I made Cut Along by stealing some red cardboard from my kids (red, because they didn’t have any black…) and cutting out the glyphs one by one with a pair of scissors. I then pasted the shapes onto white paper, scanned them and turned them into a font. Cut Along is a very nice font for ads, book covers, packaging and children’s books. Enjoy!

A futuristic styled font that takes influences from 1970s music and film. Examples include: David Bowie, T-Rex, Rollerball & Logan's Run.

ZarBrush Gothic is a "speedball" font inspired by showcard lettering done with a loaded red sable brush. Perfect for text and headlines.

Go West is a spurred version of the FontMesa Red Dog Saloon font which is a revival of an old 1800s woodtype font.

Exablock is a display typeface based on a 6x6 grid, highly modular and geometric. Diacritics appear as negative space cut into the glyph form.

Characterized as inline display font family with childish manners, Scholle offers positive (Shadow) and negative (Regular) weights grouped by bouncing rhythm of its characters.

www.Stat-Type.com Complementary Type Family Stat Text Pro Stat Display Pro is an information design sans serif type family legible in circumstances of low visibility. Its large character set with multiple weights is defined by optimal size ratio, distinctive letter shapes, wide aperture and balanced counters. Stat Display Pro remains legible in unfavorable circumstances of distance, size, movement and similar. It contains nearly 700 glyphs, including diacritics, ligatures, small caps, old–style figures, arrows and more. This enables it to achieve wide language support. It consists of four main (Light, Regular, Medium, Bold) and four secondary, negative weights (Light Negative, Regular Negative, Medium Negative, Bold Negative) which are accompanied by their corresponding obliques. Stat Display Pro type family has higher than average x height (72% of cap height) which is accompanied by matching ascender and descender size ratios. With its distinctive letter shape detail it minimizes the possibility of letter shape confusion, while optimizing legibility with wide aperture and balanced counters. Its main intended use is information design, where it, with its characteristics, meets the requirements of wayfinding, infographics, table setting and much, much more. The development of the type family was based on research in legibility to achieve highly legible letter shapes, while not diminishing their visual character. A detailed description of Stat Pro type family is available at Stat-Type.com where a DEMO font can be downloaded.

Anglo Saxon Futhark Runic adapted form of that beautiful impressive alien script from the Fantastic Predator movie. It looks great with the impressive red color.

Between 1958 and 1961, Herbert Thannhaeuser developed the typeface Liberta for Typoart as a broadly conceived newspaper type which established itself quickly. Its positive adaptation by publishing houses and printing companies was based, next to its agreeable and reader-friendly general impression, also on a relatively robust typeface character which does not sacrifice its power of impression and elegance even when confronted with poor paper and printing qualities. In the 1970s, a bullish and robust design style took over the area of consumer goods which then required a corresponding advertising face. Harald Brödel re-worked the Liberta Ultra for phototypesetting, and, with great sensitivity, designed a matching cursive variation. Both types work especially well as an attention getter for advertising and for emphasis purposes.

Candycorn Overdose represents how I used to feel on the morning after Halloween, way back when I was young enough to go out begging for candy.

Bessington is a quirky rough uppercase display font, each character hand drawn using rich black ink on a soft paper giving it a beautifully ragged look.

The 1920 song “Noah’s Wife Lived a Wonderful Life (‘Cause Noah Had to Stay Home)” is another example of one of those overly-worded song titles from early 20th Century composers. What’s more important for type enthusiasts is that the title was hand lettered with a round nib pen in a slightly ragged Art Nouveau style. Cleaning up the ragged design, the end result became Nouveau Showcard JNL, which is available in both regular and oblique versions.

The typewriter font Olympia was developed by Hell Design Studio and is available in one weight. A typical characteristic of a typewriter face is that it is monospaced, meaning all characters take up the same amount of space, whether a relatively wide m or a relatively narrow i. Typewriters have all but disappeared from the workplace and such faces have lost their original, practical use, but their style and effect has kept them alive and well, especially in advertisements.

ITC Black Tulip was designed by Dudley Rees and inspired by the modular simplicity of the Greek fret band, an ancient repeating pattern formed by tracing a line at right angles between two horizontal rules to form an interlocking motif. Rees admired the discipline of the motif, I saw how that simple rigid rectangular network suggested an alphabet that would need little or no kerning," he says. He describes ITC Black Tulip as a "dramatic headline face"."

It's the old Turkish runic script, which I adapted the written language of the three-legged aliens, the characters of a fantastic science fiction movie called Arrival.

Paint Kicks is a family of handmade typeface, with a rugged paint style. The font carries the spirit of street culture, with its rough and attractive forms

The version of the script belonging to the languages of the fantastic Predator aliens, adapted to the old Turkish runic script. Looks great with the red color.

Oven Plate JNL solidifies the outline lettering of Stove Plate JNL; based on the logo for Red Star Oil Stoves and found on an old letterpress cut.

Giglio Rosso is a decorative typeface with a floral design. The font is named giglio rosso, “red lily,” because it is inspired by the symbol of Florence.

TiedUp is a distortion of the font Ingone. I no longer remember which font distortion program or procedure I used to get this cut-up or ragged effect.

This font based on and inspired by stencil signage in construction site. As you can see, heavy and rugged glyph is very eye-grabbing for headline and titling.

Sortie Super is a take on one of the kings of display lettering - Caslon's high-contrast, reversed stress 'Italian' style. It looks great at big sizes and in short flurries... and shouldn't be used in confined spaces.  When compared with the original face, the weight and contrast of Sortie Super has been exaggerated. To add gravity to the letters I've increased their width overall and reduced the spacing to a hair-line fracture for added visual impact. Characters like 'S', 'E','O' and 'Z' are relatively close to their historical precedents - however the terminals on the 'C-G-S-З-Є', which have been drawn so to be more consistent. Other aspects, such as the leg of the 'R' and 'Я', the apex of the 'A' and the spur of the 'G' are revised and simplified, to help spacing and optical weight across the alphabet. Also, to reduce visual noise terminals in characters like 'C', 'J' and 'R'' are horizontally aligned. Meanwhile, the central horizontal strokes in the 'B', 'P' and 'R' etc are reduced to a hairline, so as to create a more simplified system of thick-to-thin.  The temptation when drawing this kind of esoteric display alphabet is to start to rely on modular components. Which, while copy-paste-repeat is a sure-fire way to make the face more visually consistent, it's a lazy method that risks allowing the font become soulless and mechanical. An early experiment I made was making a monospaced version, which was useful in headlines, but it lost that loving feeling. So, by maintaining a handful of flourishes – the tail of the '?', the inky drop of the '!', the bulbous gloop of arms of the 'Ж' and 'К', the swirling legs in the 'R', 'Я' and 'Л', the big-bowling weight of the 'J' and 'U' – plus a few in-built inconsistencies and a bit of its own silliness, Sortie Super retains some of the organic warmth of its ancestor. Conversely, the counters, apertures and negative space are largely rigidly geometric, which helps give the revival font a bit of a modern touch. Sortie Super is an uppercase-only display font that comes with Western, Central and East European Latin, extended Cyrillic, Pinyin, as well as a set of hairline graphic features and symbols.

Dress Quote is obviously a wordplay - and I did my best to be funny, coming up with that name. I also did my best to do a funny font. I'll let you be the judge of my success - but personally I am satisfied with my performance in both cases! :) The Regular version is a set of steady, yet kind of rugged letters, while the Outline version is ... well, the same kind og rugged letters in an outlined version! :) Multilingual support is included!

Each style includes 6 fonts of 100 characters each of circle, square, and diamond in positive and negative. For ordering purposes, each style (6 fonts) counts as 1 font.

The Manus font family is extended with a new relative: Manus Smooth. Some major and minor adjustments were made, but it still has the look & feel of the original.

Each style includes 6 fonts of 100 characters each of circle, square, and diamond in positive and negative. For ordering purposes, each style (6 fonts) counts as 1 font.