Rabsy is a unique cartoon font with a doodles concept. The included dingbat doodles pattern makes it easy for you to make unique patterns, and make fun display tittle. A mixed-case font (Rabsy and Rabsy Pattern) with lots of combination possibilities, makes for great fun! It is good for logotype, stickers, fun kids signs, and other lettering projects. This fun is perfect combination uppercase and lowercase. Rabsy File Downloaded: - UPPERCASE and lowercase - Lots of doodles Rabsy Pattern 1-9, A-Z and a-z (more fun with lots of combination possibilities) - Punctuation and numeral - Extended Latin characters for language support. Please let me know in the comments what you think or if you have any issues or queries, If you have any questions about licensing, need help with a typeface, or would like to request a new feature, drop me a message. Thank you, D&K Project

With the printing of the Futurist poem “Zang Tumb Tuuum” in 1914, modern art had taken a typographic twist: “words in freedom” (parole in libertà) were now a major part of the art world. The avant garde followed suit. Niedermann Grotesk is based on the everyday type that appeared in early modernist collages, journals and manifestos. It is a peculiar style of lettering—which was originally inspired by the Sachplakat (object poster) work of Lucian Bernhard—and adapted for hot metal in 1908 by Heinz Hoffmann. 100 years ago, the style became a workhorse of the German printing industry. Niedermann Grotesk is an updated variant, referencing the original poster art, each letter carefully drawn with an old brush. Bumpy, bold and blunt—with a suite of alternate characters and a few dingbats—Niedermann Grotesk is perfect for advertising, packaging, poetry, art, protests and retro homage.

The typeface No Culture No Soul is designed from 2021–2022 for the font foundry Typo Graphic Design by Luise Herke × Manuel Viergutz as a project for support the culture. Special THX to Michael Rütten of soulpatrol.de The display font with 254 glyphs incl. numbers, punctation, marks & symbols is inspired in the past and present. Extras like OpenType-features and 7 sylistic sets. For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: No Culture No Soul ■ Font Styles: 1 (Rough) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Glyph Set: 254 glyphs incl. extras like icons (decorative extras like dingbats, emojis, symbols) ■ Design Date: 2021–2022 ■ Type Desi­gner: Luise Herke, Manuel Viergutz, THX to Michael Rütten (Soulpatrol)

Nearly a hundred human heads, in three dingbat files. The whole series comes from the sketchbook: the original ink drawings were then digitized and refined to create vector outlines. Rather than perfectly smooth, geometrical shapes, the Entestats, like their close relatives in the Capsbats series, the Entestats retain a handmade look and feel. The Entestats are ready-made illustrations, though of course they will appreciate being enriched with colours, textures, an imaginative layout... and use them for a variety of projects. Use them small, as spot illustrations or as big as a whole page or page spread. The Entestats and their kin, the Capsbats, are a terrific resource for presentations, packaging, logos, brochures and advertisements, to name a few applications. The book 1000 Heads is a compendium of the drawings featured in the Capsbats and Entestats and it gives a glimpse of the limitless applications of this collection.

Double Nines JNL is a dingbat font containing fifty-five glyphs for the tiles found in the second level of domino games. Sets of dominoes can be of either double six, double nine or double twelve. In this font, the double blank tile is located on the zero keystroke, while the one/blank and 1/1 tiles are on the 1 and 2 keystrokes. The rest of the tiles (in numerical order through 9/9) are located on the A-Z and a-z keystrokes respectively. To use any or all of the images contained in Double Nines JNL in any manufactured products or services, please refer to the software license agreement provided when purchasing this font. A separate royalty license must be secured from Jeffrey N. Levine for such purposes. The images are NOT licensed for use in proprietary logos or service marks.

MIX SONIC is a font pair inspired by the night sky. You get a round, bouncy and plump decorative san serif in MIX SONIC MOON and an all-uppercase and moon and stars dingbat hybrid in MIX SONIC STAR. The shapes of these glyphs capture the various phases of the moon, and how it lights up eerily lights up the night sky at each phase. MIX SONIC MOON and MIX SONIC STAR are great additions to your font collection. Make it a go-to font for all your projects of the mystic, astrology, magic, zodiac, elemental, witchcraft or divine variety. Use together, or separately, both font sets are sure to delight! MIX SONIC MOON comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()`~♥♥✿•· ÷×+−±≈=≠≥≤[]<>:;’”,.\|/?{}“”‘’-–—_… ©®™‹›«»°¹²³ªº¡¿₱¢€£¥½¼¾¶§№† ÁÀÂÄÃÅĂĀĄÆĆĈČÇÐĐÉÈÊËĖĒĘĜĤIÍÌÎÏĪĮĴŁŃÑŇÓÒÔÖÕŌŐ ØŒŔŘŚŜŠŞȘŤȚÚÙÛÜŮŰŬŪŲẂẀŴÝŶŸŹẐŽŻÞẞ áàâäãåăāąæćĉčçðđéèêëėēęĝĥıíìîïīįĵłńñňóòôöõōő øœŕřśŝšşșťțúùûüůűŭūųẃẁŵýŷÿźẑžżþß MIX SONIC STAR comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstu-vwxyz 0123456789 !@#$%^&*()`~+= []<>:;’”,.\|/?{}“”‘’-_‹›₱¢€£¥ Fellow witches, enjoy!

Scripta is a family of typefaces that leads "Scripta Pro", a commercial script writing similar to those used in ads advertising the decades 40 and 50, with fine lettering combinations of that time, Scripta Pro is ideal for composing headlines and subheads and this is supplied in two weights. This system is complemented by a Roman Sans "Scripta Gothic" an artdeco style typeface to harmonize with the style of that fonts. To add style to set fonts, created "Scripta Icons", one dingbats font based on a series of graphs that help recreate the ornamental fantasies of a postwar generation, a society in transition between the classical world and ornament and promises of a cosmic and atomic world. For those wishing to use words made was created "Scripta Catchwords". "Scripta Pro" is a script typeface inspired by the style works of the american typeface designer LH Copeland.

Ahmed is a modern Arabic headline face, first produced by Linotype-Hell Ltd. in the early 1980s. Originally developed as a simplified face, its design recalls the inscriptional and decorative tile work lettering of the medieval period. The strong treatment of the tails of certain characters departs from the more traditional style of tapering these finials, introducing a modern feel to the design. The contrasting proportions of the tall vertical strokes and the rather elongated counters lend a monumental look to Ahmed, allowing its effective use in titling. During the later 1980s Ahmed was developed into a traditional typeface, with the introduction of medial forms to improve character spacing and balance. Recently, Ahmed has been converted into the OpenType font format, ensuring its continued popularity as a heading face for newspaper typesetting. The Ahmed typeface contains two weights, Ahmed and Ahmed Outline. Both of the OpenType fonts include Latin glyphs from Clearface Gothic Roman inside the font files, allowing a single font to set text in both most Western European and Arabic languages. The two Ahmed fonts include the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Plakato, a stencil love affair Plakato is a family of display fonts, consisting of various eye-catching styles, each of them very bold. Plakato is an identity toolkit, a heavyweight building block in case you need a strong personality, a small stencil font family to cut out your best ideas and grab all the attention. But just as with many other creations, its outcome is as divers as its multiple origins. Plakato comes in 16 eye-catching styles. The default stencil style comes in Regular & Italic. They both have 2 variations: one version, named Plakato Stencil, automatically creates borders around the text, putting any text into a graphic stencil in this way. Another version, the extruded three-dimensional version, guarantees even more attention for your message. Next to this there is also the Inline version, which is an optical play with a lot of lines. Plakato Inline has a supportive background layer, a separate font in case you want to add a background in a different colour. Then there is Plakato Paper, a manually teared version of Plakato offering a more physical look. This small family of eye-catching display fonts also contains a Neon font, an independent design in Plakato style, which can actually be used for making neon signs due to its construction. Plakato Neon comes with its own Dingbat font for that extra flush-flush. Plakato has also been redrawn on a C64, and with all its accompanying limitations been ported back and turned into a font: Plakato Game. Also this font comes with its own Dingbat font, full of emoji’s and icons for oldskool pleasure. Last but not least there is Plakato Build, constructed out of blocks. As if that wasn’t enough, there are various dynamic versions in the Plakato Play package, which offer a whole new range of possibilities for typographic expression, with new animation and interaction opportunities.

How many times have you seen lettering on a book cover, poster, or card and wanted to make something similar? Decorata’s eight intertwining weights finally make that possible in an intelligent way. The first major collaboration of its kind, Decorata pairs the talents of supreme lettering artist Martina Flor and masterful type designer Neil Summerour. Lettering was traditionally understood as using words in an artistic way, while type design created written language for easy reading, the one overlapping the other in several ways. For this unique project, Martina created several versions of the alphabet and its decorative layers in her eye-catching style. Neil then took those designs and created an enormous eight-style font family that respects the designer’s need for control and capitalizes on the artist’s expressiveness. Each style can work separately but, on top of the foundational styles, try placing the Lace, then Filigree in contrasting colors. Use any OpenType-capable program to turn headlines from blasé to wowza, make posters with some pow, and design your own cards with that just-right level of detail. Whatever idea you can imagine with the Decorata family, it promises to be a playful and precise wordsmith where the words themselves are the art. Decorata’s glyphs are bifurcated, have medium contrast to showcase their intricate interactions, and include Shadow, Regular, Outline, Filigree, Lace, Fancy, Intricate, and Dingbat styles — eight in all. The Regular style sets the word or phrase to begin the design, Shadow ensures it lifts off the background, and Outline attempts to restrain its ornate flair. Think of those as the foundation and use the rest of the styles for flamboyance. The Intricate and Filigree styles vary only in the thickness of the glyphs, with Filigree being thinner. Lace removes the external curls around each letter but keeps the internal negative space from those decorative lines. The Fancy style is a solid lettershape that includes its attendant elements, and the Dingbats are exactly as expected: borders, manicules, patterns, frames, and many stylized items to bring designs to life.

Panforte Serif is the basic ingredient for any tasty visual feast: a prime-cut font family, deliciously readable online and offline, space-saving and organic, appealing to hipster consumers and seasoned gluttons. Hand drawn in easy big strokes, its a very condensed typeface that allows you to typeset easily long texts. Lovers of world cuisine will be delighted to discover that it supports over 190 languages using the latin alphabet.

Dedicated to the XXII summer Olympic Games. I was inspired by the icons of these games when creating font Olymp80. This is an excerpt from the official report of the Moscow Olympics: "Sports pictographs, as we know, are pictographic drawings symbolising sports. They serve as points of reference and help overcome language barrier. Over the past few years, they have been integrated into the decoration of Olympic cities, and have been depicted in Olympic posters, commemorative medals, postage stamps, tickets, souvenirs, etc. On the OCOG-80’s request, graduates from several art colleges took up the design of the pictographs of the insignia as the theme of their dissertations. With the help of the research institute of industrial aesthetics, the Organising Committee chose the work submitted by Nikolai Belkov, Mukhina Art School graduate from Leningrad. The State Committee for Inventions and Discoveries under the USSR Council of Ministers recognised the new design as a production pattern. Though highly stylised, the new signs are easily comprehensible. They are smoother in outline because they are constructed at an angle of 30-60 (previously the angle was 45-90). Another merit of the new system is that the designs can be adapted for use in four representations: direct (solid, black against a white background), reverse (solid, white against a black background), contour (black contour against a white background), and reverse-contour (white contour against a black background), and permit several colour and shade and size variations." All text and pictures you may see on 1980 Moscow, Volume 2, Part 2, Page 420. Monospaced font for names, logotypes, titles, headers, topics etc. Font includes only uppercase letters with two alternative designs for each letter.

Cowboya is a typography with concave Tuscan serif very contrasted and modernist inspiration with letters in small caps, includes 4 versions of the font that can be used by superimposed layers which results in multicolored typographic titles. For the design of this typeface I was inspired by the credit titles used in the black film directed by Frizt Lang in 1950 called "The House of the River", to the drawing of the original forms of the letters i added decorative elements to give the fonts a festive character, traditionally this type of decorative fonts that emerged in Italy in the nineteenth century were used in large headlines and posters that were closely related to circus shows, carnival or environments of the Far West American. I have also rounded the sharper joints of the antlers and counterforms to create a contrast with the sharp Tuscan serifs which brings a modern background of retro inspiration and soft shapes.

Tea Biscuit is a classy upright script family with its roots in the past. It’s inspired by hand lettering of the 1950s, but finished with a modern, smooth appearance. The Tea Biscuit Family contains four weights, each of which contains more than 1200 glyphs, to fulfill the tasks of modern design challenges while retaining a customised look. Tea Biscuit is equipped with plenty of features to achieve a custom-designed look. When the Standard Ligatures function is on, the font automatically chooses different letterforms on the fly, depending on which characters appear first. For a bit of extra flavour, turn on Swash, Stylistic or Titling Alternates in any OpenType-savvy program for even more extra swirls and swashes. The Tea Biscuit family comes with a set of matching Ornaments to support your designs. In addition, Small Caps are included within the fonts: a complete set of frisky block letters that can be used on their own or to support the Script font. Enjoy!

Designed in 1950s Japan by Okanao & Kushiro, the perfect partnership until artistic temperaments drove them apart. The duo spent years crafting the font with the working title “Messenjā”, Okanao bringing technical expertise to craft letterforms, while Kushiro made it his life, obsessively working late into the night to check pages for errors. For him the project was never about making money, it was an artistic endeavor to reprint the great Western works of literature. When he found out Okanao had secretly sold the rights to the font for use as a logo for a major Japanese manufacturer, Kushiro burned all evidence of the designs in a fit of passionate fury. The two reportedly never spoke again. “Messenjā” was thought lost forever until a type specimen was discovered in a vintage typewriter box bought on eBay. Now redrawn and available as 57-nao, a faithful and beautifully crafted monospace characterized by what is considered Okanao’s defining moment, the angular loop on the lowercase ‘a’.

Hasler Circus packs amusement park, Old West, folk art, and tattoo shop all into one colorful font. Characteristic of reverse-contrast faces, Hasler Circus swaps the weight of its stems and serifs creating an unexpected yet charming rhythm. The font also features an added bonus: split stroke endings to crank up the flavor. Inject a dose of novelty into toy packaging, candy wrappers, cook books, vintage signs, or festival marketing. Drawn in the 1950s for Photo-Lettering, Inc. by influential British designer and typographer Charles Hasler, Circus was digitized by Erik van Blokland in 2011, with a helping hand from Ken Barber. HASLER CIRCUS CREDITS: Typeface Design: Charles Hasler Typeface Digitization: Erik van Blokland, Ken Barber Typeface Production: Ben Kiel Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Now is a great time to dust off your old motor scooter and take a ride along the Italian Riviera. Let’s head to the flower city of San Remo, Italy - the namesake for this versatile, 1950s style script. Try San Remo on your next brochure or flyer project. You may want to consider using it to create a special logo or icon for your personal stationery. It’s perfect for any job that requires linked or connected letters. And for your convenience, this dashing design sports a variety of alternate characters plus lining and old style figures. San Remo Casual is also available as an OpenType font. It contains lining and oldstyle figures, prebuilt fractions, stylistic alternates, and a wide assortment of f-ligatures, plus more. These advanced features currently work in Adobe Creative Suite InDesign and Illustrator. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades. Ciao!

At first glance, there is something familiar about this font, but one may not be sure... “Where have I seen this font before?” Known for his diverse portfolio of script style display fonts, typographic designer and lettering artist Rob Leuschke has taken a step back in time with Alumni™. A true departure from present trends, this font resurrects the clean and simple forms made popular in the 1950s. Originally inspired by the black face Impact™, it soon evolved to include numerous weights from the Black flavor of its progenitor to a super thin Pinstripe. The extreme weights (Pinstripe, Hairline and Black) are designed for display situations while the remaining weights may be used for more traditional textual design applications. The Inline and Collegiate flavors offer added display options. Alumni™ is available in Roman and Italic versions of each weight. Extensive kerning and OpenType programming have been applied to give it optimal functionality.

Palatino Sans Informal was designed as part of a group of three font families: Palatino nova, Palatino Sans, and Palatino Sans Informal. Together these three families act as the fulfilment of Herman Zapf’s original Palatino idea. Palatino, which was born as a metal typeface in 1950, proved to be one of the 20th Century’s most popular designs. Not only is Palatino Sans Informal a completely new typeface, it is also a completely new interpretation of the entire sans serif genre. Its letterforms are curved, rounded, and soft, not hard and industrial. In comparison with Palatino Sans, Palatino Sans Informal offers eccentricities that are somewhat artistic and more individual looking. The fonts in the Palatino Sans Informal family include several OpenType features, such as an extended character set covering all Latin-based European languages, old style figures, small caps, fractions, ordinals, ligatures, alternates, and ornaments. Palatino Sans Informal can be mixed well with Palatino and Palatino Sans.

Dinghy is a shore thing. Like three fonts in one, Dinghy sports a friendly, bold lower-case, a salty, strong upper-case, and in all-caps with discretionary ligatures turned on, Dinghy is tightly interlocking. Turn some ligatures on, others off, to craft the look you want - whatever floats your boat. Dinghybats contains 26 original Amy Dietrich seaside illustrations from curious ocean animals to dune grasses to, well, dinghies.... So enjoy making waves with Dinghy family!

In 1939 the Stephenson Blake Company bought a very popular script called Undine Ronde and began marketing under the name Amanda Ronde. Although Undine/Amanda was quite popular and can be seen in many advertisements from the 1930s and 1940s, there seems to be no surviving record stating the original foundry or designer. We thought that six and half decades of dust layers over the once-popular typeface were enough, so here and now you have its complete and expanded digital incarnation, Adore. It is quite easy to see why this typeface was popular. A round script with graceful meaty curves is rarely found and can be used in plenty of applications. Wedding paraphernalia, chapter titles, posters, poetry, book covers, religious literature... you name it, Adore can fit it. Aside from its totality being unmatched by currently available designs, Adore also possesses some of the most unique and imaginative letter shapes. The narrow loops on the B, P and R, the minuscule-like Z, the looped b and d, the descending h... all these shapes contribute to a breathtaking and adorable calligraphic work unlike any other. The original design came in a basic alphabet, but we have updated it for current digital technologies, and expanded it to include plenty of alternates and ligatures, as well as some ornaments. The Postscript Type 1 and True Type versions come in two fonts, the second containing the alternates and extras, while the Open Type version is a single font containing all the alternates and extras in conveniently programmed features, easily accessible at the push of a button in OpenType-supporting software. We also encourage you to take a look at Typodermic's Mecheria font, which is further experimentation with the same letter forms, resulting in a quirky, friendly, curly, angular gothic-like creature.

Here is my next Celtic Monograms font family. I used a lot of authentic knots and curves to imitate Insular art style. The term derives from insula, the Latin term for “island” in this period Britain and Ireland shared a largely common style different from that of the rest of Europe. I've drawn sketches set, manually vectorized it and assemble the font family. In an attempt to replicate the intricate patterns found in Celtic art, I endeavored to create a design that embodied the essence of true Celtic knot work. The interweaving lines, which were prominent motifs in Celtic art prior to the arrival of Christian influence around 450, served as the foundation for my creation. Over time, these designs seamlessly integrated into early Christian manuscripts and artwork, incorporating depictions of various elements from everyday life, including animals, plants, and even human figures. In the beginning, the patterns were intricate interwoven cords, called plaits. This particular style is often linked to the Celtic regions, but it was also widely embraced in England and spread throughout Europe through the efforts of Irish and Northumbrian monks. The utilization of the Celtic knot as a tattoo design gained popularity during the 1970s and 1980s in the United States. Consequently, it has proven to be a highly advantageous font choice for various applications such as posters, banners, and sportswear. You can also create a vintage color shift effect. Please note, you should use graphic applications such as Adobe Illustrator or Photoshop, but not Microsoft Word. All you need is put Two or Three lines style initial on the top of Back style. I’m happy to present you the Rough, Two lines, Three lines, and Back styles for your design. You’ll get uppercase and numbers set. Thank you!

Trinidad Neue™️ is a geohumanistic typeface developed by the Chilean Type Design Studio Sudaca. The origin of this work lies in an exercise of comparing classic Roman proportions (Trajan Columns) with the capital letter set of Futura by Paul Renner. I wanted to create my own Sans Serif interpretation of classic proportions. I started working with letters A, H, N, O, R and S. When I finished the uppercase set, this exercise transformed itself into a project. I started to develop a set of lowercase letters choosing as direct references Futura and Kabel by Rudolph Koch; always having in mind that the objective was to find a balance between the humanist and the rational or geometric. Here is when this group is formed, giving its name and identity to this family: Paul, Rudolph & Alexis. The result is a typeface with an elegant, modern and versatile aspect. Its seven stylistic sets make Trinidad Neue™️ into a Swiss army knife to compose short and medium texts for editorial design, branding, exhibitions, motion graphics, etc. The family consists of nine weight variants and its corresponding oblique versions. It counts with many OpenType characteristics in each variant, including small caps, seven stylistic sets that can be combined, standard ligatures and discretionals ligatures, proportional numerals, tabular numbers, fractions, superscript, subscript, normal punctuation and also aligned to small caps and capital letters, arrows, emojis and more. With more than 1000 glyphs, this typeface has a wide idiomatic range that includes more than 190 Latin languages. Trinidad Neue™ is the new and alternative version of LC Trinidad™.

Are you looking for an appropriate typeface for coffee shops concept? We want to introduce Pistacho, the new type family of Estudio Calderon that contains 18 fonts to design great illustrations and to be applied, especially, in coffee shops, bakeries, ice-cream shops, candy stores, pastry shops, fruit shops and all those places where food is the center. Pistacho was designed by hand using pencils and markers that let us get a handcrafted and rough texture. Below, a brief description of each style: Display: A fresh and modern type, perfect to be used in coffee shops outdoor signs. The logotype of “Central Perk”, the coffee shop of the tv show “Friends” was our inspiration to develop this beautiful font that contains 317 characters and three variables: Display 1, Display 2 and Display 3, each one has specific characteristics that will be an excellent resource for your designs. Sans: Style that contains 7 fonts that can be mixed to get interesting finishes in your designs, each variable has 363 characters with standard ligatures and stylistic alternatives. You can find this styles as: Sans 1, Sans 2, Sans 3, Sans 4, Sans 5, Sans 6 and Sans 7. Good news, you can get Sans 5 DEMO for free. Script: Script 1 and Script 2, two monolineal fonts with a generous spacing that provides contrast and movement, being a suitable complement for the rest of the types of Pistacho family. Serif: Font with a lot of style and personality, inspired in the interlock alphabets shown in «Photo-Lettering´s One Line Manual of Style». Serif 1, Serif 2, Serif 3 and Serif 4 contain a great number of ligatures that generate nice compositions by combining them. One of the characteristics of this style is the combination of upper case and lower case giving as a result a different touch in each design. Soft: Humanist type with a rustic texture and geometric forms ideal for long texts and small sizes. Dingbats: We have designed a package of 244 graphics, illustrations and ornaments that are the perfect complement to combine with each font of this family. Get Pistacho type family, enjoy using it… and do not forget your cup of coffee.

Giaza is a luxurious Didone typeface, most suitable as a Display font, the main focus was to include as many indulgent aspects as possible, and really make use of its high-contrast aesthetic. With smooth curves and subtle indentations, it's a very Fashion-conscious typeface. The OpenType features include 190 decadent swashes and elegant Inverted/ Everted Alternates. Along with Stylistic Alternates, Standard Ligatures, Discretionary Ligatures, Regular and OldStyle Numerals, Fractions and Ordinals.

Tekton font is based on the hand lettering of West Coast architect Frank Ching, who wrote out the text for his books. It is an Adobe Originals typeface designed by David Siegel in 1989. Tekton is ideal for architectural drawing/design software, to match the feel of the type with the designer�s plans, or to give the page an architectural or informal handwritten flavor. Tekton multiple master, released in 1993, has increased the usefulness of the design by adding weight and width axes and making the font more usable for signage and display work, as well as informal correspondence.

This family was inspired from the set of font faces used in Amsterdam by Daniel Elzevir to print the famous “Tractatus de corde...” the study on earth anatomy by Richard Lower, in 1669. The punch cutter was the famous Dutch Kristoffel Van Dijk. In our two styles (Normal & Italic), font faces, kernings and spaces are scrupulously the same as in the original. This Pro font covers Western, Eastern and Central European languages (including Celtic), Baltic and Turkish, with standard and “long s” ligatures in each of the two styles. The Roman (Normal) style contains a U stylistic alternate, and the Italique style A.

Modulario is a geometric sans with some disturbingly individual features. A few capitals owe a bit too much to Roman proportions. The circular O serves to distinguish it from the zero, and the luxuriously wide W and M are both pointed in the middle, although alternatives to the more contentious letters are available within the font. The lowercase shows a little more handwriting influence than is customary – we are used to seeing a writing-style curve at the base of the l, Modulario extends the influence to the i and a, and also sports a uniquely scripty s.

A nixie tube is a technology from the 50’s used to display numerals that are composed by metal filaments that light up much like a lamp bulb. Due to their beauty these little numerals (0-9) are a love case for any designer, and formally it’s where the inspiration for the Nixin typeface came from. All the other typeface characters and weights are an interpretation from the original 10 numerals, always keeping the same minimalistic spirit and formal elegance. Nixin is a geometric and regular typeface, with a vintage touch and a bit of modernism.

Macho Moustache is closely related to Macho Modular , the parent type with which it shares modular widths and most letterforms. The difference is that Macho Moustache follows the ‘Grotesque' tradition of tight apertures for a, c, e and s as well as some of the numerals. Original design work started together with Macho Modular in 2008. Now the range and communication potential of the Macho family has been developed with five weights. Since the Macho family was designed bearing in mind the idea of Themerson's semantic typography, Macho Moustache features all sets of modular brackets and underlinings.

The font family "DEADman" is mostly inspired by the weird style of the British illustrator Ralph Steadman. He had a long partnership with the American journalist Hunter S. Thompson, drawing pictures for several of his articles and books e.g. "Fear and Loathing in Las Vegas." Like Steadman's artwork all the letters are painted with ink. The best ones were selected out of hundreds of variations to get the whole character set complete and look uniform. By combining the regular weight with one (or both) of the additional weights "Blotting" and "Squirting" you can achieve a more freaky and psychadelic look.

Skope is an experiment in horizontal stress and also a recreation of the extreme lettering style of comic masters such as Josep Coll or Manuel Urda from his cartoons in the pages of the classic TBO (Barcelona, Spain, 1917-1998) or our contemporary favorites Francesc Capdevila -Max- and Joost Swarte. The proportions and some of the fundamental features of Skope are drawn from the features of the masthead of the magazine Triunfo (Valencia, Spain, 1946-1982). The inspiration for the numbers comes from a kitchen clock from the 70’s photographed in the distance in a second-hand shop.

“Marne” is a new font inspired by letter designs from the 80's but updated. Standing out for its condensation, its angular touch, its slight slant and its thick and thin lines, “Marne” is the perfect mix of elegance and informality. Open Type features include a full complement of international characters, alternatives and ligatures. With all this, the text will look alive and dynamic, without the monotony of repeated letterforms. “Marne” can be the choice to create titles, logos and posters for branding and packaging, invitations, greeting cards, magazine and book covers, children's material, fashion, and wherever you want!