Another modern, fun, and experimental display font in my library. Looks like made with a strong gesture. A bit constructive with cursive elements. Contains 2 uppercase sets, and some extra characters. You can play with them and mix them at your will. Contains European languages diacritics and punctuation signs.

Andovai, a modern Roman cursive family, fast and slightly aggressive as today's Rome, deriving its name in Roman dialect of the phrase "Ma 'ndo vai...", the meaning of which in Italian is "Dove vai?" (Where are you going?) ... in a game to define a current and irreverent gestural typography.

Lid is a handwritten, versatile typeface. The non-cursive script is uncomplicated, unpretentious and easy to read. The typeface comes in three different styles; Pen, Brush and Marker. Each style has a different touch, but all three styles come together perfectly. Most of the european languages are supported.

Introducing Aspire to Inspire Font by Tlatoustype Aspire to Inspire is a cursive display Font. This font is perfect for book cover, product packaging, branding project, megazine, social media, wedding, or just used to express words above the background.This font includes TTF and OTF, This font also multilingual support.

Delicate but spirited, Hylandia is a cursive script with gorgeous looping letterforms drawn with a light touch using a thin brush pen. This font has a sensitive sense of delicacy and care, with clear roots in calligraphy and tradition. Hylandia is available with some ligatures and alternate forms.

The Wendy family is a cursive script provided in three weights -- Light, Medium and Bold. The design is an upright, casual handwriting style, with natural joins and connecting strokes. Wendy, in her various modes, projects a friendly persona, adding an approachable quality to headlines and short runs of text.

Coral had its origins in the font Leah. I had requests from users that I create a cursive version of Leah. (In a cursive font the letters are joined together as in handwriting). In the process of development it changed sufficiently that I decided to release it under its own name. Hence "Coral". Coral is relaxed but very readable. It is, perhaps, a tad more formal and regular than Leah but not sufficiently so as to detract from its relaxed quality. The font is fully professional: carefully letterspaced and kerned. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). (It has all the accented characters used in the major European languages).

This font family is display sans-serif with different stylistic layers available as open type font. The main characters are geometric and neutral but when we change the contextual alternates open type feature the letterforms activate the cursive stylish set. The word composition is divided by initial, medial and final forms, available for all uppercase and lowercase, the diacritics for Latin encodings (Western and central Europe and Baltic countries) are available. However the contextual alternate features (cursive mode) can only work on Adobe CS Indesign and Illustrator softwares. This typeface also has uppercase swash and stylish alternates. A large group of discretionary ligatures are also available to improve better legibility and readability on specific characters combinations, giving a natural and simple solution.

Since the beginning, Palsam was intended to be a super multilingual family, with a real cursive Arabic companion, and a display cut. The typeface was designed to be used for setting text and titles of contemporary Arabic content, specially magazines, and websites. The Arabic and Latin scripts were designed at the same time, to make a true authentic bilingual typeface. Both scripts have affected each other in several ways through the entire design process, which happened within ten years. Palsam has an inviting, approachable, fashionable and humanist look. Thanks to its low contrast, open apertures, detailed calligraphic strokes, and smooth counters, which also make it easy to read at smaller sizes. The main highlight for Palsam was the Cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. Since the Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh. Moreover this script was used in margins, and to highlight specific content inside a paragraph in older manuscripts. With true cursive companions in five weights, and many opentype features, Palsam grants all the tools needed to set complex information and editorial designs applications. More than 1000 characters are included per weight, including small caps, fractions, old style and lining numbers, ligatures, contextual ligatures, and discretionary ligatures. It supports over 40 languages that use the Latin extended, as well as Arabic, Farsi, and Urdu Languages. PalsamArabic only covers the Arabic script. The latin script was designed in collaboration with the Slovenian type designer Alja Herlah.

Fashion style meets typography in 9 styles The Ysans designed by Jean François Porchez is a sanserif influenced by Cassandre lettering pieces and the geometric sanserif style from the inter-war period. Since Chanel logo, the geometric sanserif style is the favorite typographic thing in fashion. Ysans asserts this reference. Not only Haute-Couture houses use these categories of typefaces for their visual identity, but fashion magazines usually strength their layout with these geometric sanserif when a Didot isn’t used. Details of Ysans drawings Nevertheless, Ysans takes its sources in certain details imagined by the graphic designer Adolphe Mouron Cassandre for the monogram then logotype Yves Saint Laurent (1961 …). One thing keeps coming in again and again in Cassandre’s post-war graphic work: the pointed finish and endings, the references to the Roman capitals engraved and unique features such as the open R or other details influenced by Antiqua and calligraphic forms or ductus (you should have in mind that an earlier typeface by Cassandre is the Peignot, a modern uncial based on researches of the palaeographer Jean Mallon.) Certain letters from the Ysans are directly an homage to the Yves Saint Laurent logo, the R, the narrow U, the apex of the N, and all the details of such pointed endings on the f and t lowercases. The Ysans, a typeface between diversity and synthesis There are several ways to approach the design of a new geometric sanserif. The first approach is to follow the Bauhaus philosophy by designing in the most rational way, typographic forms based on simple geometric elements: square, round, triangle. Another approach is to start a revival based on an historical geometric typeface and optimize the original ideas, in order to adapt certain details to the contemporary needs. For Ysans, the approach is somewhat different because this project started in 2011 at ZeCraft as a typeface designed specifically for Yves Saint Laurent Beauty, still in use by the brand under its original name Singulier. The Singulier-Ysans has been conceptualized by ZeCraft, both drawing its sources from Cassandre and various historical geometric typefaces. Some will spot specific traits as in Futura, others in Metro or Kabel. By closely observing the Ysans, the result can also recall the way Eric Gill draw the curves and endings of his typefaces, of which Jean François Porchez is a fervent admirer. In the end, Ysans is like fashion as envisioned by Yves Saint Laurent who constantly revealed multiple references in his new collections, without being recognisable any other than with his unique style. “Fashions pass, style is eternal. Fashion is futile, not style.” Cherry on the cake: Ysans Mondrian Ysans Mondrian, named in reference to the Mondrian dress created by Yves Saint Laurent, is the multi-layer version of the family. Ysans, fashion style meets typography Club des directeurs artistiques, 49e palmarès

Benjoet is a fun and whimsical paint brushed display font. This font is perfect for children themed designs, especially when combined with bright colors.

Biotech is hand painted typeface with a messy, rough and strong feel, perfectly suited for any design occasions. Get inspired by its bold charm!

Pasto is a fun and charming display type family of two styles with four weights each. 'Print' is a textured irregular stamp style, and 'Sharp' is a straightforward soft-edged type with clean strokes. It is clean, playful, and expressive, with a lightweight structure and fairly aired inner space. Pasto is perfect for display use and intended for medium and large settings. Still, it can be used in smaller point sizes for short sentences or words, providing a softer, delicate look. Pasto has three alternating alphabets that slightly differ from one another. Thanks to the Contextual Alternates, these alphabets are automatically replaced to avoid the same letterforms and textures appearing next to each other, creating a more spontaneous look when typing. This OT Feature is available for all the Sharp and Print styles. Some of Pasto's features are ligatures, stylistic alternates, numerators, fractions, special characters, currency symbols, and a glyph coverage that ensures extended language support.

Italic type was invented by Aldus Manutius in 1499 or 1501, first, before to be a style name, it was a plain font familly name. This Italique style font was inspired from these who was used by Jean de Tournes in Lyon (France) to print La mÈtamorphose d'Ovide figurÈe, a splendid book with numerous gothic style wood carved pictures. The original font contains almost all modern usual characters except accented ones, no longer in use on that time. They have been added, with some others, with respect for the original design. . A render sheet, enclosed in file, help to identify various others unusual letters on keyboard. It is used as successfuly as web-site titles, posters and fliers design, editing ancien texts or greeting cards, invitations, gastronomic menus... and much more, as a very decorative and elegant font... It supports easily as enlargement as small size, remaining clear and easy to read from 8 or 9 points to 72 and more, particularly on prints.

Kidela is an exuberant and eccentric serif typeface reminiscent of hand painted signage. Kidela features tight kerning and spacing, and some interesting effects can be achieved by adjusting the tracking. The typeface includes 64 discretionary ligatures to extend the natural hand painted look, alternates, oldstyle figures and small caps. Please see the sample brochure to see these ligatures in action. Kidela is an excellent choice when you need a fun and interesting serif.

The Yasmine type family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Yasmine employs four fixed x-height values, two above and two below the x-axis. Values are high to give a slight vertical overall look. Its design uses full curves with equally distributed weight. Yasmine family includes all required Lam-Alif ligatures and uses ligature substitutions, and marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. It employs our “natural Arabic input” method where first glyph is displayed in its non-isolated form. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Yasmine family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

A new font inspired by vintage hand-painted paper signs. The Doorbuster Collection is based on retro hand-painted paper signs primarily seen in grocery stores from the 1920s through the 1970s. We meticulously hand-drew each font, modeling the spacing and uneven baseline found in vintage sign painting. The purposely organic ascenders and descenders, along with a huge set of ligatures/contextual alternates to avoid the same letters repeating when paired, give it a real hand-lettered look. Doorbuster Plug is perfect for both vintage-inspired and contemporary marketing, branding, and packaging designs. It's a classic workhorse font from the 1950s thru 1970s. Check out a few of the samples included in the thumbnails to see what can be done with it.

Cosmic Pattern is clean, cool & charming. Designed with constellation in mind with bright and dim stars connected together in alphabetical pattern. Cosmic Pattern features extended characters, and contains West European diacritics & ligatures. Highly suitable for international environments & publications. For more universe inspired fonts please check our Star Cursive and Arco Star.

Checkout is a fat, slightly cursive, poster font. It was modeled after 'clearance sale' signs and a 1950 Mexican movie poster for Los Olvidados (directed by Luis Buñuel). Checkout can be used for headlines, posters and, of course, for your clearance sale! Comes with a hard-to-beat amount of diacritics.

Catchy Bellonia is a relaxed and cursive script font. Not too thin and not too thick, balanced and varied, this font was designed to enhance the beauty of your projects. Included Mono-line version. This font is PUA encoded which means you can access all of the glyphs with ease!

Holista is a casual calligraphy writing style, in a consistent bold-thin cursive. Beautiful and pretty font. This calligraphy font can be use for weddings, cosmetic product, photography logo, magazine, business cards, watermarks, etc. – Font feature Uppercase, Lowercase, Numerals & Punctuations, Stylistic alternate(ending), Ss01(ending), Ss02(beginning) Ligature, Swashes, Multilanguage

Brightag, a serif display font with two modes, medium and italic. The Brightag font's shape adapts the cursive style, thus showing a combination of the two styles to be more unique and decorative, very suitable for use in vintage or floral style designs. Alternate features are available and supports multiligual.

Freaky Prickle script was written using ink and various wooden sticks and digitized/ Autor’s target was to create the spontaneous, light, flying script with dynamics and energy at the same time. Upright and cursive styles are available. The type was planned for use as headline in fiction and display matter.

ITC Photoplay is another gem from Nick Curtis. Unearthed from the 1927 edition of Samuel Welo's Studio Handbook for Artists and Advertisers, the design's original suggested use was for title and caption cards for silent movies. A monoweight design that bridges the gap between turn-of-the-century decorative type and Art Deco, ITC Photoplay is both casual and stylish. And, yes, the cap S" is supposed to look that that. To expand this already handy typeface's versatility, a Black weight has been added to the original design. Curtis has also created an array of alternate characters, a couple of conjunctions, and a handful of "bishop's fingers" to help make your point. ITC Photoplay is eminently suitable for all those occasions when you need to say, "Unhand that fair damsel, you dastardly cad!", and really mean it."

Magic Holiday is a fun and whimsical paint brushed display font. This font is perfect for children themed designs, especially when combined with bright colors.

Morgain is a decorative vintage font with "celtic spirit". Morgain Is an experimental font, specific shapes and forms gives it a little hand-painted effect.

Hello Angel is a fun and whimsical paint brushed display font. This font is perfect for children themed designs, especially when combined with bright colors.

Yalta Sans combines the warmth of a traditional humanist design, the clarity of a grotesque and the modernity of a square sans. Several design traits contribute to this melding of diverse typographic concepts. Characters find their foundation in stroke-based shapes rather than constructed forms. Curve stokes are also slightly squared and counters are open. Curved strokes join verticals at nearly right angles to create a strong horizontal stress, aiding the reading process. The resulting design is exceptionally legible while still inviting. Although Yalta Sans is clearly differentiated from its calligraphic ancestors, many details of the design emulate the distinctive characteristics of typefaces from the Renaissance. Tapering horizontal stokes also give Yalta Sans a dynamic relationship with linear grotesque while its angled stroke terminals echo the work of a calligraphic brush Yalta Sans italics are cursive designs that are in keeping with humanistic letterforms and are markedly narrower than the Roman characters. Lining and old style figures, small caps and a suite of ligatures also make for a remarkably versatile typeface family.

1955 Is a fresh grotesque interpretation. Any detail too historically referenced is replaced by strong geometry and idiosyncratic features. Round dots and punctuation, curved “l” foot, single storey “g” etc. all these details make 1955 a very contemporary typeface (unlike the name suggests!). With a range of weights going from Thin to Black including Italics, OpenType Features, extended character-set, tailored for print and digital, 1955 has everything to become your new go-to typeface for every project!

Red Thinker is a sans serif typeface that includes Small Caps, is of square proportion and fuses soft curves in the outer vertices with straight lines inside the characters, a semi-stencil design that gives it a technological aspect and future fiction. Red Thinker is the heir by right of the geometrical fonts of the early twentieth century inspired by the Bauhaus school and is specially designed for use in any size for both screen and printing.

"Atnew" is a modern typeface that includes six individual fonts (ExtraLight, Light, Regular, Medium, SemiBold, Bold) and a variable font ranging between Light (50pt) and Bold (200pt). Keeping geometric shapes but with soft curves gives fonts a playful feel. They can be used in interfaces, websites, posters, stationery, tv show credits, and many other purposes. It could be for your everyday activities like journaling. The variable font version provides more flexibility for your needs by fine-tuning weight points.

Onyon is a bizarre typeface with vertical stems that thicken in the middle and narrow at the ends. It was created as an experiment to see what a typeface would look like if the vertical stems were diamond or rhombus shaped. The letters are angular with unusual triangular serifs and they have no curves. It is a harsh, cruel typeface that will make your eyes water if you use it at small point sizes for text.

I wanted to mix the handmade look with both comic and grafitti, but leaving an organic laid back feeling. The result is this: Pausefisk. A font with smooth, handdrawn curves and a total of 6 different versions of each letter. Pausefisk is actually something from my childhood: when the TV-programs where finished (yes, there were no TV after midnight!) the only thing to see was a camera pointed at a fishtank...and that went on for hours!