Rhona Mccoy

Brilliant Starlight is a very elegant and simple handwritten font, suitable for business cards, signatures, brochures, logos, quotes and more.

Oily Brush is the mix of funny, communicative, comic and sketchy directions. The font ist perfect in use with the food, doodle or the cartoon themes and has the small nuance from the oil-painting. This script designed to be informal, casual and easy in the perception and includes confidently positive emotions.

Useful links: TT Runs PDF Type Specimen TT Runs graphic presentation at Behance Looking for a custom version of TT Runs? The TT Runs project started with a fairly simple idea—to create a wide modern sans-serif, which will reflect the sporty style and look good on sportswear. Before proceeding to sketching, we examined the theme of Olympic venues and their identities, and also traced the evolution of “sports” typefaces through different eras and continents. In the end, we came up with the idea of making a typeface that is targeted for application to elastic sports outfits or casual sportswear. This decision has greatly influenced the appearance of the wide and slightly stretched proportions in our typeface, the appearance of the reversed contrast of the shape of some characters relative to the vertical line and their deformation, and the overall plasticity of the letters. TT Runs is very versatile: on the one hand, it is a regular sans-serif that can be used even in a large text array, and on the other hand, it is a bright display typeface with irregular proportions of characters that looks great even in large headings. A striking feature of the typeface is the difference between the top and bottom, the so-called inverse contrast of the shape relative to the vertical line, which is especially noticeable in uppercase characters (for example, in the letters K, C, S, R). In lowercase characters, everything is calmer and more traditional, the reverse contrast of the forms relative to the vertical line is greatly softened and almost invisible. The main visual features of the typeface also include a large vertical height of lowercase characters. Moreover, the bolder the weight of the style, the taller the height of the lowercase character becomes. In addition, when the DemiBold weight is reached, the design of some characters changes, for example, a vertical stroke in bold for characters with a dot at the top bends into an arc. TT Runs consist of 20 styles: 9 upright & 9 obliques, plus 2 variable fonts, each of which includes 739 glyphs. In addition to the broad language coverage in the typeface, you can find a bunch of useful OpenType features. Stylistic alternates, standard and discretionary ligatures, old-style figures, numbers in circles, arrows and much more. Full OpenType list of features: ordn, case, frac, sinf, sups, numr, dnom, onum, tnum, pnum, lnum, dlig, liga, calt, locl, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ccmp, subs.

Janetta is a script that includes very carefully designed beginning and end letters. It is perfect for your needs in making logos, invitations, cards, product packaging, headers, and more. Janetta also includes several sets of lowercase letters including swashes.

Roman Morrissey is a handwritten brush script. This font is perfect for poster design, book covers, merchandise, fashion campaigns, newsletters, branding, advertising, magazines, greeting cards, album covers, quote designs, and more. Feature: - UPPERCASE - lowercase - Number & Symbol - International Glyphs - Alternative Uppercase - Alternative lowercase - Ligature - Swash and Splash If you need anything else please contact me by dedukvic@gmail.com

New-Yorker-Type was one of the first typefaces I tried my hand at in 1985. I meant it as a revival of the typeface used by the New Yorker magazine. I did not scan it. I just looked at the type and redrew it completely by hand. Only much later did I come to know, that there is a bundle of similar typefaces of that period. Rea Irvin's design for New-Yorker magazine was just one of them, maybe the best. In the next step I repaired some of the mistakes that I made more than thirty years ago. Now on the eve of 2020 I gave the font a complete overhaul and added a set of Swash Initials, Cyrillic and Greek glyphs and many ligatures. The font now has 1075 glyphs and is all set for most latin writing systems. On top of that I made two versions, a Classic one with rounded corners and a pointed Pro version for a more up-to-date look. Take your pick. Yours sincerely, honoring Rea Irvin a great type- and magazine-designer, Gert Wiescher

New-Yorker-Type was one of the first typefaces I tried my hand at in 1985. I meant it as a revival of the typeface used by the New Yorker magazine. I did not scan it. I just looked at the type and redrew it completely by hand. Only much later did I come to know, that there is a bundle of similar typefaces of that period. Rea Irvin's design for New-Yorker magazine was just one of them, maybe the best. In the next step I repaired some of the mistakes that I made more than thirty years ago. Now on the eve of 2020 I gave the font a complete overhaul and added a set of Swash Initials, Cyrillic and Greek glyphs and many ligatures. The font now has 1075 glyphs and is all set for most latin writing systems. On top of that I made two versions, a Classic one with rounded corners and a pointed Pro version for a more up-to-date look. Take your pick. Yours sincerely, honoring Rea Irvin a great type- and magazine-designer, Gert Wiescher

Amerio is a rough font that was made by Subectype Studio. It features a brush made feel and looks so fun. Every single letter has been naturally hand written, making this typeface unique. It was scanned and put together as a font. The font suits best for big headlines, logos, posters, book cover, quotes and much more.

Manthoels is our new Stylish Signature font, a fashionable and super-chilled sexy script. Manthoels was created to look as close to a natural handwritten script as possible. Built with OpenType features, this script comes to life as if you are writing it yourself. Thanks to the very natural writing techniques that look beautiful and elegant, this font is very suitable to be used to brand a product because if you write a brand name it will look like your company signature. Manthoels is perfect for bloggers, trademarks, magazines, fashion, wedding invitations, greeting cards. It's highly recommended to use it in OpenType capable software - there are plenty out there nowadays as technology catches up with design.Other than Photoshop, Illustrator and Indesign, many standard simple programs now come with OpenType capabilities - even the most basic ones such as Apple’s Text Edit, Pages, Keynote, iBooks Author, and others. Thanks for checking Manthoels out, and feel free to drop me a message if you have any queries. almarkhatype@gmail.com

I'm Andrea, creator at Nirmalagraphics and I want to present my latest font called "Kidszania". I took the name from a children's playground filled with writings posted on the wall. I found a child's writing style that is funny, looks clean and natural. I tried a rough sketch of a font that resembled the writing of the child, then I modified it to become the "Kidszania" font. This font can be used for any needs, especially children-themed designs.

Most of the lettering on a piece of sheet music for a song from the 1921 George M. Cohan musical comedy entitled “The O’Brien Girl” was hand lettered in a playful, casual Art Nouveau design with rounded ends. The characters on that page took on a look reminiscent of cartoon or comic strip wording, and the result is a digital typeface named Cartoon Nouveau JNL, which is available in both regular and oblique versions.

Clarika is driven by the core concept that a font family can provide both a geometric and grotesque set of sub-families, interchangeable to create a robust versatile type system. Clarika Pro is based on the successes of the 2017 cut of the original Clarika. Enhanced with features requested by customers and revamped based on its use across mediums, Clarika Pro is a thoughtful evolution and adaptation. The family has been extended with deeper language support. It has been redrawn, re-kerned, and re-spaced for an even more distinguished look. Unique features have been added to the families such as duplexed numerals and currencies, enabling ways to present large amounts of data without losing alignment when bolding line items. To extend usability, Clarika Office is now available as a companion to Clarika Pro, mapping popular combinations of weights together for use within office applications such as Word or PowerPoint. Within all Clarika families co-exists two sub-families, Clarika Geometric and Clarika Grotesque. Clarika Geometric is the backbone of the system defined by calculated precision, the balance of hard and soft geometry, and simplicity of form while Clarika Grotesque is refined by traditional cues, elegant page texture, and classic grotesque detailing. Unique notches and angled terminals throughout both sub-families invite negative space into counters allowing letterforms to become more legible and gracefully support an incredible range of weight options. Clarika is both a nod to the past and a step towards the future. Character sets support over 200 Latin-based languages covering Western Europe, Central/Eastern Europe, Baltic, Turkish, Romanian, and Cyrillic languages. Equipped for professional typography, Clarika supports OpenType features include lining, tabular, and oldstyle figures, fractions, ordinals, superscripts, subscripts, and more.

Marble is part of Asterisk Type Collection by URW Type Foundry. Marble is a modern sans serif with a distinct character and comes in 108 styles plus Variable Fonts. It grew from the desire to create full bodied letters in contrast to the economy of most sans serif faces. Designed for corporate and publishing use it is rounded and approachable, its three styles (Condensed, Normal and Wide) range from slender elegance to warmth and playfulness without ever being informal. Designed by Alessia Mazzarella and Vaibhav Singh, Marble derives its character from the generous roundness of the x-heights which is balanced by the striking horizontal or vertical cuts to the terminals. The result is a readable font that encourages the eye to move from one shape to the next and that offers a range of possibilities for digital and print. The Marble family has nine weights in Latin for each variant. Eminently versatile, it’s ideal for establishing hierarchies of information with a wealth of choices for headlines, subheadings, captions and body copy styles that are all in harmony with each other. The Wide style allows headlines to be set with width and presence.