch on a skewer) or a ‘Brochette de Bœuf’ (grilled beef on a skewer). Of course, every night the Brochette came with French fries and ‘petits pois’ (peas). It was really nice, but after 4 months of eating Brochettes, I longed for something different! Brochette is a very nice rounded font. It comes with curls, swirls and swashes.

Dolsáb was designed from scratch with uniqueness in mind. The subtle movement from thick to thin and the variants of sharp to rounded make this cutting edge san serif a must have. The inspiration for Dolsab was a simple pairing of a rhombus and calligraphy. While neither of those two elements can be seen in their entirety in any instance, the influence of both is strong. The rhombus can be notice on most ascenders like on the lowercase t & l, for example. And the calligraphy inspiration is most easily captured on the descenders such as the lowercase y & g. The most beautiful characteristics of Dolsab is definitely the calligraphy-influenced movement. These features really stand out on the lowercase a & e. It's almost amusing to let your eye follow the contours of those two letter forms as they travel from thick to thin, sharp to rounded and back again. Users are welcomed to try all font styles of Dolsab in any applique of their choosing. However, it will be quickly noticeable that only Dolsab Air & Demi (the thiner of the styles) will be best suited for body copy. Personally I like to see these letterforms as large as they can be to really showcase the subtle movement, especially in Dolsab Heavy where these movements become much more dramatic. You'll never know what really works best unless you experiment. Dolsab surely isn't the answer to all projects, but it's certainly worth trying. No other typeface moves quite like Dolsáb.

Wet is a experimental typeface -- I drew all the glyphs by hand. I came up with this font idea after all the positive comments I received from my Type Treatments project I publish recently on Behance.

Nature is fond of stripes. Animals have them, plants have them and the rainbow has them. Besides being beautiful, stripes in nature have various origins and functions. But only Homo sapiens gave them symbolic meaning. In the American flag, the 13 stripes symbolize the 13 colonies that declared independence from Britain. In the French “Tricolour” flag, they represent Paris and the king of France. And in Russia’s “Georgiyevskaya lenta,” they symbolize the death and resurrection of St. George, the dragon-slayer. The font family COLORADO , named after the beautifully striped Colorado potato beetle, can be used to construct all kinds of symbolic or just beautiful messages. And thankfully, you need no OpenType diploma to do this. To get your texts multi-striped and multicolored, follow this simple procedure: Write the message with one of the COLORADO fonts and apply a color. Then copy and paste in place, and apply a second font and color. Repeat this again if wanted – and the masterpiece is done. COLORADO ’s language support covers about 100 languages. It has a Western European, a Central European and an Extended Cyrillic character set.

Punk Rockstar is a cool rock band display font. Punk Rockstar is awesome for creating cool design that scream for attention: it’s ideal for movie posters, single covers, poster, sticker, clothing, merchandises, and more. Fall in love with its incredibly cool style, and use it to create lovely designs!

Gremlish is a fun cartoon Christmas display font. You can use it for anything ranging from t-shirts, book designs, and greeting cards to stickers and posters, or anything that needs a casual touch. Fall in love with its incredibly versatile style, and use it to create lovely designs!

Introduction is a casual handwritten font. It is awesome for creating cool designs ranging from t-shirts, book designs, restaurant menu, blog writing, greeting cards to stickers, or anything that needs a casual touch. Fall in love with its incredibly cool style, and use it to create lovely designs!

Akrampus is a scary Christmas display font. You can use it for anything ranging from t-shirts, book designs, and greeting cards to stickers and posters, or anything that needs a casual touch. Fall in love with its incredibly versatile style, and use it to create lovely designs!

Introducing Agnes Mozarela is a modern and classic serif font that adopts a unique style. This font family is perfect for all kinds of elegant and stunning designs. Get this font immediately for your design use, especially for logo designs, branding, magazines and others. Multilingual support. Any question? just DM. Free update. Thank you

Designed with a flat brush and inspired by the modern fraktur from Rudolf Koch, Berliner Fraktur is composed by broken strokes, adding a handmade feeling to this geometric kind of calligraphy. The font contains some interesting alternates and ligatures that make this type more real. We recommend to combine Berliner Frakture with: Turquoise Nautica

The main 20-th century handwritten display font in the USSR, usually performed with a flat brush or a wide poster pen for all kinds of signage during 1920-1990s. It had also many analogues in other countries, but never was that popular as in the Soviet Union, used everywhere. The softened modern humanistic version.

An elegant and beautiful looking font that is perfect for your project and supports multilingualism. Can be applied to various kinds of print and digital media such as boutiques and salons, women's jewelry, wedding invitations, business cards, photographer watermarks, clothing, creative posts and more. For reference, see preview. Features: -Uppercase -Lowercase -Numeral -Punctuation -Ligature -Multilingual

Adisha Script is a sweet calligraphy writing but maintains its elegance. This will make your design stand out! Adisha Script is the perfect typeface for any kind of project you have, such as advertising, branding, graphic design, quotes, wedding designs, logos for online or offline businesses, photography and more. Make your business more beautiful! Thank's !

This fun sans-hand typeface gives your designs and layouts a personal touch that leaves a smile. FUNFAIR has two weights each with italics. FunFair has tall letters and tight kerning to give a natural hand written style. It’s great for posters, cards and headings but also versatile enough for many kinds of typographic layouts.