AMARYLIS is a handwriting based typeface. with thin weight and condensed proportional, has a sweet flavour. It's suitable and great for pairing or Standalone usage.
In other hand, PROTEA is a Thick brush font with Strong Character, supporting the AMARYLIS typeface to deliver the message that designer want.
Both typefaces are available in (.OTF) and (.TTF) Format.
With powerful Opentype Features for Both typefaces.

Let me introduce you the font Waterlife. It flows like a signature while you type it. It really shows the art of hand-work. It is very legible even though its nature looks like it has extreme lines. It is really unique in this regard. Awesome!

With extra chunk in the trunk and a rough paintbrushed edge, Stay Bold cuts straight to the point; ideal for designing big impact merchandise, eye catching social media & marketing posts, and attention-grabbing product packaging & branding projects.

Faito is a handwritten brush font inspired by text balloons in Japanese comic book with a neat brushy look. Suitable for food and beverages restaurant menu, branding, packaging, summer theme, or your next comic book.

A hand-lettered font for you lady bosses. Perfect for feminine logos and Instagram quotes. Also works great for stationery, cards, posters, headers and more! Pairs well with other script and brush fonts!

On a visit to Belgium and the Netherlands while still an MA student at Reading University, Eleni Beveratou made some important discoveries. First, there was the letter ‘g’ from the Didot family seen at Plantin Moretus Museum in Antwerp, which seemed “almost like a mistake”. Then there were strange details such as the serifs on the “l”, “h”, “k”, “b” ?and “d” in Egmont Cursive and other typefaces by Sjoerk Hendrik de Roos, found in volumes of poetry she picked up from a chaotic bookshop in Amsterdam. These were characters that stood out from the text but seemed to blend harmoniously with the rest ?of the letters. “And there it was, the spark. ?I decided to design a typeface that would capture the details of the process of writing.”

FS Albert Narrow is a narrow version of FS Albert Pro, designed by Jason Smith. But, drawn from scratch, it’s more like a font in its own right, as Jason Smith explains. “The challenge in designing a narrow version of a typeface based on an existing design is not to make it to look squashed. “There comes a point in condensing a font where it becomes broken. You can usually automatically squash something by 10% and it will still look OK. But by the time you’ve squashed it by 25% the type looks ugly and needs redrawing. So we drew it all manually in order to ensure the design integrity was kept while still fulfilling the need to save space.”

2003. Fontsmith was sharing a small, cold, whitewashed studio space in Northburgh Street, Clerkenwell. But things were on the up following prestigious custom type commissions for The Post Office and E4. “Slab serifs were on the brink of another revival, we could feel it,” says Jason Smith. “All we wanted to do was have a play with these slabs, go as far as we could within what was acceptable and readable.” “It wasn’t initially clear what was happening,” recalls Phil Garnham. “We were becoming very influenced by our surroundings, outside the studio space. We absorbed the essence and the designer grime of where we were.”

Fyodor provides powerful headlines and dramatic titling for editorial projects. The typeface design features balanced oblong and square geometric spaces, inside the classic forms of the Constructivist-era typefaces. The font family comes in 274 characters with Latin, Western European, Cyrillic and Greek language support, and is available in a bold weight with regular, condensed and expanded styles, both normal and oblique.

How do you make a font like FS Albert unique, distinctive? “When designing a font I try to question every letter,” says Jason Smith, “but all you need is a few that have an x factor. With FS Albert, they’re the lowercase ‘a’ and ‘g’ and the uppercase ‘I’ and ‘J’. “I remember a friend saying, ‘Why on earth have you designed the ‘a’ like that? Isn’t it too friendly for this kind of font?’ And, in a way, that’s what I wanted – honesty and warmth, because a lot of big brands at the time really needed to show a more human side.”