Kamui is a font designed by Carlos Fabian Camargo G. and used to write headlines. Its strategy makes it ideal for covers and advertisements with Japanese-style manga comics requiring latin style. Precisely its purpose was inspired by typographical classics such as Mistral by R. Excoffon and Zapfino by H. Zapf that then were diluted by separate strokes as blackletter calligraphy. However, high doses of miscegenation and lettering untimely torn between 50% esthetic and 50% legibility. That way his radical expression is highly profitable for composing and designing words and phrases with Eastern look. And more importantly, the writing seems drawn quickly with thin-tipped brush staining over a rough surface, from that process comes the idea of corroded outlines and changes in contrast. In conclusion, some diagonal strokes, horizontal, curved and vertical stand or hide from their simulation of scarcity or abundance of ink clots. That way each stroke seems inconsistent, footprint of the 423 brush drawing glyphs in Regular Kamuy. In that sense, the OpenType features included are: Standard Ligatures, Contextual Alternates, discretionary ligatures, swash, stylistic alternates, alternatives for titles, ordinals, fractions. And to end the Variable “Kamuy Dingbats” has is 52 fictitious drawings and zamurais.

Arthur Sans is a new font design in the spirit of the Art Deco era, the age of elegance, stylishness and refinement. Use this unique typeface for distinctive personal stationary, outstanding business papers, captivating brochures and invitations; for marvellous posters, wonderful menus, hotel leaflets, exciting ads … for outstanding designs. You’ll find out that Arthur Sans is your friend for more than just fine typography. Five weights plus Italics – all equipped with a comprehensive Euro-Latin character set – will hardly leave anything to be desired. Additionally, the font Arthur Sans Regular contains an outstanding extra range of 70 ornamental characters, carefully designed to the very tone of the typeface, to give you a very special kick of extra value to enchant your designs. Alternatively, you can get this set of ornaments seperately, look at the Arthur Ornaments! Arthur Sans is but one part of a greater suite of exciting fonts: you may wish to also check out the sister fonts of the gorgeous Arthur Cabinet family, which will offer you another wonderful scope of fascinating typographic possibilities. For a matching Greek font go to Artemis. And finally, Arthur’s Irish friend is the fabulous Ardagh. __________________________________________________________________________________________

Muisca, that in its early edition was named as «Muisca Sans», was developed in mid-1997 and based on the graphic concept of pre-Columbian characteristics figures within some of the very few visual elements recovered from the Muisca culture. This ancient pre-Columbian tribe disappeared since the arrival of the Spanish 500 years ago, in what is now the center of Colombia. In fact, the name of the capital Bogotá goes back to Bacatá as primary or village downtown of what was once the imperial capital of the Muisca tribe. This typographic project was submitted as my work for the degree in Graphic Design, obtained in September of that year (at the Universidad Nacional de Colombia), under the creative concept of vindicating the ancient culture and identity through a functional typeface, into a fact without precedent in the country. Muisca was recently edited, arranged and completed, including multilingual diacritic glyphs to be versatile in several languages. Related and inspired by Latin America, Ethnic, Native, Tribal, Mysthical, Handmade, Aboriginal, Pre-Hispanic, Pre-Columbian, Textured, Fantasy. Ideal to be used in logos, display text & titles, games and other design applications that reminds of the Pre-Hispanic art.

Googie Architecture, also known as "Midcentury Coffee Shop Modern," was born in California during the Atomic Age. Martini at Joe's is based on lettering from several historic Googie sources - many of which no longer exist. The futuristic Martini at Joe's collection was named for Northern California's famous Italian-themed "Joe's" restaurants, some of which are still serving up large portions of charbroiled beef steak, canned buttered veggies and pretty decent martinis. Martini at Joe's contains many fabulous typographic extras – and is available in single font packages or as a 15 font interchangeable Megaset (with "italic-esque" obliques and "retro obliques"). Martini at Joe's is perfect for use as commercial signage, on the menu for your coffee shop, supper club, tiki bar, fish grotto, smorgy, space port or destination casino. It also holds its own in any vintage store, on greeting cards, t-shirts, hi-brow gallery announcements, product skins, your 'zine masthead, on the faceplate of your futuristic microwave oven, tv dinner packaging, at millionaire's conferences or even embellishing the fuselage of your latest jet airline venture. Martini at Joe's: there's no better way to say, "Hold the olive, I'm having a moment."

Cíclope is a typeface family designed by Carlos Fabián Camargo in 2012 and used to write the headlines. Its idea is based on an army of stone soldiers that with their size and strength cause earthquakes. Under this concept he obtained stencil and sans serif letters with monstrous shapes and torn counterforms. Its usefulness as well as readability consists in imitate rocks with scars and cracks. For that reason, Cíclope family has three sizes, each with their respective italics distributed at different levels of corrosion. In addition, each file contains 260 glyphs useful for designing words and phrases with systematically eroded treatments for advertisement material. Thus Cíclope works as a raw material in the exploration of new graphic design. Finally, Cíclope concept has grotesque, geometric and humanistics letters roots that seem disastrous but each and every detail has been planned with high definition drawing. Most importantly, it expresses a big amount of grunge style with cracked edges and medium contrast between thin and thick strokes. In that sense, the writing seems impaired and special for design of logos, posters, flyers, brochures and worn, crusty or demolished graphic design.

In 1990 I designed the font XLeafMeAlone. In 2006 I decided that it was time to improve it. Instead of adding to it, I created two new fonts containing almost 200 leaves: MapleOaks and More Leaves. Among the leaves you will find in MoreLeaves are elm, cottonwood, tulip tree, ash, hickory, locust, ginko, aspen, sassafras, hawthorn, beech, and birch. There are also a few that come from shrubs and I am not sure what they are, but they looked interesting so I put them in. You will not find oaks, maples, or sycamores--they are in MapleOaks. Why leaves? Because people like them. As a large part of the biological world that is all around us, leaves are fascinating in their shapes and endless variations. In XLeafMeAlone I took about 50 shapes and rotated them 180 degrees to give a typeface with approximately 100 glyphs. In each of these two typefaces, MoreLeaves and MapleOaks, there are almost 100 glyphs. Each of those glyphs is rotated in 90-degree increments to yield two families of four typefaces that should be very useful if one wants to create borders of leaves.

Kostic Serif is a classic transitional typeface (like Baskerville, Bookman, Caslon, Times) with tall, clean characters and a large glyph set to support all European languages - Greek and Cyrillic script included. Excellent for setting multiple pages of text and packed with OpenType features (proportional lining and oldstyle numbers, tabular figures, superscript and subscript, numerator and denominator figures, fractions and 31 ligature in 659 characters), it should meet the demands of even the most demanding typographic works. Kostic Serif is made with fairly large x-height, so the text is legible in very small sizes. Zoran began the work on Kostic Serif around 2002 and after completing Regular, Bold and matching italics, he wasn’t too pleased with the design, so he dropped further work on it to make other fonts. In 2010 Nikola came upon unfinished files for Kostic Serif, and decided to redesign the letters, while retaining basic proportions and widths that Zoran established earlier. When they were both pleased with the new look of the font, they made Medium and decided to add CE and Greek script to the glyph set, to make it pan-european.

Forme Furniture Type Em and Furniture Type En Designed by using the pieces of letterpress furniture usually hidden, to create letter shapes. The square nature of the type means it could be used as a low resolution type. Forme Furniture Type Em – Low resolution type. Designed using *Furniture and **Em quads from letterpress printing. *Furniture: Pieces of wood or metal placed around or between metal type to make blank spaces and fasten the printed matter in the chase. ** Quads: (originally quadrat) is a metal spacer used in letterpress typesetting. An em quad is a space that is one em wide and one em high. Also available as Em Shadow to be used as a headline or display font. Forme Furniture Type En – Low resolution type. Designed by using *Leads and ** En quads from letterpress printing. *Lead or Reglet is a piece of Lead or wooden spacing material used in letterpress typesetting, to provide spacing between paragraphs. **An En quad is a space that is one En wide half the width of an Em quad, and the same height as the typeface. Also available as En Shadow to be used as a headline or display font.

Mariachi is a new condensed version of our Maison Luxe font which is a revival of an old 1800's classic ornate French font. This new 2021 condensed version takes this old classic to an all new level by adding small caps, italics and a new solid black version. Mariachi is perfect for headlines and logos from advertising to product labels, t-shirt lettering and restaurant menus. Fill fonts are also part of this family, new to this font style is the half fill font for creating a two color effect on the letters, you'll need an application that works in layers to use the fill fonts in Mariachi. The regular fill font for Mariachi isn't meant to be used as a stand alone font so we've created a solid black version with thicker serifs on top and adjusted outlines throughout for a better appearance as a solo font. The difference between Mariachi and our Mi Casa font is that Mariachi has a squared off shadow on the top half of the letters. We hope you enjoy Mariachi as much as we did making it. Mariachi is a trademark of FontMesa LLC

Enzian is the fruit of a yearlong German Chancellor Fellowship sponsored by the Alexander von Humboldt Foundation. Our hope was simple: to make something useful and beautiful out of something that most people consider to be neither. We were fascinated by the complex persona of Blackletter in Germany and drawn to its emotive ornament and its sensual, non-geometry. Two areas in particular, the long-standing rivalry and widely-believed inferiority that Blackletter had with Roman type and Blackletter’s relevance in contemporary culture, became the foundation of the project. The result is Enzian: an invigorated, original Blackletter of uncommon depth and hopefully, a bit of charm. It is warm and expressive, feminine and contemporary, while staying true to its hand-written, calligraphic roots. Enzian is a multi-language, workhorse typeface that can create hierarchy (with unconventional italic and small caps), and has numerals that fit the family. It is a display face that isn't afraid of handling longer text; one that is equally comfortable in headlines and in poetry. We are delighted to announce that Enzian has been awarded a Certificate of Excellence in Type Design by the Type Director’s Club.

Introducing Goldwyre, an extraordinary typeface meticulously crafted to captivate and inspire. With its seamless blend of elements from medieval to modern times, Goldwyre stands out as a truly unique font that embodies the essence of timelessness and elegance. Drawing inspiration from the intricate beauty of Gothic Blackletter and enriched with bold calligraphic strokes, this typeface exudes a mesmerizing charm that effortlessly bridges the gap between the past and the present. What sets Goldwyre apart from other typefaces is its ability to seamlessly combine medieval and modern aesthetics. By skillfully integrating the ornate and elaborate forms of Gothic Blackletter with contemporary design elements, Goldwyre offers a truly captivating typographic experience. This fusion of styles creates a font that is both classic and contemporary, making it an exceptional choice for projects that require a touch of sophistication and versatility. In addition to its captivating design, Goldwyre is available in two weights: regular and bold. The regular weight showcases the delicate intricacies of the typeface, while the bold weight accentuates its bold calligraphic strokes, adding a sense of strength and impact to any design. This versatility allows designers to explore a range of creative possibilities, whether it's designing eye-catching posters, compelling marketing materials, engaging titles, stylish T-shirt designs, or attention-grabbing headlines. Goldwyre is also a highly functional typeface, offering extensive multilingual support to cater to diverse audiences. It features a wide range of characters and diacritical marks, ensuring that it can effectively communicate in various languages and scripts. This broad language coverage expands the possibilities for global projects, making Goldwyre an excellent choice for international brands, publications, and design agencies. When conceptualizing Goldwyre, our design team aimed to create a typeface that harmoniously blends the grandeur of medieval typography with the sleekness of modern design. We wanted to pay homage to the rich history of typography while infusing it with a contemporary twist, resulting in a font that seamlessly integrates into both traditional and modern contexts. The deliberate fusion of styles and the meticulous attention to detail in Goldwyre's creation reflect our passion for typography and our commitment to delivering exceptional design solutions. Goldwyre was born out of a desire to provide designers and creatives with a captivating and stylish typographic solution that effortlessly merges the beauty of the past with the demands of the present. We believe that design is a powerful tool for self-expression, and with Goldwyre, we sought to empower designers to create visually striking and evocative designs that leave a lasting impression. Its timeless appeal and versatile nature make it the perfect choice for those who seek to elevate their projects and make a bold statement. Pairing Goldwyre with related families or other typefaces can further enhance its visual impact. It complements well with minimalist sans-serif fonts, such as Futura or Helvetica, providing a striking contrast between the intricate forms of Goldwyre and the clean lines of the sans-serif typefaces. This combination creates a harmonious balance, allowing designers to play with different aesthetics and create visually dynamic compositions. In conclusion, Goldwyre is more than just a typeface; it's a captivating journey through time. With its seamless blend of medieval and modern elements, extensive multilingual support, and versatile weights, Goldwyre empowers designers to create visually stunning designs across a wide range of applications. Whether you're designing posters, marketing materials, titles, T-shirt designs, or headlines, Goldwyre is the ultimate choice for those seeking to infuse their projects with a touch of timeless elegance and captivating beauty. Experience the magic of Goldwyre and unlock the true potential of your designs.