Capital Love just contains capital letters decorated with hearts. By pressing a lowercase button a alternative to the uppercase letter will appear. All shapes are drawn individually and do not oblige a geometrical system. The lighthearted vivid ductus remind me of a quality that can be found in the dynamics of Keith Haring drawings. Capital Love is a part of the Light Hearted Font Collection that is inspired by a recording of Jean Baudrillard with the title, "Die Macht der Verführung" (The Power of Seduction) from 2006. Further inspiration came from the article, "The shape of the heart: I'm all yours". The heart represents sacred and secular love: a bloodless sacrifice. by British writer Louisa Young printed in EYE magazine (#43) London, 2002.

A tessellation is a pattern in which a shape or tile fits together with copies of itself to fill the plane with no gaps or overlaps. One type of tessellation is formed with sides of center-point rotation, that is, one half of an edge is rotated 180 degrees to form the other half. If a square template is made with sides of identical center-point rotation, there are exactly four shapes that are possible. If these shapes or tiles are fit together not edge to edge but vertex to vertex, the result is a checkerboard-like pattern of tiles and voids. However, the voids have four edges formed by the four possible shapes that the tiles can have, so the voids are limited to the same four shapes that that make up the tiles. The FabFours have 22 tile families that allow a wide variety of fascinating patterns. They form one, two, three, and four tile tessellation. Eleven of the seventeen symmetry groups can be formed with these patterns. In each tile family two of the shapes have two possible orientations, one shape has four possible orientations, and one has eight, for a total of 16 tiles. Each font has two families, one on letters A-P the other on a-p. For some of the families there are also other tiles using the same edge but using triangular and hexagonal templates. To get proper results, the leading must be set equal to the point size of the font. I discovered these fabulous families and their decorative possibilities as I was working on a book about tessellations. I have not been able to find anyone else who has written about these families of four and their decorative possibilities when arranged vertex to vertex.

A sign of something better When designer Stuart de Rozario surveyed the fonts used in signage on London’s public transport systems, he reached a dead end. They seemed staid, sterile, lacking in personality, and ill-suited to use by modern brands. He was pointed in another direction entirely. ‘The driving force behind my thoughts was to design something more current and fresh without compromising legibility and clarity. A font with both personality and function, that’s versatile and large and small sizes, and effortless to read, but which also says something new.’ Speed reading Late for a meeting and can’t find your way? Trying to catch a flight? Lost in a hospital? Reading signs is a different business to reading a book or a newspaper. Text on signs needs to be deciphered quickly and effortlessly. So the legibility criteria for signage letterforms are different to those for normal reading, too. Throughout FS Millbank’s uppercase and lowercase alphabets, characters have been given features for extra definition, including: wide ink traps on the A, K, M, V, W, X and Y; a serifed i, accentuated spurs on the a, d, l u; and different x-height shapes on the b, g, p and q. Distinctive forms and generous, open internal shapes all help the quick reading of sign text, and wide, open terminals and counters allow similar letter shapes to be distinguished easily when viewed at different angles. Running down a corridor, maybe... Positive/negative Standard type tends to glow on the kind of dark backgrounds often used for signage, and look heavier than its true weight. To correct the imbalance caused by this optical trick, special weights of the typeface have to be drawn for these ‘negative’, light-on-dark applications. These are lighter than their comparable positive weights to overcome the ‘glow’ effect. After extensive tests of the negative weights, at all sizes, we achieved the right optical balance. Glowing, glowing, gone. Icons This wouldn’t be a signage typeface without its own set of icons, or symbols, to help people find what they’re looking for. So, to sit alongside the positive and negative fonts, we’ve created a comprehensive set of 172 icons, covering a wide range of applications from transport and user interface to information and directional. Designed within the typeface capital height, they sit on the baseline and are spaced centrally.

According to Hellmut G. Bomm "Nautilus was based on a handwritten type used for the text Li. Das Helle, Klare from the I Ging. "The intention was to create a clear, highly legible typeface. While the even strokes of sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus lends the type its legibility. The characters were drawn with a broad tipped pen, and like an antiqua type, the forms of Nautilus display a variety of elements. The narrow figures with relatively large spaces between them create an overall open appearance and allow a large quantity of text to fit into a small space. "The headstrong forms of Nautilus make this an excellent display type. The italic weights are independent typefaces with hints of a handwritten character."

Alterglam is one of my all time favorite fonts, although I didn't think so at first. The font appeared as a modification of my other default font. But over time, the font turned into an independent work. Moreover, the font began to live its own life and constantly demanded attention. So at the same time the Alterglam font is the most thoughtful and polished font in my collection. It is my pleasure to present this wonderful font set for exquisite designs. In the set there are 20 font sizes, which provides a rich typography. If you need a strict, but at the same time artistic font, Alterglam is the font of your choice.

Handmade Mr Moustache™ is designed for Great Type. · Extra thin letters, condensed and with a handwritten touch, Mr Moustache gives a warm and friendly feeling to your layout. Mix upper- and lowercase letters according to your own liking. Furthermore, choose between a hand-drawn Unicase and an almost Unicase appearance. Use Mr Moustache Display for headlines and anything BIG. Use Mr Moustache Text for small type sizes or large volumes of text. · Mr Moustache is accompanied by frames, ornaments and dingbats in regular and solid, that can be layered for multicolored effects, providing endless design-possibilities. Please download MrMoustacheAccessories.pdf to get a complete overview. If you prefer the document in Indesign, please send an email to office@buerofliegenpilz.at · Mr Moustache offers OpenType features, including contextual alternates and stylistic sets. The font family works best with frame-based layout programs that support full OpenType functionality. · For Mr Moustache Frames please note: The glyph preview in your design application may be a bit confusing due to the size of the "letters". Please download the MrMoustacheAccessories.pdf which shows all possible frame parts. Here you can easily copy and paste all the parts you need. · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for MrMoustache / 175 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Aymara, Basque, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cimbrian, Cofan, Corsican, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hiligaynon, Hopi, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Manx, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Lule, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Walloon, Waraywaray, Warlpiri, Wayuu, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

The “Trixy Toy Educator” was a 1930s-era set of letters and numbers (along with a few animal shapes) for teaching children, and was manufactured by the Durrel Company of Gardner, Massachusetts. Die cut from thick cardboard, the 40 piece set also included a rack to display the characters, presumably for little ones to practice the correct order of the alphabet and basic numerals or to spell simple words like ‘dog’ or ‘cat’. Whomever came up with the idea, they used the most rudimentary and unusual ‘type design’ shapes in the A-Z and 0-9, but they were just odd enough to inspire a digital type version of them. School Age JNL is available in both regular and oblique versions.

Probably one of the most unusual applications of a stencil took place in 1964 when Union Carbide [then-owner of the still-new line of "Glad" brand plastic wrap and storage bags] sponsored a $100,000 contest to match up a stencil of their logo in order to win a prize. The magazine ad told of how one thousand lucky participants would win $100 by simply taking a die-cut stencil of the brand name to the store and overlaying it on the logo printed on the food wrap box to see if it aligned perfectly. The hand-lettered title proclaiming "match the stencil and win" was done in a casual sans design and reflected the cheerfulness of many typestyles found in ads during the late 50s and early 60s.

Agmena™ has no historical precursor; it was designed from scratch by Jovica Veljovi? whose aim was to create a new book typeface. Although it generally has certain similarities with the group of Renaissance Antiqua fonts, it is not clearly derived from any of these. Clear and open forms, large counters and a relatively generous x-height ensure that the characters that make up Agmena are readily legible even in small point sizes. The slightly tapering serifs with their curved attachments to letter stems soften the rigidity of the typeface, bringing Agmena to life. This non-formal quality is further enhanced by numerous tiny variations to the letter shapes. For example, there are slight differences to the terminals of the b", the "d" and the "h" and minor dissimilarities in the forms and lengths of serifs of many of the letters. The tittles over the "i" and "j" and those of the German umlauts are almost circular, while the diamond shape that is more characteristic of a calligraphic script is used for the punctuation marks. Although many of these variations are only apparent on closer inspection, they are enough to give Agmena the feeling of a hand-made typeface. It is in the larger point sizes that this feature of Agmena comes particularly into play, and individual characters gain an almost sculptural quality. The italic variants of Agmena are actually real cursives. The narrower and thus markedly dynamically formed lowercase letters have a wider range of contrast in terms of line thickness and have the appearance of having been manually produced with a quill thanks to the variations in their terminals. The lowercase "a" assumes a closed form and the "f" has a descender. The italic capitals, on the other hand, have been consciously conceived to act as a stabilising element, although the way they have been inclined does not produce a simply mechanical effect. This visual convergence with the upright characters actually means that it is possible to use letters from both styles in combination. Agmena is available in four weights: Book, Regular, Semibold and Bold, and each has its matching italic variant. Veljovi? designed Book and Regular not only to provide an optical balance between various point sizes, such as between that used for the text and that used in footnotes, but also to take account of different paper forms: Regular for lined paper and Book for publishing paper. Agmena's range of characters leaves nothing to be desired. All variants include small caps and various numeral sets with oldstyle and lining figures for setting proportional text and table columns. Thanks to its pan-European language support, Agmena can be used to set texts not only in languages that use the Latin alphabet as it also features Cyrillic and Greek characters. The set of standard ligatures has been extended to include special combinations for setting Greek and Serbian. Agmena also has some initial letters, alternative glyphs and ornaments. Agmena is a poetic text font with forms and spacing that have been optimised over years of work to provide a typeface that is ideal for setting books. But its letters also cut a good figure in the larger font sizes thanks to their individual, vibrant and, in some cases, sculptural effects. Its robust forms are not merely suited to a printed environment, but are also at home among the complex conditions on terminal screens. You can thus also use Agmena as a web font when designing your internet page."Agmena has received the Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2013.

The letters in this font are made by chopping bits from footprints. Individual letters are sometimes very hard to decipher, but when put together as words they are usually readable. In Pedestrisan-Regular, the original version of this font, the upper-case letters have toes on the top the lower case letters have toes on the bottom. All the feet with letters are right feet. The upper case and lower case do not mix. In 2020 two alternate versions were created. In Pedestrian-Alt all toes are on the top but the lower-case letters are left feet. In Pedestrian-AltTwo all toes are on the bottom with the upper-case letters being cut from left feet and the lower case from right feet. Both the alternate styles also have an alternate set of numbers on the unicode circled numbers that can also be accessed with an OpenType feature.

Designed by Alfonso García and Latinotype Team. Rawson is inspired by early humanist sans-serif English typefaces. We have added a bit of Johnston, a bit of Gill and a lot of Latinotype to the font. Rawson is an elegant font—but definitely not a black tie one—with the strength of a geometric sans but as friendly as a humanist typeface. This mixture, though not capricious, gives the font a ‘classic’ personality and a modern look at the same time. Rawson is a typeface with a large x-height, open counterforms and classical ductus. The font is well-suited for branding, signage, packaging and short text. Rawson has a 778-character set that supports 219 languages and includes alternative characters, discretionary ligatures, small caps, a variety of figures and fractions—a wide range of typographic tools to meet different design needs.

Introducing Huntsville Monoline Signature, a brand new font with monoline style and signature feels, also made from hanwriting skill to make it more useable and stylish. This font also suitable for Branding Design, Logotype, Wedding Invitation, Headline, Posters, Business Card and etc. Yes this font comes with more than 200+ alternates and ligatures to complete your design and make more attractive than other font. Support for 66 languages Afrikaans, Albanian, ,Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa, Meetto, Makonde, Malagasy, Manx, Morisyen, North, Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss, ,German, Taita, Teso, Uzbek (Latin), Volapük, VunjoZulu, Thanks! Happy Desigining :) Umar

Ondine is one of the early typefaces of Adrian Frutiger. It looks as though it were written with a broad tipped pen, however, Frutiger actually cut the forms out of a piece of paper with scissors. The forms of Ondine are reminiscent of the humanist period, the high point of the Italian Renaissance text typefaces of the 15th century. This movement was centered in Florence, the base of the Humanist movement overall, and the home of a famous type school of the time. The main goal of the educated writers was to faithfully recreate the writing of the admired literary works, whose aesthetic was as important as their content. Ondine displays a regular and open character. Texts set in this typeface give the impression of being hundreds of years old. Ondine should be used in point sizes of 12 and larger and is best for short texts and headlines.

New Old English was prompted by two Victorian coins, the mid nineteenth century gothic crown and gothic florin, which featured a gothic script lowercase with quite modern looking, short ascenders and descenders enabling it to fit snugly around the queen’s head or heraldic motif. With thicker hairline strokes than normal Old English, a less sharp, warmer feel than lettering scripted with a pen, and circular instead of rhombic punctuation, this font is an attempt to capture the round-cornered softness of the die-struck lowercase blackletter. To increase harmony and homogeneity between the cases, the uppercase is narrower and simpler than is customary, without the excessive width or antiquated flamboyance of the traditional blackletter. It might even allow text set in capitals to look acceptable.

Du is a self hommage to Uncertain Felttip. Uncertain, made in 2008, is a typeface which reproduced faithfully the style in which I am writing on copy paper, usually using the felt-tip pen. This time, I wrote the new family by the same method but using the tablet PC and the touch pen. Although, as for some characters, Uncertain differs in a form, it is the result of reflecting my hand writing. I wrote all the characters. If it is original, all the characters diverted and composed, for example, characters, such as Aacute and Agrave, are written. Different specification from Uncertain is family composition. Although Uncertain had only 3 weight, 7 weight were designed for Du. This way a user can choose his favorite weight because the variation of weights increased.

Fashion style meets typography in 9 styles The Ysans designed by Jean François Porchez is a sanserif influenced by Cassandre lettering pieces and the geometric sanserif style from the inter-war period. Since Chanel logo, the geometric sanserif style is the favorite typographic thing in fashion. Ysans asserts this reference. Not only Haute-Couture houses use these categories of typefaces for their visual identity, but fashion magazines usually strength their layout with these geometric sanserif when a Didot isn’t used. Details of Ysans drawings Nevertheless, Ysans takes its sources in certain details imagined by the graphic designer Adolphe Mouron Cassandre for the monogram then logotype Yves Saint Laurent (1961 …). One thing keeps coming in again and again in Cassandre’s post-war graphic work: the pointed finish and endings, the references to the Roman capitals engraved and unique features such as the open R or other details influenced by Antiqua and calligraphic forms or ductus (you should have in mind that an earlier typeface by Cassandre is the Peignot, a modern uncial based on researches of the palaeographer Jean Mallon.) Certain letters from the Ysans are directly an homage to the Yves Saint Laurent logo, the R, the narrow U, the apex of the N, and all the details of such pointed endings on the f and t lowercases. The Ysans, a typeface between diversity and synthesis There are several ways to approach the design of a new geometric sanserif. The first approach is to follow the Bauhaus philosophy by designing in the most rational way, typographic forms based on simple geometric elements: square, round, triangle. Another approach is to start a revival based on an historical geometric typeface and optimize the original ideas, in order to adapt certain details to the contemporary needs. For Ysans, the approach is somewhat different because this project started in 2011 at ZeCraft as a typeface designed specifically for Yves Saint Laurent Beauty, still in use by the brand under its original name Singulier. The Singulier-Ysans has been conceptualized by ZeCraft, both drawing its sources from Cassandre and various historical geometric typefaces. Some will spot specific traits as in Futura, others in Metro or Kabel. By closely observing the Ysans, the result can also recall the way Eric Gill draw the curves and endings of his typefaces, of which Jean François Porchez is a fervent admirer. In the end, Ysans is like fashion as envisioned by Yves Saint Laurent who constantly revealed multiple references in his new collections, without being recognisable any other than with his unique style. “Fashions pass, style is eternal. Fashion is futile, not style.” Cherry on the cake: Ysans Mondrian Ysans Mondrian, named in reference to the Mondrian dress created by Yves Saint Laurent, is the multi-layer version of the family. Ysans, fashion style meets typography Club des directeurs artistiques, 49e palmarès

Positronic Toaster is a modern interpretation of the French upright scripts of the nineteenth century. It started off as an attempt to make a stylized script that didn't feel like it belonged on a 1950s chrome appliance. Later on, however, the design grew to embrace the qualities of that style of lettering. The result is something playful and elegant, that is not tied to any particular time period. The distinctive angular loops on the ascenders will join together in words like 'bulb' or 'wallflower' using OpenType contextual alternates. It is suitable for cards, wedding invitations, or any project requiring a fashionable, upscale look.

Monospaced but no mono space. Created from 2002 to 2007 this font family is influenced by fonts like OCR-B, DIN and the work of Erik Spiekermann. Newsletter is not a real monospaced font but has the ease of recognition these fonts have - even though these fonts are often criticized for their aesthetic qualities. Newsletter has a computer-related impression but is more legible and aesthetic than real monospaced fonts are. Since 2006 Newsletter is the corporate font of the design agency "die Typonauten". It is eminently suitable for correspondence use. After a testing period and fine tuning it is now published.

This humanistic sans serif distinguishes itself by its Japanese calligraphy influence. Being written with a felt tip rather than with a brush, its Japanese connotation is remote and non-dominant, thus providing excellent readability and a charm of its own. Parametra is a very elegant and modern typeface achieved by the strong form reduction of the individual characters and at the same time harmonizing them by given parameters. It is something of its own, but quite legible and well-suited for small text. Also, Parametra and Bohemian can be mixed perfectly since their proportions and dimensions are the same.

FINALLY! We’re telling you for The Last Time! This is not a Threat! This is not a Negotiation! Refusal to cooperate with the terms of this font will be considered an Act of War! There can be no Dispute! The Crisp, Sharp hooks and corners of this typeface are Not To Be Reasoned With! Gosh Darn it, we have grown tired of asking and this is merely a formality precedent to the outbreak of hostilities. It’s a little corporate, it’s a little bureaucratic, but our lawyers insisted that we propose a settlement of compromise. Ipso Facto.

Sign and Display JNL is a long-overdue companion font to 2009’s Sign and Poster JNL. The original design models were Art Deco influenced die-cut cardboard letters and numbers manufactured by the Duro Decal Company of Chicago. Square in shape with rounded corners, the thick cardboard letters were used for making show-cards and other display signage. Subsequently, Duro used the same style of lettering to manufacture water-applied decals for boat identification and other uses. It was a set of these decals (with a black outline and yellow interior) that inspired the outline typeface Sign and Display JNL, which is available in both regular and oblique versions.

The name "Smart Casual" says it all. This is the font to use when you want to create that smart impression without being too formal. It is based on the font "Black Tie" but it is less formal than "Black Tie". It conveys an impression of relaxed elegance without being either sloppy or too intimate. Smart Casual is ideal for invitations to stylish but relaxed events, for advertisements that are intended to create that special ambience, for posters and for announcements. Smart Casual has a full character set and has been carefully letter-spaced and kerned. It comes in two styles: Baseline and Staggered. In "Baseline" all characters refer to the same baseline (the lower part of the characters are in line), while in "Staggered" the capitals are placed lower than the lower case characters, creating a slightly more dramatic, yet formal and retro look.

While fashions come and go, style is eternal. True to its name, Zeit is an ageless serif font family, distinct yet reassuringly familiar and trustworthy. From magazines to mobile apps, branding to advertising, Zeit covers everything with poise. The font family is equipped with many handy and carefully thought features. Small capitals and small capital figures, old style figures, subscript and superscript figures and fractions are intrinsic to the design. For a bit of flair, look for the swash alternates included in the italics – along with variants of the characters g and y. Look no further, Zeit is rigorously designed from head to toe – as only true quality can stand the test of time.

This bitmap font is made of 97 icons to use to express this time of the year... You will find christmas tree, Santa, cake, stars, gobelin, and a lot more. They work well for background tiling, just as symbols, or for anything else. We hope you like them ! Best size in bitmap is 20pt.

CONCEPT/CHARACTERISTICS The typeface “Soul Lotion” is a sans serif font for display sizes. Con­struc­ted, clear and sim­ply with mono­line cha­rac­ter. The round and unador­ned look is modern & simple. APPLICATION AREA The modern, clear and simply sans serif font “Soul lotion” would be happy as a display typeface in headline size on the following areas and there simply feel good: Logos/Wordmarks, party flyer, album covers, CD covers, Poster design, video game design, and much more as display typeface for print and digital magazines, books and websites. TECHNICAL SPECIFICATIONS Head­line Font | Dis­play Font | Sans Serif Font “Soul Lotion” Open­Type Font (Mac + Win) with 6 styles (regu­lar, bold, light + 3x italic) & 354 glyphs. Incl. accents, alter­na­tive let­ters, liga­tures & €. Desk­top Font (.otf) + Web Font (.svg, .eot, .woff) KONZEPT/BESONDERHEITEN Die Schrift »Soul Lotion« ist ein serifenloser Font für Headlinegrößen. Kon­stru­iert, klar und einfach mit gleich­blei­ben­der Strich­stärke. Die run­den und schnör­kel­lo­sen For­men wir­ken modern & schlicht. EINSATZGEBIETE Die moderne, klare und einfache Sans Serif Schrift »Soul Lotion«, würde sich als Aus­zeich­nungs­schrift in Head­line­größe über fol­gende Ein­satz­ge­biete sehr freuen und sich dort schlicht wohl­füh­len: Logos/Wortmarken, Flyer für fast jede Party, Plat­ten­Co­ver, CD-Cover, Pla­kat­De­sign, Video­spiel Design, als Head­line­schrift für print und digi­tale Maga­zine, Bücher und Web­sei­ten u.v.m. TECHNISCHE INFORMATIONEN Head­line Font | Dis­play Font | Sans Serif Font »Soul Lotion« Open­Type Font (Mac + Win) mit 6 Schrift­schnit­ten (regular, bold, light + 3x italic) & 354 Gly­phen. Inkl. dia­kri­ti­sches Zei­chen, alter­na­tive Buch­sta­ben, Liga­tu­ren & €. Desk­top Font (.otf) + Web Font (.svg, .eot, .woff)

Komusubi is a new font family from Hajime Kawakami. It features Latin as well as Katakana and Hiragana. This lively display font comes in regular and bold for all three alphabets. In Japanese, Komusubi means to tie up a string or ribbon lightly. The Nipponian lyrical atmosphere of the word "Komusubi" reflects the casual tone of the font itself. There is also a "Komusubi" rank of the Japanese SUMO.

This is a monospace font for the Braille alphabet. The idea came while exploring new ways to display the regular braille glyph ( 3 rows of 2 dots ). The glyph design is inspired by "stackable multiple board" games like the famous Vulcan chess (from Star Trek series) and the Qubic (3D tic-tac-toe). The stack is made from 3 levels, each level is a 3x3 grid with 2 "playable" cells (South-West and North-East). Each cell can be either empty, filled by a white square token or a black square token. The 3D effect is obtained by means of the classic isometric perspective. Lowercase letters use black tokens, while uppercase letters use white tokens. Most special characters (e.g. digits, *$#@, []{}() etc.. ) are also provided for special usages like program source code (see poster 5).

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.

A sign at the 81st Street (Museum of Natural History) New York subway stop provided the pattern for this mosaic tile face. The font features a full-tile background at the bar position (shift-backslash) and left-and-right pointing fists at the brace positions as well as complete Latin 1252 and Central European 1250 character sets.

Camden is based on the types used in Camden's 'Remaines concerning Britaine' published in London in 1638. The object was to avoid the contradiction inherent in most 'distressed' typefaces made to give the effect of the imperfections in old print. This means that apparently worn characters are perfectly repeated throughout a setting. The makeup of the Camden fonts means that, with a little extra keying time, alternate characters may be brought in which overcome this. Also many characters are provided which have 'period identities' such as the long s with ligatures, tied sorts ct, sp and st, swash characters in the italic and the double vv, all of which can add a specific age identity.

Step back in time to the opulent 1980s with Reagan, the typeface that embodies the spirit of the era. With its textured, vintage tee shirt aesthetic, Reagan is the perfect font to transport you back to a time of excess and extravagance. But Reagan is not just any typeface. It channels the hunger of t-shirt wearers from the era, who demanded a fanciness only Pretorian could provide. This late seventies Victorian revival burned like a chichi wildfire, spreading its flowery flame across the low-end design world for a solid decade. Now, Reagan reigns supreme as the ultimate vintage t-shirt font. Its letter pair ligatures help break up the monotony of plain repeating characters, making it a must-have. But Reagan is more than just a typeface. It’s a gateway to the past, a portal to a time when fashion was brave and uncompromising. So embrace the spirit of the 1980s and make Reagan your go-to typeface for all your vintage tee shirt needs. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Thick, wide and medieval, Dragon Drop would feel at home in Arthurian times. The name is an obvious play on words that the designer saved for a long time before creating the right font to use with it. Looks best at larger sizes.

Canari – Modern Calligraphy Fonts Canari, modern calligraphy font is of great interest to all graphic designers and die-hard fans of handwriting. Canari comes with 105 extravagant ligatures, so you can give your work the personal touch it deserves. It is great for expressive projects such as using it for a logo design, wedding invitation design, social media headers, product packaging, and much more! If you are looking for a condensed font that is perfect for use as social media headers or logos then Canari would definitely be the perfect choice for you. Just take a look at this example above and you will definitely fall in love with this font! Canari features: A full set of upper & lowercase characters Numbers & punctuation 105 Extravagant ligatures Multilingual symbols PUA Encoded Characters – Fully accessible without additional design software. Feel free to give me a message if you have a problem or question. Thank you so much for taking the time to look at one of our products.

Pi fonts which had been used for the time tables of the Deutsche Bahn

TT Tsars useful links: Specimen | Graphic presentation | Customization options The TT Tsars font family is a collection of serif display titling fonts that are stylized to resemble the fonts of the beginning, the middle and the end of the XVIII century. The project is based on title fonts, that is, the fonts that were used to design book title pages. The idea for the project TT Tsars was born after a small study of the historical development of the Cyrillic type and is also based on Abram Shchitsgal’s book "Russian Civil Type". At the very beginning of the project, we had developed a basic universal skeleton for the forms of all characters in all subfamilies of the family, and later on, we added styles, visual features, artifacts and other nuances typical of the given period onto the skeleton. Yes, from the historical accuracy point of view it might be that such an approach is not always justified, but we have achieved our goal and as a result, we have created perfectly combinable serifs that can be used to style an inscription for a certain time period. The TT Tsars font family consists of 20 fonts: 5 separate subfamilies, each of which consists of 4 fonts. Each font contains 580 glyphs, except for the TT Tsars E subfamily, in which each font consists of 464 characters. Instead of lowercase characters in the typeface, small capitals are used, which also suggests that the typeface is rather a display than text one. In TT Tsars you can find a large number of ligatures (for Latin and Cyrillic alphabets), arrows and many useful OpenType features, such as: frac, ordn, sinf, sups, numr, dnom, case, onum, tnum, pnum, lnum, salt (ss01), dlig. Time-related characteristics of the subfamilies are distributed as follows: • TT Tsars A—the beginning of the 18th century (Latin and Cyrillic) • TT Tsars B—the beginning of the 18th century (Latin and Cyrillic) • TT Tsars C—the middle of the 18th century (Latin and Cyrillic) • TT Tsars D—the end of the 18th century (Latin and Cyrillic) • TT Tsars E—conditionally the beginning of the 18th century (only Latin) TT Tsars A and TT Tsars B families (both the beginning of the 18th century) have different starting points: for TT Tsars A it is Latin, for TT Tsars B it is Cyrillic. The development of the TT Tsars A family began in Latin, the font is based on the royal serif Romain du Roi. The Cyrillic alphabet is harmoniously matched to the Latin. The development of the TT Tsars B family began in Cyrillic, which is based on a Russian civil type. Characteristic elements are the curved one-sided serifs of triangular characters (A, X, Y), drops appear in the letter ?, the middle strokes ? and P are adjacent to the main stroke. Latin was drawn to pair with Cyrillic. It is still based on the royal serif, but somewhat changed: the letters B and P are closed and the upper bar of the letter A rose. This was done for the visual combination of Cyrillic and Latin and at the same time to make a distinction between TT Tsars A and TT Tsars B. TT Tsars C is now the middle of the 18th century. Cyrillic alphabet itself did not stand still and evolved, and by the middle of the 18th century, its forms have changed and become to look the way they are shown in this font family. Latin forms are following the Cyrillic. The figures are also slightly modified and adapted to the type design. In TT Tsars C, Cyrillic and Latin characters are created in parallel. A distinctive feature of the Cyrillic alphabet in TT Tsars C is the residual influence of the flat pen. This is noticeable in such signs as ?, ?, K. The shape of the letters ?, ?, ?, ? is very characteristic of the period. In the Latin alphabet, a characteristic leg appears at the letter R. For both languages, there is a typical C characterized by an upper serif and the appearance of large, even somewhat bolding serifs on horizontals (T, E, ?, L). TT Tsars D is already the end of the 18th century when with the development of printing, the forms of some Cyrillic characters had changed and turned into new skeletons of letters that we transposed into Latin. The figures were also stylized. In this font, both Cyrillic and Latin are stylistically executed with different serifs and are thus logically separated. The end of the century is characterized by the reduction of decorative elements. Straight, blueprint-like legs of the letters ?, R, K, ?. Serifs are very pronounced and triangular. E and ? are one-sided on the middle horizontal line. A very characteristic C with two serifs appears in the Latin alphabet. TT Tsars E is a steampunk fantasy typeface, its theme is a Latinized Russian ?ivil type (also referred to as Grazhdansky type which emerged after Peter the Great’s language reform), which includes only the Latin alphabet. There is no historical analog to this typeface, it is exclusively our reflections on the topic of what would have happened if the civil font had developed further and received a Latin counterpart. We imagined such a situation in which the civil type was exported to Europe and began to live its own life.

Put on your top hat, tie up your white tie, brush off your tails and surrender your serifs at the door! We've popped open a bottle of French Champagne for you, but don't worry, because our latest stylishly handsome, devilishly clever offering doesn't just offer thrills and chills, it’s also Spillproof! So step out and breathe an atmosphere that simply reeks with class and distinction, What a swell font for party invitations, soirees, nightclubs and weddings this is! See the families related to SpillProof: Spills.

This monospaced version of Galix was commissioned in 2037 by the space exploration company Earth2, as part of a major overhaul of their branding, which had used, since 2021, a generic sans serif (much like every other company). Many specialists in both design and space exploration suggested that this very rebrand started a chain of events that concluded with the invention of time travel in 2041. Contrary to the perceived notion put forward in popular Science Fiction, time travel is only (as of now) possible in the digital realm. It was considered fitting that included among the first files sent back in time should be the Galix Mono typeface, which was remade in OTF format to ensure that it would work with the technology available in 2019. Earth2, for all their insight, did not foresee that the release of the typeface in September of 2019, would lessen the impact of their rebrand. What kind idiots would rebrand a forward looking company with a font that was, by then, almost 18 years old? The subsequent lacklustre response to the redesign didn’t inspire the tidal wave of R&D funding Earth2 had anticipated, and the company went into administration in the summer of 2039, having never invented the time travel which made the release of Galix Mono in 2019 possible. Experts believe that the files sent back in time, although their very sending made it impossible for them to be sent, remained as “time relics” of the future that might have been.