The Stempel family consists of two fonts; each made to look like a set of block stamps. Each letter appears inside its own roughly drawn square. Stempel One's letters are very simple form/counterform objects. Stempel Two's forms are more ornate: each square stamp has a thin border inside of it, and then the individual letterforms have been knocked-out, so that the colored area depicts the counters around the letters rather than the letters themselves. As a line of text is typed, a box appears for each letter entered, and all of the boxes slightly nudge against each other to form the line. The Stempel fonts have the appearance of a hand-made quality to them. Their forms appear too random, too delicate, and too thought out to have been made on a machine. Using these fonts will add a nice warm, linoleum-cut touch to your work. Both Stempel One and Stempel Two were designed by German designer Martina Balke in 2002, and are part of the Take Type 5 collection from Linotype GmbH."

Bill Corporate is a geometric typeface with generous capitals. A modern classic, based on Max Bill’s lettering work, its straightforward and uncompromising construction can be both edgy and sublime. With minimalist letterforms, pointy apexes instead of flat ones, and archetypal proportions, this font family doesn’t follow any trends but strives to achieve a timeless formal vocabulary. The skeleton of its letters is based heavily on the famous primary shapes of the Bauhaus: square, circle, and triangle. This makes for quite wide uppercase and much narrower lowercase letters. The contrast between uppercase and lowercase benefits inexperienced users, who will be able to get appealing results quickly. At the same time, it’s a powerful tool for seasoned designers, who can employ either case selectively to set the desired typographic course. Bill Corporate Medium’s 16 styles (including a set of eight lighter-than-light fonts from “Two” to “ExtraLight”) are an excellent choice for editorial design, branding, headlines, and even short to mid-length copy in a wide range of applications and industries. The uppercase letters in particular—with their varied widths and lavish dimensions—are suitable for cosmopolitan and stylish logotypes and wordmarks. Whenever a timeless, staid, and classy look is demanded, choose Bill Corporate.

Carlton is based on a typeface designed by Prof. F. H. Ehmcke. In 1908, Ehmcke released his Ehmcke-Antiqua design through the Flinsch typefoundry in Germany. Ehmcke-Antiqua was later distributed by the Bauer typefoundry in Frankfurt am Main. The Caslon Letter Foundry in England discovered the design and released their own typeface based upon the model, which they named Carlton. Carlton entered the Stephenson Blake program after they acquired the Caslon Letter Foundry in the late 1930s. As hot and cold metal typesetting became outdated technologies, Carlton and Ehmcke-Antiqua fell out of general use. In the 1990s, Letraset revived this classic design, distributing it under its English name, Carlton. Carlton's clean and generous capitals, as well as its understated yet detailed lower case, have found popularity again in recent years. The elegance of Carlton is best used for displays with large letter and word spacing. Carlton shows all of the hallmarks of a delicate serif typeface design; its forms capture a distinct moment that was common within Central European type design during the first third of the 20th Century. Carlton is similar to several other expressive typefaces from the early 1900s, including Bernhard Modern, Koch Antiqua, Locarno, and Nicolas Cochin."

Bordonaro Spur - Bordonaro Script’s partner - is a typography strongly influenced by old beer labels and includes some serifs based on Frederic W. Goudy’s Copperplate, but with some softened spurs adding an elegant and soft texture to the text. It is ideal to be used on large bodies and has a set of special ligatures ideal to be used in branding. Psss...Check out the NEW Bordonaro Spur with Rounded corners , same version but soft! FEATURES Co = company1 Co = company2 Estd = established Inc = incorporated Ltd = limited Mc = mac Rd = Road St = street And also from Adobe CC you can activate Style Sets (SS) and get ideal ligatures for ordinal numbers: 1st = st 2nd = nd 3rd = rd 4th = th Bordonaro Script and Bordonaro Spur are two typographic styles that were designed under the same characteristic features with the idea of combining them to obtain better results, for that reason, we recommend merging them in a creative way and you will realize everything you can design with them. The banners designs are based on old brands of beer labels, coffee packaging, sports logos and in some cases we use Copperplate Gothic but only as a complementary font in order to harmonize the layout of the elements in each banner.

VetteLetters is proud to bring you the TpKurier-family. It is cooked up by our German chef Martin Lorenz currently living in lovely Barcelona! Chef Lorenz about the TpKurier recipe: “TpKurier is the second redesign we did of Courier. The first redesign in 2000, although based on a five-unit grid, was drawn completely by hand. Six years later we designed another grid version of Courier, and the TpKurier family was born. This version is completely constructed up till its last detail. We didn't want to correct ‘mistakes’ deriving from the use of the grid, but instead make them visible (see “S”). TpKurier is based on a very simple grid, composed a proportion of four units high by two units wide. A series of other links between them make it possible to form a font from this grid. We felt it was important to consistently work within these limitations so that any unexpected asperities would help provide the font with its character. Even though it is a rough constructed typeface it was important to us to design real italic lower case letters and not just a sloped roman (see “a”, “g” or “s”). The first family published contained a serif and sans-serif version of the TpKurier, with italic and bold.”

Karolina is a calligraphic serif font. It is inspired by Edward Johnstons (1872–1944) calligraphy and the foundational hand (which was based on the carolingian letters and therefore the name Karolina). The Uppercase letters are based on the perfect proportioned roman capitals. Karolina is a classic and clean typeface with smooth shapes that will give an elegant touch to your projects. It is suitable for formal use and works well both for headlines and as body text in smaller sizes.

This quasi-Chancery classic is a revival of Walter MacKay’s Heritage typeface, made for ATF in 1952. Walter is clean and legible free-flowing calligraphy with a subdued, conservative and traditional letterform base that can be used in large sizes for posters, covers and packaging, as well as in relatively small sizes for personalized letters, poetry and quotables. Walter comes with 430 glyphs and support the majority of Latin-based languages. Plenty of alternates and ligatures are sprinkled throughout the font.

The font was developed as a part of a corporate identity project for a pillow shop on the base of existing logo. It’s an attempt to reflect the space of a dream -- virtual reality where objects don’t have solid shapes, but present just hardly noticed disappearing contours. This idea determines the design of letters that resemble illustrations rather then alphabetical symbols and are based on ultra thin stems. The font was designed by Elena Kolesnikova and released by ParaType in 2009.

Gábor Kóthay in Hungary has developed an archaic identity largely based upon lettering from a rare Type Specimen of the Jesuit Academy Press of Tyrnavia (1773). They have developed many baroque style typefaces of Hungarian derivation. Gábor wanted an authentic handwriting revival from that age as well. La Danse is a 'facsimile' font, based on the manuscript of an inventory found in the original Tyrnavia specimen. The manuscript was written in an archaic Latin alphabet therefore some modern interpretations have been inserted.

The name comes from a British expression about two things that couldn't be more different, and it suits this offering to a tee. The uppercase of this typeface is based on 1930s lettering by French poster artist Charles Loupot, and the lowercase is based on 1910s lettering by German plakatmeister Ludwig Hohlwein. Oddly, the two seem to play together well. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

In hardware stores across the country are display racks with letters and numbers silk-screened onto self-adhesive aluminum "parallelograms". These handy and durable items have graced countless mailboxes, office doors, hallway signs and automobiles for years. My fellow font designing buddy [Harold Lohner] suggested that I make a font based on this form of lettering as a counterpart to my Mailbox Letters JNL (also based on self-adhesive signage product)... and now his suggestion takes shape as a digital font... Luminum JNL.

The market for humanistic sans serif type families is saturated, so what can a new release add, and what does it take to stand out from the crowd? Asterisk Sans Pro (named after my favourite glyph to make) aims to be a highly versatile type family; massively useful due to its pan-European language support and bounty of OpenType features which make it the ideal choice for demanding typography. The look is contemporary; details which give the fonts character at large sizes all but disappear when small, making the middle weights suitable for large chunks of text. The family ranges from a hairline ultra light to a pretty weighty black – a must in a new typeface. Asterisk Sans Pro supports Latin, modern Greek and Cyrillic, with localized forms for Bulgarian, Serbian and Macedonian to boot. This is rare enough, but to have small caps for all these scripts in both upright and italic fonts is a big plus. Your client may not need all this language support right now, but this typeface gives them the option to grow while keeping a consistent look, and at a similar price point to families with a much narrower scope. The ability to customize Asterisk Sans Pro through the use of Stylistic Sets in OpenType savvy layout programs means you are really in control. Want more italic forms in the uprights? Go for it. A more Roman italic? Easy! The spurless m, n, r and u, accessible through SS13 give a graphic, almost bauhaus feel. The Dutch IJ glyph can be changed to a much cooler thing using SS14, and the family even supports ij-acute. Other OpenType features include a wealth of numeral styles (tabular and proportional, lining and oldstyle, plus small cap figures, numerators, denominators, subscript and superscript) and automatic fractions. There are also case-sensitive forms for all caps settings, a bunch of useful arrows, and superscript lower case Latin letters. All in, there are well over 1200 glyphs per font, making Asterisk Sans Pro an invaluable tool in your typeface arsenal, great for everything from corporate identities to editorial work, apps to cookbooks.

The Bunken Tech Sans superfamily: A reminiscence of constructed fonts of the modern age designed with considerably cleaner forms. •See other members of the Superfamily: Bunken Tech Sans •For further details, view the Specimen PDF. Bunken Tech Sans Wide follows in the best tradition of the straight-lined and somewhat angular structures of its predecessors while offering a much more open and mild design. The shapes of the letters are therefore reduced to the most essential elements: The spurs on a, b, n and other lower case letters occur just as little as decorative or style details, the lightly rounded inside edges are more pleasing to the eye than certain historic role models and make for a harmonic, flowing style. Use In particular Bunken Tech Sans Wide stands out as an easy, distinctive headline font with its straight-lined, technical design. Open counters and large x-height make it equally suited for use in shorter texts. It is also perfectly complemented by Bunken Sans or Bunken Slab in longer texts (available soon). Features Available in 16 styles with widths ranging from Light to Heavy with associated Italics. All of the styles are very extensive: Support for at least 58 languages, Small Capitals, 9 number sets (e.g. Lining, Oldstyle, Tabular and Small Cap Figures), ligatures, alternate characters, numerous Opentype functions, and lots of other small features that make it more pleasant to work with the font on a daily basis as well as fulfilling typographic desires. Each style contains more than 870 characters! Each style is available in a professional (Pro) standard (Std) and Small Caps (SC) edition with a different range of functions. (Language support, OpenType features and number of glyphs). Details can be found on the respective pages. Bunken Tech Sans Wide is part of the Bunken Tech superfamily and is available in Condensed, Normal and Wide. Also of interest: The slab serif variation Bunken Tech Slab Features in Detail: 16 Weights: -Light -Book -Medium -SemiBold -Bold -ExtraBold -UltraBold -Heavy and corresponding Italics 3 Widths: -Condensed -Normal -Wide Alternate Characters: A, E, F, L, S, e, f, t, s, y, etc. Small Capitals 5 Sets of Figures: -Lining Figures -Old Style Figures -Tabfigures -Old Style Tabfigures -Small Cap Figures Automatic Ordinals Automatic Fractions Extended Language Support and more...

Prelo was designed to be a neutral, highly readable typeface for identity, editorial and information design. With nine weights and nine true italics from Hairline to Black, Prelo is a workhorse typeface full of OpenType features such as small caps, tabular figures, central European characters and historical figures, among others. Like other DSType fonts, most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters. The curves are soft and smooth, providing legibility even in very poor conditions, and the neutrality allows this typeface to be used with any serif companion.

Prelo was designed to be a neutral, highly readable typeface, for identity, editorial and information design. With nine weights and nine true italics, from Hairline to Black, Prelo is a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others. Like other DSType fonts, most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters. The curves are soft and smooth, providing legibility, even in very poor conditions and the neutrality allows this typeface to be used with any serif companion.

The Glober font family includes 18 weights - nine uprights with nine italics. It is characterized by excellent legibility in both - web & print design areas, well-finished geometric designs, optimized kerning, excellent web-font performance and legibility etc. Inspired by the classic grotesque typefaces - Glober has his own unique style in expressed perfect softened geometric forms. The font family is most suitable for headlines of all sizes, as well as for text blocks that come in both maximum and minimum variations. Glober font styles are applicable for any type of graphic design in web, print, motion graphics etc and perfect for t-shirts and other items like posters, logos.

Split On is a typeface font has a sliced ​​design with a cut line effect, this font have a different line between uppercase and lowercase, perfect for poster, cover, t-shirt and many more

The Siseriff family of types contains nine different styles, which were developed by the master Swedish typographer Bo Berndal in 2002. Siseriff is a contemporary slab serif face. Except for the Siseriff Black weight, all of the letters display a slightly condensed appearance that is coupled with a relatively uniform width throughout the alphabet. Siseriff's nine styles are distributed across five weights (Light, Regular, Semi Bold, Bold and Black). The Italic companions for these styles (Siseriff Black does not have an italic companion) are true italics. These redrawn italics add a higher degree of differentiation from the Roman weights than could be achieved with obliques alone. Many common Slab Serif families (e.g., Serifa) do not offer this degree of differentiation. This variety makes Siseriff the perfect choice for journalistic and editorial work, where a good hierarchy may be achieved solely by relying on the various weights available, and their italics. All nine styles of the Siseriff family are part of the Take Type 5 collection from Linotype GmbH."

Satero was designed by Prof. Werner Schneider in 2007. Never before have we had so much written material to consume; this is the age of mass-communication. Unfortunately, the decision of which typeface to use is too often made lightly. The typeface is one of the most elementary means of language, and it can play a major role in a text's legibility and the amount of time the reader needs for it. The Satero Type System offers a high degree of legibility due to its dynamic and forms. The individual characters have been based on classical concepts. They are clearly made, and leave all unnecessary elements behind. The type works to create an environment of extreme legibility. Essential parts of the a, c, e, s, and r are to be found at the x-height line, which is the most important area of a line of text in determining legibility. The Satero Type System includes two members whose basic forms are the same. The Sans Serif members are more horizontally differentiated than common grotesques, which aides their legibility. The Serif design employs asymmetrical serifs, avoiding elephant feet" altogether. Their dynamic is progressive. The condensed nature of the seriffed counterparts is optimal for newspaper and magazine applications, where space is at a premium and paper must be saved. All fonts in the Satero Type System include a number of alternate glyphs, as well as ligatures and proportional lining figures; all weights except the Heavy and Heavy Italic fonts are also equipped with small caps, small cap figures, and oldstyle figures as OpenType features. "

Satero was designed by Prof. Werner Schneider in 2007. Never before have we had so much written material to consume; this is the age of mass-communication. Unfortunately, the decision of which typeface to use is too often made lightly. The typeface is one of the most elementary means of language, and it can play a major role in a text's legibility and the amount of time the reader needs for it. The Satero Type System offers a high degree of legibility due to its dynamic and forms. The individual characters have been based on classical concepts. They are clearly made, and leave all unnecessary elements behind. The type works to create an environment of extreme legibility. Essential parts of the a, c, e, s, and r are to be found at the x-height line, which is the most important area of a line of text in determining legibility. The Satero Type System includes two members whose basic forms are the same. The Sans Serif members are more horizontally differentiated than common grotesques, which aides their legibility. The Serif design employs asymmetrical serifs, avoiding elephant feet" altogether. Their dynamic is progressive. The condensed nature of the seriffed counterparts is optimal for newspaper and magazine applications, where space is at a premium and paper must be saved. All fonts in the Satero Type System include a number of alternate glyphs, as well as ligatures and proportional lining figures; all weights except the Heavy and Heavy Italic fonts are also equipped with small caps, small cap figures, and oldstyle figures as OpenType features. "

Fruitygreen is Indonesian designer Andi AW. Masry's second typeface following Coomeec™. Idiosyncratic but appealing forms are the signature feature of Fruitygreen™ and provide this new typeface with its truly distinctive character that you can utilize for your projects - and not just in headlines. The unique forms of fruits are not only individually fascinating, but are just as captivating when they are brought together, for example as decoration on a dining table. For Masry, these can be compared with an alphabet whose letters spell out in combination different words and with this as his inspiration, he based his designs for Fruitygreen on the versatile forms of fruits. However, it was not the whole fruits as such but rather small sections of their curves and ends that he decided to use. It is not only because of the characteristic line terminals that the rounded characters of Fruitygreen seem at first glance reminiscent of a brush-written calligraphic typeface; these are traces of the creation process, in which Masry used a digital brush. At the same time, Fruitygreen is by no means simply a brush font. Its dynamic characters reference biological forms and there is definitely something amoeba-like about them, particularly in the bolder variants, and they exude the same serenity and harmony that is inherent to organic structures. The many unconventionally shaped characters also provide for optical contrast. There is, for example, the very scaled down g", the open "q" and the lowercase "r", which has the form of the capital letter. Other letters, such as the sinuous "k" and the rounded uppercase "F" impart an exotic touch to Fruitygreen. Similarly remarkable is the "@", that has only a semi-circle. Available to the designer are other characters that can be used to accentuate a design, such as swash capitals and numerous ligatures. And, last but not least, there are also various numeral sets with oldstyle and lining figures for setting proportional text and table columns together with a selection of symbols, such as arrows and, appropriately, fruits. "

Koch Antiqua is based on forms of old Roman writings, chiseled in marble thousands of years ago. This contemporary version is more playful and reminiscent of the Roaring 20s.

Pepino is loosely based on the classic font Hobo but Pepino is a completely new and original drawing. The font is bold, fun, casual, easy to set and read.

P22 Stanyan Autumn is a set of three fonts based upon a casual hand lettering text created for the deluxe 1969 edition of "...and autumn came" by Rod McKuen.

Bonita is a bold handlettering style based on movie poster lettering from the early 20th century. It's similar to the typeface Broadway, but much bolder and far less formal.

A collection of over 50 border patterns based on geometric motifs from various African tribes, including the Ashanti, Bushongo, and Zulu. Use for accents on stationery, greeting cards, etc.

Xylo Sans letterforms are based on a typeface from Miller & Richard type foundry, from circa 1911. They are presented here with a rough wood texture, in two xylographic flavors.

Stylish Marker is a font based on a casual and worn marker, just before it's unusable, thus giving rise to an irregular texture, typical of a widely used marker

Stazin is a display high-contrasted font comes with single-weight. Stazin supports many Latin based languages and Arabic language with almost 900 glyphs that covers many OpenType features.

A whimsical little serif transporting you back in time. Based on vintage hand scribed italics, Fairytale Serif is ready to charm it's beholder with its quaint inky edged letters.

Mingray Mono is a stylish Monospaced family in three weights. It contains old-style figures, small caps, fractions, ligatures, pictograms and arrows. Mingray Mono supports 85 Latin-based languages.

Bright with many interlocking and connecting ligatures and warm with hand-drawn irregularity, Solstice is something to celebrate. Based on the inspiring hand writing of creative friend, Kimberly Mahan.

Tenso Slab is a versatile and playful Slab Serif based on the -in 2013 released- Tenso, which is a an economic running sans serif with a lot of character.

Blado is the italic companion to Monotype Poliphilus, revived in the 1920s by Stanley Morison based on a type cut by Ludovico degli Arrighi for Aldus Manutius, around 1526.

A magical alphabet used by secret societies in times past. It was based on the Hebrew alphabet. NOTE: this font comes with a comprehensive interpretation guide in pdf format.