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Don’t just put a font for the sake of it, put it for creating an impactful impression on the reader. Browse through this list of 18 best calligraphy fonts to achieve your target.

Fonts are known to be the most important element of graphic design. Balancing the rest of the design with the type of font to be used is quite a challenging task for a designer.

 

It is but necessary to have the right font, not too much, not too less, to have a long-lasting impact of the message to be conveyed to the readers.

From what was done manually ages ago using ink and brush to create graceful calligraphy has now gone all digital, but still with the same look and feel of the hand-crafted old-time beauty.

 

Life and work have become much easier with the presence of the button, ‘download’ ! Take a look at these calligraphy fonts and choose the one which makes your work look its best by downloading it at no cost!

1. Candlescript

A smooth and flowy typeface designed with an intricate level of detail, Candlescript is suitable to be used as a logotype, custom typeface, title, header or advertisements.


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18 Free Calligraphy Fonts

2. Mike Ferrari 

Mike Ferrari is a typeface based on the Spencerian Script. Composed using elegant and beautiful strokes, it is just the perfect font to gracefully colour up any project with a human touch.


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3. Feathergraphy

A high-quality script font with multilingual support and a large number of special characters, Feathergraphy is a hand-crafted typeface that can be used for logotypes, titles and slogans as well as a tattoo style font in clean and decorated versions.

 

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18 Free Calligraphy Fonts

4. Meat Buckets

A nervous script font, Meat Buckets comes with a taste of old-school style. Going for a full commercial version allows an extra 86 alternates, contextual ligatures and underlining to be used for a charming and elegant calligraphy.

 

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5. Olivia Script

An exclusive from The Font Bundles Store, Olivia Script is a sophisticated, graceful and modern calligraphy typeface complimenting the look of wedding invitations, greeting cards, posters, wall hangings and the likes.

 

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6. Allura

Simple, clean, legible and casual characters describe Allura as an almost handwritten calligraphic script. Designed keeping advertising, display and packaging design in mind, Allura comes with extra alternate glyphs and flourished graphics, giving the professional designer a maximum flexibility.

 

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7. Kaligraf Latin 

Translating personal handwriting taken from the pages of calligraphy into characters for Kaligraf Latin, this font includes a few ornaments useful for creating typographic pages.

 

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8. Qaskin

An elegant script typeface available in two versions, black and white, Qaskin comes across as a light-hearted font, illustrating fun and frolic.

 

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9. Pinyon Script

Confident and showy swashes suggesting the style of the American-West, Pinyon Script is a romantic round hand script style font. Defined by slants and high stroke contrasts, this aristocratic style is friendly for large size texts.

 

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10. Plain Germanica 

Inspired by the Gothic and Medieval styles of design, Plain Germanica is a font face reminiscent of the historical beauty of those eras, transporting the reader back in time.

 

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11. Playlist

A perfectly imperfect hand-drawn font in dry brush styles, Playlist consists of 3 styles namely script, caps and ornament, which can create a beautiful design when jumbled in an orderly fashion.

 

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12. Qwigley

Winding around in a swirly fashion, Qwigley is the font-face for decorative letterforms. Contemporary in style, it has a  feminine feel to it, delicately embellishing the calligraphic typography.

 

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13. Kadisoka 

A handwriting font ideal for logotypes and headlines, Kadisoka is a script that comes along with a variety of ligatures, stylistic alternates and sets to be tried out for amazing graphics outcomes.

 

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14. Dancing Script OT

A cursive font with intermittent connections beautifully mimicking hand-written text, Dancing Script OT works as a visual style statement. Each word beginning with a letter in caps which goes below the baseline, it is just the quintessential font for a modern-stylized casual look.

 

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15. Fabfelt Script Font

A handwritten typo with grain effect, Fabfelt Script font comes with a retro feel. This is a monoline font, is just a perfect match for branding and headings.

 

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16. Great Vibes

A script with clean and clear flowy connections, heavy strokes and dramatic caps, Great Vibes is a font for breaking the monotony of design with its encircling ascenders and descenders.

 

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17. Playball Font

Inspired by American sporting calligraphy, namely vintage baseball cards, Playball is a connecting script, demonstrating athleticism, boldness and masculinity, thus making it perfect for festive informal and sporting occasions.

 

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18. Pacifico

A modern brush script, Pacifico is inspired by the American surf culture of the 1950s’. A slight touch of the retro style, it makes for an apt solution for a bold and engaging calligraphy font.

 

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Forget technology for a while and try lifting that fountain pen or a paint brush. Dip it into the world and paint that stroke. It feels different. The magic that hands creates can never be matched by technology. Calligraphy is one such area of design where the old way rules. Graphic Designer Anup Shah does wonders with delicate letterforms to depict stories and create an aura. He tells us more about his meditative designs and his gratitude for the guidance from his father, Kiran Shah and calligraphy mentor Achyut Palav.

You are the World You are in.

In most instances, the environment we grow up in determines the likelihood of what one chooses to pursue in life. If the ambience around you since childhood has been papers, ink, books on the design they become your muse and instil a sense of curiosity that soon gives wings to your talent and sets you on a path of a lifetime – the path of a designer.

 

Such exposure is beneficial and offers a great platform to learn from experienced people. A creative environment is important for any designer and for those growing up to become one.

If you Think You’re Right, You are Right.

This should be the attitude of any designer in today’s world. Self-doubt is your biggest critique and is unnecessary. The process of design can be described to be consisting of the following key words – See, Think, Imbibe, Explore and Execute.

These five simple words can easily be the constitution that dictates the actions and behaviours of any artist. If one is sensitive to things happening around and make a conscious effort to capture the essence by reflecting them in their work, then one can say that half the battle is won.

 

And what this philosophy translates into is the fact that one need not convince anybody about what one’s work says because people will automatically understand and know.

Do Away with Technological Dependence.

For today’s tech and net savvy youth, it’s imperative to understand how this may be hampering their design growth at times. Because what technology is doing is only killing creative strength by preventing thought and only allowing you to polish, modify and execute things which are already there.

 

Originality is losing its charm. Back in the days, designers would create 50 different options not variations to create a single logo. Today, it’s rare to see such an instinct. It’s all about speed now, it’s all about being the fastest. What this is doing is making them less designer and more operator.

Calligraphy is Relative.

Every single alphabet has its own sound and characteristic. For example, ‘L’ relating to famous singer Lata Mangeshkar paints an imagery of something soothing, soft and silky whereas if ‘L’ was depicting Laden, it would be read as something bold, rough and wrong.

 

Hence, the letters never communicate on their own but always in conjunction with a central element or subject. Also, for those taking up calligraphy and typography, it’s important to make such hints as subtly as possible. In other words, create a story by animating letterforms to depict the theme so that when simplified forms mixed, creates an expression. Understand that every stroke should have a meaning.

Published in Issue 30

Since stone age when individuals were identified with certain marks, branding has always been an integral part of our life. It has evolved so much that now every success can be connected to great branding behind it, but still brand creation has always been a mystery. We interviewed the branding experts, who are behind some of the very successful brands. In brief, this issue is packed with branding and typography design experts who can help you solve the mystery of the brand creation! Order your copy here!

 

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There are two kinds of people in this world, people who love to read and people who don’t. Regardless, in this day and age, content is still the king. However, the great content is meaningless if not presented well. Today so much of web designs compromises of text and hitting the right mark for your typography and fonts is a key factor in the overall success of your site.

Digital is a very dynamic platform and we have to accept that the content keeps changing. Unlike print, web design doesn’t have the freedom to define the space between the letters.

Fonts have a deep psychological impact on your users and here is a list of 6 examples of great typography which are being used to create web designs around the world and are perfect examples that texts can never be boring!

1. Poppins

One of the Geometric sans serif typefaces and have been a popular design tool for building websites. Each letterform is nearly monolinear, with optical corrections applied to stroke joints where necessary to maintain an even typographic colour.

Lollypop - Web fonts

Recommended For: Modular and minimal websites
Use Case Examples:   www.zipl.pro   |   www.nerval.ch   |   www.theisbothmann.com   |   www.kikk.be
Source: Google Fonts
Font Link:  Download


2. Open Sans

Open sans would be a very good pair for many fonts like Raleway, Brandon Grotesk, Montserrat, Lato etc. It renders beautifully on the browser, with good readability.

Lollypop - Web fonts

Recommended For: Standard look & feeling, Corporate and Product websites
Use Case Examples:   
www.gravity-theme.site
Source: Google Fonts
Font Link: Download


3. Montserrat

This typeface comes in three variants and evokes the modernist style of the early 20th century, however, it feels less formal than, say, Futura. Montserrat really shines for short pieces of all caps and the geometric simplicity of the letters. In lowercase, Montserrat is still a pretty nice font with a nice large x-height and a lot more character than Arial or Helvetica.

Lollypop - Web fonts

Recommended For: Fun looking websites, it creates a majestic yet fun look.
Use Case Examples:
www.dangblast.com   |   hansonwu.com
Source:
Google Fonts
Font Link: Download


4. Playfair Display

It is a serif font with beautiful curves and well-rounded corners, which is suitable for both traditional, as well as modern websites. The design is influenced by typefaces from the mid to late eighteenth century, such as Baskerville. It makes an excellent font for titles and headlines (especially the beautiful italic), however, for long stretches of body copy, the delicate, high-contrast strokes might hinder readability, especially when used at smaller sizes.

Lollypop - Web fonts

Recommended For: It is basically the one that suits all and creates a feeling of trust. It can be used for modular as well as traditional sites.
Use Case Examples:  
wwww.adrien-heury.net   |   www.mondaymusic.es   |   www.craftedbygc.com   |    www.hoodzpahdesign.com
Source: Google Fonts
Font Link: Download


5. Avenir

The name Avenir means “Future” in French, and it is a minimal and modular sans-serif font used in many sites, which gives a futuristic look to the design. Use the bold and extra bold weights of Avenir for emphasis with the light, book, and medium weights.

Lollypop - Web fonts

Recommended For: Most suited for futuristic feeling. It resembles minimal, futuristic content, and creates clean looking product websites.
Use Case Examples:
  www.playcharms.com
Source: Web
Font Link: Download


6. Bebas Neue

It is a beautiful condensed looking font which looks very standard as well as stylish.

Lollypop - Web fonts

Recommended For: For standard yet solid and stylish layout feeling. It is a beautiful condensed looking font which looks very standard as well as stylish.
Use Case Examples:  
www.craftedbygc.com   |   www.theqcamera.com   |   www.ekpesbookclub.com
Source:
Web
Font Link: Download

Although typography isn’t as flashy as Animation or HD images, they are nonetheless, an integral and powerful part of every design. They can be bold, to draw attention to the messaging, or, subtle, to draw attention to other elements on the screen. In either case, one thing we all can agree on is that typography enhances the design as a whole, one way or another.

– article by Dhilip Kumar G., Lollypop Studio

If it was only about words, we’d only need a word document. Typography is all about solving a problem by also communicating an ambience and character. “It’s about communicating a message and letterforms are our tools”, says typographer Shiva Nellaperumal. Below he explains his rules to the game from A to Z.

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Alterneutral Manifesto/ poster.

You must know the past in order to design for future.

Design history is full of inspiration. When you’re not working, read a book or watch a movie; imbibe the visual culture through cinema, comics, music, books etc. Focus on how design has evolved, and what you can possibly bring to it next. There is a lot of value in a design that represents an era. Study the eras. A designer responds to stimuli provided by his/her environment and by analysing the past, one gets to know how other designers responded to the stimuli in their time. It’s very important for a designer to be firmly rooted in his/her time and design things that are relevant.

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Adian Grid Specimen Poster.

Your process must be contextual to the nature of the project.

Each letter has its own semantic meaning that cannot be changed. We all know the letter ‘a’ of any typeface has a characteristic set of curves and lines. But what sets it apart is the way it is drawn. When working on letterforms, keep in mind the feel that the piece must convey. This could be very obvious or very subjective. For example, in the typographic posters for Doolally, the letters were designed to look like beer, in order to evoke the feeling of beer. But for the Public Enemy album art, a more subjective method was employed. Because their music is very harsh and represents the streets and calls for a militant action against racism, the feeling was conveyed through the use of stencil typeface that was specifically designed. The colours and composition also evoke the 80s feel which is when the album was made.

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Struktur Construction.

A design based purely on aesthetic work is an end in itself.

Your work should serve a problem. Every design decision should be informed by whether that choice would bring you closer to communicating the message to the viewer. Of course, aesthetics are important, but not at the cost of the purpose of the design. Remember, you’re not painting scenery here but providing a creative solution. It’s not about what’s said, but how it’s said.

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DJAD Posters

Typography’s sole purpose is to act as a vehicle for the content to be read comfortably.

But with expressive type, one has the freedom to express more meaning than just act as a carrier. It’s about communicating an ambience. It’s interesting to know that design is capable of working in subliminal ways. For example, certain typefaces when used in a certain way evoke a sense of the 70s. Design that can work in unsaid ways holds a lot of value. Try incorporating that in your design by focusing on the details rather than the bigger picture. That’s where the magic happens because the viewer understands what’s being communicated but doesn’t realise why or how!

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Adian Grid Construction.

Design decisions are informed by the materials that can be used.

In typography, the challenge would be to pick the right typeface for a design problem, one that evokes the appropriate feeling in the user. For example, a medical journal must use a typeface that is commanding and neutral but a film poster could use a very expressive one. The basic principles of design like contrast, rhythm and balance need to be adjusted and worked on to achieve the needed feel. Type design is a craft. It is highly dependent on its production, where the technicalities must be impeccable for it to work properly. Typefaces are tools for designers. If graphic designers are architects, type designers are the ones who make the materials to be used.

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It takes a nation of millions to hold us back by public enemy.

The greatest challenge is to push the design with technology and create work that challenges its own production.

Technology is integral to design. The aesthetics, production values and scale of a project are often heavily influenced by the technology available at the time. This sets eras apart. For example, during the letterpress era, the design was constrained by what the letterpress could do, but some of these constraints were reduced during the Photolettering era. And a whole different set of constraints were introduced when the computer became integral to design. There have always been designers who broke boundaries with the technology available like how Wolfgang Weingart did with his letterpress works or how Emigre did when computers first came out. Constraints excite the designer. A good example for this is the typeface, FF Beowulf by the guys at Letterror. It is a digital typeface that was part code and part drawing and its forms changed every time it was printed. Now with the recent advancements in type technology with open type and web fonts, it is an exciting time to be a type designer.

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Murder Ballads by Nick Cave & the BadbSeeds.

Published in Issue 19

A typography special, made up of not only Indian type designers or designers whose first love is type, but also few very talented international designers who open a totally new playground with sharing their insights and inspirations. This issue has exclusive interviews with Lucky Dubz Trifonas from Netherlands, Indian UI & type designer Sabareesh Ravi and Shiva Nallaperumal, who believes, type designers are the material providers to all the creative professionals. Also, includes a special making of Nirlep rebranding done by Elephant Design and an interaction with the ace product designer Aman Sadana.

 

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