Angelisa Script is a stylish calligraphy font that features a varying baseline, smooth line, classic and elegant touch. Can be used for various purposes.such as headings, signature, logos, wedding invitation, t-shirt, letterhead, signage, lable, news, posters, badges etc.

Duffish is the shape of the letters script bold. This font is inspired from the logotype form of companies that showcase the beauty of every letter form. Duffish come with a variety of alternates that can be combined to produce a form of liking such as logos, fashion, Product, Packing, Website, apparel, stationery, magazines, film, books and marketing.

XOVA base, color one, color two, color three and color four, is an 5 font system that can be layered in different ways to create a infinite title effects used commonly in poster and 3D logo design. Steel Chisel’s layer combinations give you complete control in producing styles like, modern, 3D, beveled. It can be used alone and/or in layered and allows you adjust leading and kerning. Each font contains the similar metrics, so when your title is set, copy and paste-in-place to create layers of different weights/styles to build out your desired effect. Xova works great in any graphics application that allows you to utilize layers or 3D effects.

Inspired by the lettering of Swiss poster designer legend Otto Baumberger from the 1930s, GT Walsheim is a friendly but precise typeface. Supports all
Cyrillic languages.

Tom Carnase and Ronne Bonder’s freewheeling ITC adaptation of ATF’s turn-of-the-century Caslon boldfaces.

South Million is beatiful monoline script font. With this font you can your own logo branding, homeware designs, product packaging, wedding invitation or simply as a stylish text overlay to any background image.

Reader is a neo–grotesque typeface initially created in a medium weight, and now re-cut into a base family of six weights with an additional seventh in the form of Reader Black. The typeface itself has been referenced from an RSPB letter dating 1972. The original typeface, which is unknown, was a monospaced, rounded face. It had geometric proportions which felt like they wanted to break free of the restrictions of a monospaced grid. The construction and geometric properties from this type were taken into the sketching process of Reader but without the monospaced grid. The proportions of the typeface were rebalanced to give it a neo-grotesque, 1960’s swiss style feel, but also referencing the symmetry and geometry of the bauhaus. Weight has also been added to the face, giving a subtle stress to the characters and allowing easy readability. The ends of every stem, originally rounded, have been cut off, replaced with horizontal and angled edges to allow for evenly spaced typesetting. The name takes itself from the original reference of whom the letter is addressed to – Reader.