Made in La Chaux-de-Fonds Switzerland, Hyper Super is born while the hyperdesigner Bisou watches "Blow up", a french film-lover show. This episode about Paul Newman quotes the 1969 movie "Winning". The Italian poster with the title "Indianapolis pista infernale" uses a striking handmade font that inspire Hyper Super, a very fast font. Hyper super is thought from ground up to give a strong impact and an impression of speed. Its retro 70’s car racing movies style makes it best suitable a dog race stadium. It works perfectly with short texts for advertisement like a tuning garage sign or delivery pizza menu. Just use it for your pizza restaurant and see Paul Newman in person apply for a delivery boy job.

Design can do without images, but not without typefaces. Libertad is a sans-serif typeface that mixes humanist and grotesk models. It’s most interesting feature is the combination of balanced regulars with dynamic italics, which makes it a very versatile font for different uses. This typeface follows the Luc(as) de Groot’s Interpolation Theory, that’s why it has seven specially-calculated weights plus their matching italics, from thin to extra-bold. This allows it to be useful in big headlines and also small texts. It has more than 800 characters per weight and support for more than 70 languages. WARNING: This does not work with most Office suites; you only have access to R/I/B/BI. Credits: Photos by Lu-Lee.com - Web template by EleganThemes.com

This 1538 Schwabacher was based on a font used by Georg Rhau in Wittemberg (Germany) to print Des Babsts Hercules [...], a German pamphlet against roman catholicism written by Johannes Kymeus. The original font has a relatively complete set of characters including “long s”, but also the special german types like k, fl or ‰, ˆ, ¸.... A few omissions were remedied, and accented letters were added. A render sheet, enclosed with font files, help to identify them on keyboard. It can be used as web-site titles, posters and fliers, editing ancient texts, menus or greeting cards as a very decorative font... Although this font remains clear and easy to read from 8 or 9 points on screen, it is clearly designed for print works.

TwentyFourNinetyOne [2491] is a reinterpretation of the alphabet of 1919 by Theo van Doesburg; the original a true rendering of the thinking of the Dutch-based art movement “de Stijl.” Jump forward to 1980 and prop lettering used on the Buck Rogers in the 25th Century television series; a vernacular typeface that was a utilitarian mix of geometry and pixel-based forms, used to symbolize the futuristic universe of 2491. At times it would appear on spaceships, laser guns, signage at space ports or in one episode, a Spandex tapestry. It only seemed logical to combine and rethink the letterforms, add ligatures + other extras, and see what the results would be. Futuristic, fun and bold to read! 2491: In the future, all type will look like this.

A triple threat, Letteria Pro is a typographic trio designed for branding and packaging. With the soul of a broad nib pen and the grace of a brush, it has five weights and a lot of style. In order to achieve a pragmatic contrast between a composition’s communication levels, we have created a mechanical typeface with only capital letters in sans and slab versions that elude to a De Stijl style. Ligatures and swashes provide a plethora of options, including Thin, Light, Regular, Bold and Black weights, while its companions offer a single weight. Together, this Latinotype original covers more than 200 languages within the Latin alphabet. Yet another powerful tool for your arsenal of fonts that command consumer attention.

The Chlorines are two unique fonts, for they look as if they have been corroded with some sort of caustic material. Could it have been chlorine? Who knows? Both fonts have a modern appeal to them and fancy up any document. And when you can pick both of 'em up for only $45 how can you resist that corrosive, yet clean appeal? Chlorine Serif is a unique font, for it looks as if it has been cleanly corroded with some sort of caustic material. Could it have been chlorine? Who knows? This font has a modern appeal to them and fancy up any document. And when you can pick it up for only $25 how can you resist that corrosive, yet clean appeal?

This is the elaborately expanded version of what is arguably the most classic and popular of all historic Dutch faces: Sjoerd Hendrik de Roos's Hollandse Mediaeval from 1912. Over the decades, many pressmen and typography connoisseurs have gushed loving prose about this typeface. An extended family of two weights, corresponding italics, small caps, four condensed fonts, four book fonts, a set of initials and some very Dutch ornaments, Dutch Mediaeval is a versatile workhorse that flows comfortably and artistically, with the elegance of the main weights nicely complemented by the sturdiness of the bolds. Very few text faces are this clean and inviting while being crafty as well. The Dutch Mediaeval family comes with quite a few OpenType features and extended Latin language support.

Font designed from this who was used by an unknown printer in Lyon (France) to print the “Conte de Griseldis ” (Griseldis' tale), from Petrarque, inspired by Boccace, in 1495. The original font has a relatively small number of special characters and ligature, for the time. This font includes “long s”, naturally, as typicaly medieval but numerous letters - as accented ones - were added for this version. A render sheet, enclosed with the file, helps to identify them on keyboard. It is used variously in web-site titles, posters and fliers design, editing ancient texts or greeting cards as a very decorative and fine font... This font works at a small size like 9, remaining clear and easy to read on screen, but always better when printed.

Comicblast is a comic and hand-drawn font family with a universal and timeless design. The font is inspired by the work of acclaimed Belgian comic artists. The font is unique and helps you to complete your designs with a custom and handmade look. This typeface has six styles, available in regular, medium and bold weights, with italic counterparts, all-in-one style-linked. In short: a complete and affordable package for each designer. Comicblast has smooth and round shapes. It looks friendly and casual, is completely handmade and suitable for comics, logos, titles, package design or wherever you need a fun and warmhearted comic font, for all your fantastic designs! Comicblast is designed by Coert De Decker in 2018 and published by Kustomtype Font Foundry.

The Vitruvian Man is a world-renowned drawing created by Leonardo da Vinci circa 1487. The drawing depicts a male figure in two superimposed positions with his arms and legs apart and simultaneously inscribed in a circle and square. The drawing and text are sometimes called the Canon of Proportions or, less often, Proportions of Man.The drawing is based on the correlations of ideal human proportions with geometry described by the ancient Roman architect Vitruvius in Book III of his treatise De Architectura. Vitruvius described the human figure as being the principal source of proportion among the Classical orders of architecture. That's how "Leonardian" was buid as well: a quest for ideal proportions, a harmonious design springing up from a geometric "collision", circle and square's intersections.

Shine Pro is the quintessential sans serif gentleman you’ve been looking for all your life. It doesn’t confuse, confound, or complicate - it politely offers up what it has as though your fontal satisfaction is the most important thing in the world; and to Shine Pro, it is. The Regular weight is subtle, gentle - his softer side; while the Bold weight has impact and creates an imposing, important air.. In order to please everyone, Shine Pro has an impressive 10,000 kerning pairs and extensive language support, including cyrillic. Designed with traditional influences but with a contemporary coup-de-grace, the clean, smartly turned out, and oh-so-reliable Shine Pro is ready to become your new go-to font for all matters.

This is the elaborately expanded version of what is arguably the most classic and popular of all historic Dutch faces: Sjoerd Hendrik de Roos's Hollandse Mediaeval from 1912. Over the decades, many pressmen and typography connoisseurs have gushed loving prose about this typeface. An extended family of two weights, corresponding italics, small caps, four condensed fonts, four book fonts, a set of initials and some very Dutch ornaments, Dutch Mediaeval is a versatile workhorse that flows comfortably and artistically, with the elegance of the main weights nicely complemented by the sturdiness of the bolds. Very few text faces are this clean and inviting while being crafty as well. The Dutch Mediaeval family comes with quite a few OpenType features and extended Latin language support.

The Chlorines are two unique fonts, for they look as if they have been corroded with some sort of caustic material. Could it have been chlorine? Who knows? Both fonts have a modern appeal to them and fancy up any document. And when you can pick both of 'em up for only $45 how can you resist that corrosive, yet clean appeal? Chlorine Sans is a unique font, for it looks as if it has been cleanly corroded with some sort of caustic material. Could it have been chlorine? Who knows? This font has a modern appeal to them and fancy up any document. And when you can pick it up for only $25 how can you resist that corrosive, yet clean appeal?

Kowalski2 is a decorative, serif, hand-drawn font. It can be used for invitations, greeting cards, posters, advertising, weddings, books, menus etc. The inspiration came from the beautiful font Desire designed by Charles Borges de Oliveira. Kowalski2 Pro is the most complete style, it contains all the alternates and ligatures. To get the alternate glyph just add "+“, ”=" or "*" before the letter in any OpenType savvy application or manually select the characters from Glyph Palette. Kowalski2 Basic has the basic character set with 345 glyphs and no alternates. Kowalski2 A, Kowalski2 B and Kowalski2 C have less glyphs than the Pro one, they only contain some selected alternates and ligatures. Language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages.

Aloha! Veteran Sign Painter Pierre Tardif and Lettering Artist Charles Borges de Oliveria have teamed up to bring you these fun to use brush fonts. Aloha Script comes in two flavors: Aloha Script and Aloha Script Casual. Both fonts contain the same lowercase, alternates, and ligatures – the difference is in the capitals. By mixing both fonts you can create a variety of unique logos. Aloha Scripts Casual can be set in all caps for greater emphasis on captions. Both fonts contains over 100 alternate characters, as well as an assortment of ligatures, swashes and underlines. With over a year and a half in development, Aloha is bound to please. Great for logo design, signs, posters, culinary food packaging and so much more. Aloha!

Vallentino is a stylish and elegant handwritten font, which looks like a signature, this font is deliberately made with unique ligatures and alternatives. Vallentino is perfect for signatures, branding, logos, business cards, posters, invitations, greeting cards, news, product packaging, blog posters, all including personal charms etc. This font is also equipped with unique and interesting ligatures, by using these ligatures you can give a real handlettered style: ab ah ak al am an ar at ch ck cr eb el em en er es et ff ht il im in it ll mm ng nn nt of oh oi ol on or oo od ou ow oy sh ss st th tt ut wh Th ft Multiple Language Support: ŠÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏŸŽÐÑÒÓÔÕÖØÙÚÛÜÝßàáâãäåæçèéêëìíîïñòóôõöøùúûüýÿŒœš Thank you for your purchase!

The Fontwax font is inspired by sign painters in sixties advertisings with a touch of Arts & Crafts. This style of type is instantly associated with advertising and design for high-end products. Fontwax is meticulously drawn for quality and readability. Fontwax is great for display, logos, branding, packaging, advertising, food, sports, titles, film, tv, and much more. Fontwax comes in 4 styles which perfectly match together. Fontwax is a great display family with roots in the advertising and sign painting industry of the 20th century. It is smoothly polished with all the features a good designer needs. For the best price, I recommend you grab the whole pack! Fontwax is designed by Coert De Decker in 2018 and published by Kustomtype Font Foundry.

This family was inspired by the pure Jenson set of fonts used in Venice to print De preparatio evangelica in the year 1470. The present font contains all of the specific latin abbreviations and ligatures used in the original. Added are the accented characters and a few others not in use in this early period of printing, also small caps, these, contained in a separate file in the Mac TT version. This font supports strong enlargements as easily than small size remaining very smart, elegant and fine. Decorated letters like 1512 Initials, 1550 Arabesques, 1565 Venetian 1584 Rinceau or other fonts from GLC Foundry, can be used with this family without anachronism. If Italic style is required, we recommend the use of 1557 Italique.

Hypercreepos is a sweet and creepy hyper-bold font inspired by the horror comic books of the 60s. Handmade in La Chaux-de-Fonds (Switzerland) on lined A4 papers, the letter's shape is conscientiously designed to give a punchos impact on the reader. The unique and vibrant contours are drawn on an improvised backlit table inherited from Bisou's mother. Definitely contemporary, the overall feeling given off by Hypercreepos is profound and human, evoking the graphite smell of the comic's workshops. Exclusively made for titles, this impactos font will suite with delight the text of posters, signs of comics bookstore, gaming bar, horror movie theater or film festival. That said, the designer is not responsible for the use of Hypercreepos and wish it will serve beyond all expectation.

Made in La Chaux-de-Fonds (Switzerland), hyperpolar is born while the designer (Bisou) watches "Godard mon amour", a biopic about Jean-Luc Godard's depression in 1967-68. A parade of murder mystery books is staged at the middle of the movie and at exactly 56 minutes and 47 seconds, the book "Confrontation" strikes Bisou's eye. It is the first inspiration for this awsome retro font. Hyperpolar is thought from ground up to give a strong impact. It’s retro 50’s crime stories style makes it best suitable book covers. It works perfectly with short texts for advertisement like a trench coat or a smoking pipe store. Just hang it over a video club and see what thrilling cinephiles will come in.

Wisdom Teeth is the fifth typeface released by DM Founts. It's a modern and personal take on the original Baby Teeth font by Milton Glaser, and inspired by the lettering used for the Pac-Man series of games (and its clones). This typeface was around 25 years in the making, and was made in response to the large number of hideously bad clones of Baby Teeth circulating around the Internet. Version 1.0 Included in Version 1.0 are a number of accent characters, and alternate characters for A and Y, along with the usual ASCII characters. For the time being this is an all caps typeface. Please let me know your thoughts and suggestions, and I may add some more characters in the near future.

These are the letters I doodled in the margins of my high school notebooks. As it turns out, a man named Milt Glaser doodled them first. He doodled a lot of other amazing things too. Mr. Glaser called his blocky alphabet Baby Teeth. I think the type looks better when it says Surfside, so that's what I called my incarnation. This version has been digitized and expanded, and is available for Mac and PC. These letters remind me of the 80s and the 90s, of Gotcha shorts, Ocean Pacific shirts and fluorescent windbreakers. Surfside matched my Airwalks. They're big and bold. Clunky and funky. Spices up words. Makes 'em look great! Surfside is cool and available for a low low price... scoop it up today!

At VetteLetters we like food but we also appreciate our drinks. Yes, of the non-alcoholic kind as well. Like milk. Contrary to what Arnold Schwartzenegger once said, Milk is not just for babies. It contains a whole lot of stuff that is genuinely good for you. Like proteins, carbohydrates, minerals (calcium a.o.) and many vitamins. One time visiting The Hague, Donald DBXL spotted a tile tableau on a brick wall, advertising a dairy factory called ‘De Sierkan’. Yellow sans serif letters on a bright blue background, dating back to the late 19th century, immediately grabbed DBXL’s attention. Especially because the tableau showed both regular and bold letters with some lovely peculiarities here and there. De Sierkan appeared to have been a milk factory solely operating in The Hague from 1879 until 1961. A number of these wall adverts are still to be seen in The Hague streets today. Photos were taken for later reference. Later is now, the lettering has been digitized, missing characters added, and VLNL Melk sees the light of day. VLNL Melk is an all-caps geometric display sans serif family of three weights, Regular, Bold and Black. The basic shape of the letters is a rectangle with rounded corners, leaving a sturdy no-nonsense look and feel. It has a distinct historic aura, but with both feet in this digital day and age. It can equally well be used for the logo of a hipster coffee place, as the cover of a historic novel. Actually, VLNL Melk kan be applied in a wide range of designs like logos, posters, flyers, book covers and magazine headlines.

Praxis® Next has the same robust shapes and proportions as the original 1976 Praxis design. Its large x-height, substantial counters and open apertures guarantee high levels of legibility and reading ease in print and on screen. More weights, condensed designs and true cursive italics differentiate Praxis Next from the older design. Praxis Next shines where space is at a premium. The regular designs are modestly narrow while the condensed typefaces perform with grace in the most crowded of environments. The bold designs create powerful headlines and banners and the lighter weights are ideal for both long and short-form text copy. Because of its many weights and proportions, Praxis Next is also an ideal design to build a brand identity. Praxis Next Variables are font files which are featuring two axis and have a preset instance from Light to Ultra and Condensed to Roman. Pair Praxis Next with old-style designs like Bembo® Book and Stempel Garamond™ to create a dynamic typographic contrast. Or complement the design with its serifed counterpart, Demos® Next . Unger also drew ITC Flora® as an alternative italic design. Looking for something a little different? Pair Praxis Next with Masqualero™ .

Arkaim is a modern typeface in traditional East-Slavic and GreatRussian style in typography. This style is not like any other style in the world. It combines elegance and brevity, depth and modernity, originality and convenience. This unique font is certainly eye-catching. Arkaim font is named after the ancient Slavic-Aryan city located in the South of Russia, which is a symbol of antiquity, wisdom, as well as the unexplored ancient world. Arkaim is not only a historical place, but also a place of Spiritual power. The font Arkaim has many Opentype features that will help to create interesting and unique compositions. An interesting and non-trivial solution is a kind of mixture of all caps and upper/lowercase characters. Arkaim contains symbols of all Slavic and European languages. There are fractions, superscripts and subscripts, and many others. There is a standard number and the old-style number, also Slavic numbers. There are all the historical characters Of the ancient Slavic script called Bukvitsa, today mistakenly called Cyrillic. In addition, here is a free demo font (only with Russian, Belarusian, Ukrainian, Bulgarian, Macedonian and Serbian characters) without Opentype features and other symbols. You can try it.. and love it.

Originally designed in 1928, Plak is something of a lost gem in the type world. Despite being drawn by Futura creator Paul Renner, it never achieved the same popularity and spent decades lacking a much-needed digital revival. Monotype designers Linda Hintz and Toshi Omagari have taken its existing three weights and, after extensive research into the original wood type, extended them into the vast Neue Plak family. The typeface is available in 60 weights that stay true to Renner’s intentions, and offer the same blend of “quirky” details and “German stiffness” – as Hintz describes it. The design is an unusual mixture, bringing together a defiant outer appearance that’s counteracted by more playful details found in the lowercase r, and the large dots of the lowercase i. Other distinctive details include open or strikethrough counters, and a set of hairline widths that reduce Renner’s original design to its bare bones. Neue Plak’s display weights are crying out to be used in editorial, on packaging or in logos, while its text weight works well in both print and digital environments. Neue Plak Text Variables are font files which are featuring one axis and have a preset instance from Thin to Black

Are you looking for fonts for logos and event brochures? Bulgarian Dreams font the solution, Bulgarian Dreams Font is a lettering style font with a touch of smooth and natural curved lines like when writing manually on paper using a brush pen. There are 4 font styles that you can use to enhance your design Apart from being used for logos and brochures, Bulgaria Dreams font can also be used for poster titles, book titles, lettering, merchandise Design etc What's Included : - More than 270 of glyphs (include Uppercase, Lowercase, Numerals & Punctuations, Stylistic,Ligatures ) - multilingual support - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. - PUA Encoded Characters (fully accessible without additional design software) Support For Language : Albanian, Basque, Breton, Chamorro, Danish, Dutch, English, Faroese, Finnish, French, Frisian, Galician, Italian, Malagasy, Norwegian, Portuguese, Spanish, Alsatian, Aragonese, Arapaho, Arrernte, Asturian, Aymara, Bislama, Cebuano, Corsican, Fijian, French_creole, Genoese, Gilbertese, Greenlandic, Haitian_creole, Hiligaynon, Hmong, Hopi, Ibanag, Iloko_ilokano, Indonesian, Interglossa_glosa, Interlingua, Irish_gaelic, Jerriais, Lojban, Lombard, Luxembourgeois, Manx, Mohawk, Norfolk_pitcairnese, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Potawatomi, Rhaeto-romance, Romansh, Rotokas, Sami_lule, Samoan, Sardinian, Scots_gaelic, Seychelles_creole, Shona, Sicilian, Somali, Southern_ndebele, Swahili, Swati_swazi, Tagalog_filipino_pilipino, Tetum, Tok_pisin, Uyghur_latinized, Volapuk, Walloon, Warlpiri, Xhosa, Yapese, Zulu, Latinbasic, Ubasic, Demo

The reason for Nicolien van der Keur to design the Rougon font was the translation of twenty novels written by Emile Zola, a French writer, and translated by Martine Delfos. It follows the lives of the members of the two titular branches of a fictional family living during the Second French Empire (1852–1870) and is one of the most prominent works of the French naturalism literary movement. This series deserved a font with French roots and corresponded to the period in which Zola’s books were written and published, the period between 1870 and 1893, the end of the nineteenth century. Extensive research into French historical typefaces has led to a type specimen from the French type foundry Deberny et Cie in Paris around 1907. It turned out to be good and helpful source as it contained a sample of a typeface that reflected the content and style of the novels, but also represented the period in which the books were written in France. A large part of the novels are about the generations of Rougon, so it seemed a natural choice to give the font that name. It is available in one weight and contains stylized portraits of Emile Zola and the French Marianne. This font also contains various ornaments.

FF Kievit Serif subtlety melds oldstyle design traits and a 21st century mien into a clean, straightforward suite of typefaces. As part of the FF Kievit super family it helps brands carry their voices effectively and legibly. This includes small text to display sizes, in both print and digital environments, for internal and external audiences. FF Kievit takes inspiration from classic designs like Garamond and Granjon, and is available in seven weights, plus italics. Drawn as a collaboration between Michael Abbink, Paul van der Laan, FF Kievit Serif is a natural extension to the other members of the FF Kievit super family, that also includes FF Kievit and FF Kievit Slab. FF Kievit Serif stands on its own as a multi-talented and exceptionally legible design. Large counters, a generous x-height and ample apertures ensure that FF Kievit Serif translates well to both hardcopy and interactive environments. FF Kievit Serif is available in carefully defined weights, ranging from Light to Black. The Regular, Book and Bold weights are ideally suited to long form text copy. Ligatures, several suites of numbers and small caps are also available. In addition, FF Kievit Serif benefits from the same extensive language support of the other designs in the family.

Vintage sheet music for a song from the 1941 animated feature "Mr. Bug Goes to Town" featured a casual, hand-lettered inline type style on its cover page. Recreated as the digital font Go to Town JNL, this design is presented in all the imperfect glory of pen and ink lettering. Go to Town JNL is available in the regular inline version as well as a solid version. A bit about the cartoon: The project was created by the legendary Fleischer Studios in Miami, Florida (they had relocated from New York City), after they could not obtain the rights to adapt Maurice Maeterlinck's "The Life of the Bee". Beset by the expenses of relocating to Florida, growing production costs on the full-length feature cartoon and other problems; mid-way through the making of "Mr. Bug Goes to Town" the Fleischer brothers were forced to sell their studio to their distributor (Paramount Pictures) in order to continue in operation. It was released on Dec. 5, 1941 - just two days before the Japanese attack on Pearl Harbor. The release [and subsequent re-release by Paramount as "Hoppity Goes to Town"] was a disappointing failure, earning [as late as 1946] only $241,000 of the initial cost of $713,511 it took to make the film.

The Waldorfschrift family was created in digital form in the years 1993-1994 by Joachim Frank, inspired by the naturally organic letters from the anthroposophical movement of the 20th century of Rudolf Steiner . In nature there are no right angles, straight lines or complete uniformity, but instead round corners, varying thicknesses and all kinds of variability. This is what the anthroposophical movement created in their buildings, their art, in their music – and also in their lettering. And this Font is like the plants in nature: it grows upwards, branches out, letters hugs to some letters, with others they keeps more distance, some letters proudly stretch their belly, others crouch in the corner - a completely natural font. Take a look at the brand of Weleda (the natural cosmetics company), Demeter (one of the biggest organic foods companies), Filderklinik (a great anthroposophical hospital in Germany) and you will see these great companies work with different but organic letter styles. More recently, Joachim revisited the Waldorf fonts with modern type design software and added extra characters such as the euro sign, and extra weights to make the fonts useable for a wide variety of design tasks. Dez 21: A big update: All fonts have been digitized again and given a complete character set, new kerning, minor bugs removed.

Hyperartism is an artistic movement born in La Chaux-de-Fonds (Switzerland) which advocates free and uninhibited creation, in all forms, for everyone. HyperBrush was originally created for the new collective's logo and is the perfect cross between the corrosive spirit, the assumed nonchalance and the natural class of Hyperartists' works. HyperBrush is the ideal font for anyone who wants to add a touch of fantasy to a soft design, or a bit of seriousness to a completely crazy project. Its quirky, edgy and clean look is just as suitable for a festival poster as it is for a DIY shop sign, for the title of a trashy short movie or else for a toilet door sign in a hipster lounge bar. With HyperBrush, it's easy to put more hyper into any project!

Catchy Mager is a unique and very elegant font for brand and logo design. Based on our experience as a graphic designer who works for a lot of companies, we often are requested to design a logo in a unique style but with an elegant shape. So, we try to brainstorming and create this font to make the idea is going out. This is perfect for BRANDING and LOGO DESIGN. You will get classy, elegant, and certainly unique logos with this font. To make it look more unique, here we prepared some ligatures: ab ah am an ar ap at cb ch cm cn cr eb eh em en ep er ub uh um un up ur fl fi ff ft ga gi it ai Include Fancy Style on Every Uppercase and Some Lowercase

Ripped from the pages of the Art and Crazy Paving Lettering of The Lord of THE BEEF, SHAKY KANE, Comicraft Proudly Presents a font so wacky, so snakey, so achy-breaky, we could only call it FUNKY CHICKEN TOWN. And if that isn’t wacky ENOUGH — FUNKY CHICKEN TOWN features three — count ‘em — THREE versions of each letter!!! Opentype will automatically cycle between the alternates of each letter. FUNKY CHICKEN TOWN features solid and outline weights which can be layered in any number of funky ways, and features Comicraft’s trailblazing — often imitated never equalled -- Crossbar I Technology™ which automatically places capital “I” in i words like i, I’m, I’ll and I, and removes them from words like Chicken and Comics! Artwork by Shaky Kane from THE BEEF, available on Comixology.com

Engraving inspired typeface The AW Conqueror Carved encapsulates perfectly the lettering styles in fashion during the 19th century quite often in the frontispieces of books. It wasn’t rare to see these kinds of typefaces, with their variations in depth and relief effects, adorning boxes and other forms of packaging of the time. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skilful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011

Carousel is a fat faces display type designed by Gary Gillot in 1966. Fat faces were offshoots of the modern, or Didone, typefaces that were de rigueur during the early 1800s. These fat faces were among the first typefaces to be used solely for advertising purposes. Naturally, they were always used in larger point sizes, in display functions. Carousel could be called an optimization of these old advertising typefaces. With high x-heights, ultra contrast between thick and thin strokes, and perfectly engineered drawing techniques, Carousel is a highly crafted typeface. Give it a spin in your next advertising campaign! Carousel's fine thin strokes are very graceful in their appearance, and lend a strong, yet soft, feminine feeling to anything they touch.If you like Carousel check out wearing Annlie, another fat face from 1966."

Bougainville was inspired by many of my favorites and has been on the drawing board in excess of ten years. Only this year I decided to expand the original 1994 design to include other weight variants. The quirky Binner Gothic-inspired high axis and its funky g, rounded e, angled stroke endings together with the influence of contemporary designs such as Officina Sans, Din Mittelschrift and MetaPlus, Bougainville exhibits a similar flavor and compactness to Bodega Sans. This typeface family has been named in honor of the renowned eighteen-century French mathematician and explorer Louis-Antoine de Bougainville to whom we owe the naming of South Sea Islands and colorful tropical flora he discovered along his journey. Bougainville makes for effective headings at any size and is equally readable at semi-display sizes.