SansduskiMono is a sans-serif decorative/display family that is monospaced. Its very high x-height and tight spacing make it more suitable for use at large point sizes than small point sizes. (There are better options if one wants a readable text font.) The letter O is a rectangle with rounded corners and this shape motif is carried over to other characters that are usually rounded. The origin of this face is in a previous typeface, BigStripesMono. That family was designed to use the OpenType feature Contextual Alternatives (calt) to put stripes on letters. It had only upper-case letters in one weight. SansduskiMono adds lower-case letters and eight more weights plus italics and outline styles for the black weights. For a proportional rather than monospaced version of this design idea, see Sansduski. SansduskiMono is appropriate for titles, posters, advertising, and other uses that benefit from simple letter forms that are geometric and clean.

The Cholla typeface family was designed by Sibylle Hagmann in 1998-99 and named after a species of cactus she encountered in the Mojave Desert. Cholla was originally developed for the Art Center College of Design in Pasadena, California. There, art director Denise Gonzales Crisp and associate designer, Carla Figueroa, collaborated with Hagmann to create a series of fonts that would offer a great deal of variation. The variety was needed to echo the school's nine different departments, yet together the fonts had to exude a unified feel. It was first used in the radically designed 1999/2000 Art Center catalog which won a honorable mention in I.D. magazine and was featured in Eye No. 31. Originally Hagmann set out to design a typeface that, as she recalls, "I could feel comfortable making, first of all, and one that would serve a purpose and had a clear idea behind it, and something that I would want to use myself." Stylistically Hagmann set out to create "12 cuts with slightly different personalities, with different ideas applied. For example the bold weight isn't simply the Regular with weight gain, but has bold letterforms with their own peculiar details. What all weights share and what is the necessary unifying detail is the tapered curve - marked out, for example, in the lowercase b's left top and bottom of the bowl." Gonzales adds: "The forms seemed classical as well. This combination could have a long life, and be timely. I also saw - at least in the beginnings of Cholla - forms that connoted hybrid, of inter-connection, of human and machine growing together. These notions seem appropriate for a school that teaches design and art." Greek version by Panos Haratzopoulos.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

SCR fonts are screen optimized (also called 'pixel fonts'). Unlike standard fonts (and like the few well-hinted fonts like Verdana or Arial), they give a crisp look on screen at very small sizes, thus increasing legibility. The perfect applications for those fonts are web pages and software user interfaces (computer, cellular phones, console games and any other system that uses a screen interface). Unlike most pixel fonts, SCR fonts contain kerning information. Kerning is the adjustment of space between certain pairs of characters (like 'AV') to make text look more fluid, thus increasing legibility and appeal. To benefit from this feature, auto-kerning must be activated in the application. In Photoshop, kerning must be set to 'Metrics'. Although SCR fonts are optimized for screen, they can be used for print (in Illustrator or Indesign for example) for a decorative 'computer text' effect. In this case, there is no constraint: they can be used as any other font. For screen use (in Photoshop, Fireworks, Flash... ), they have to keep aligned with the screen pixel grid not to look blurred or distorted. To achieve this, here are the guidelines to follow: RESOLUTION If the application permits it (Photoshop, Fireworks), document resolution must be set to 72 pixels per inch. SIZE The font size must be set to 10 (or multiples of 10) points. POSITIONING & ALIGNMENT The reference points of text fields and text blocks (upper left corner for left aligned text, upper right for right aligned text) must be positioned at integer values of pixels. In Photoshop, text can be precisely moved with [Edit Free Transform]. In Flash, movie clips containing text fields must also be positioned at integer values on the stage. Text must be aligned to the left or right only. Center alignment can be simulated with left alignment by adding spaces at the begin of each line. To dispense with the positioning and alignment constraints, text anti-aliasing can be turned off if the application permits it (Photoshop, Flash MX 2004). OTHER SETTINGS Leading (line spacing), tracking (letter spacing), manual kerning and baseline shift must be set either to integer values of points or to multiples of 100 units (depending on the application). Vertical and horizontal scaling must be set to 100%. Faux bold or Faux italic must not be used. The document must neither be resized on export, nor allow resizing (Flash Movies).

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

SCR fonts are screen optimized (also called 'pixel fonts'). Unlike standard fonts (and like the few well-hinted fonts like Verdana or Arial), they give a crisp look on screen at very small sizes, thus increasing legibility. The perfect applications for those fonts are web pages and software user interfaces (computer, cellular phones, console games and any other system that uses a screen interface). Unlike most pixel fonts, SCR fonts contain kerning information. Kerning is the adjustment of space between certain pairs of characters (like 'AV') to make text look more fluid, thus increasing legibility and appeal. To benefit from this feature, auto-kerning must be activated in the application. In Photoshop, kerning must be set to 'Metrics'. Although SCR fonts are optimized for screen, they can be used for print (in Illustrator or Indesign for example) for a decorative 'computer text' effect. In this case, there is no constraint: they can be used as any other font. For screen use (in Photoshop, Fireworks, Flash... ), they have to keep aligned with the screen pixel grid not to look blurred or distorted. To achieve this, here are the guidelines to follow: RESOLUTION If the application permits it (Photoshop, Fireworks), document resolution must be set to 72 pixels per inch. SIZE The font size must be set to 10 (or multiples of 10) points. POSITIONING & ALIGNMENT The reference points of text fields and text blocks (upper left corner for left aligned text, upper right for right aligned text) must be positioned at integer values of pixels. In Photoshop, text can be precisely moved with [Edit Free Transform]. In Flash, movie clips containing text fields must also be positioned at integer values on the stage. Text must be aligned to the left or right only. Center alignment can be simulated with left alignment by adding spaces at the begin of each line. To dispense with the positioning and alignment constraints, text anti-aliasing can be turned off if the application permits it (Photoshop, Flash MX 2004). OTHER SETTINGS Leading (line spacing), tracking (letter spacing), manual kerning and baseline shift must be set either to integer values of points or to multiples of 100 units (depending on the application). Vertical and horizontal scaling must be set to 100%. Faux bold or Faux italic must not be used. The document must neither be resized on export, nor allow resizing (Flash Movies).

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Located in the Valencian Community, Spain, Manises is very famous for its pottery. In the Middle Ages and the Renaissance, Manises was the most important production center for Spanish-Moresca ceramics, which was exported throughout Europe. At the beginning of the 16th century, Manises tiles were very commercially successful, especially of the heraldic type. Much appreciated by the Aragonese crown, Manises ceramics was also exported to France, Italy, and especially to Naples. As a big fan of Paterna and Manises ceramics, Naples influenced other Italian courts. Calixto III and Alejandro VI continuously commissioned Valencian pieces and tiles for the halls of the Vatican. The export also extended to Sicily, Venice, Turkey, Cyprus and even Flanders and the Baltic countries. The palaces of all the courts of Europe were enriched with this art. Many painters reproduced it in his paintings. It can be seen in the work of Hubert and Jan Van Eyck, and in the central panel of a triptych by Hugo Van der Goes (Uffizi Gallery, Florence). In this city there are also some frescoes by Domenico Ghirlandaio in which the Arabic-Valencian earthenware appears. Manises font is inspired by a text written on a 16th century tile, but adapting it to our times and giving it a very modern air. It is characterised by being able to combine uppercase and lowercase letters in a conventional manner, or use only capitals, or only lowercase letters, or, a random combination of both. It comes with an extra of many ligatures, stylistic alternates, and a set of very useful catchwords, to give more modernity to your text. This OpenType features may only be accessible via OpenType-aware applications, or the Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. Manises looks lovely on wedding invitations, greeting cards, logos, posters, labels, t-shirt design, logos, children's material, in ink or water-colour based designs, fashion, magazines, food packaging and menus, book covers and whatever your imagination holds!

The typeface Typewriter 1950 Tech Mono is designed for the Typo Graphic Design font foundry in 2017 by Manuel Viergutz. A display slab serif type for headlines. Based on an old typewriter machine from 1950. Plus state-of-the-art OpenType-features like contextual alternates (calt), decorative ligatures e. g. type the word “LOVE” for ❤ and the word “SMILE” for ☺ and Versal Eszett (German Capital Sharp S). For use in magazines, posters, headlines and advertisement, plus as webfont for decorative headlines. Character Set: Latin Extended (Adobe Latin 3). 1490 glyphs with 5× A–Z, 5× a–z, 5× 0–9 and 290+ extra icons like arrows, dingbats, symbols, geomatric shapes, catchwords and many alternative letters. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! How To Use – OpenType-Features ■ In Adobe Photoshop and Adobe InDesign, font feature controls are within the Character panel sub-menu → OpenType → Discretionary Ligatures … Checked features are applied/on. Unchecked features are off. ■ In Adobe Illustrator, font feature controls are within the OpenType panel. Icons at the bottom of the panel are button controls. Darker ‘pressed’ buttons are applied/on. ■ Additionally in Adobe InDesign and Adobe Illustrator, alternate glyphs can manually be inserted into a text frame by using the glyphs panel. The panel can be opened by selecting Window from the menu bar → Type → Glyphs. Or use sign-overview of your operating system. ■ For a overview of OpenType-Feature compatibility for common applications, follow the myfonts-help http://www.myfonts.com/help/#looks-different ■ Font Name: Typewriter 1950 Tech Mono ■ Font Weights: Regu­lar + Negative + Black + Mono + Icons + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Slab Serif Dis­play for Head­line Size ■ Font For­mat:.otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 1490 glyphs ■ Lan­guage Sup­port: 28+ for Latin Exten­ded (Adobe Latin 3). Afri­kaans, Alba­nian, Cata­lan, Croa­tian, Czech, Danish, Dutch, English, Esto­nian, Fin­nish, French, Ger­man, Hun­ga­rian, Ice­lan­dic, Ita­lian, Lat­vian, Lithua­nian, Mal­tese, Nor­we­gian, Polish, Por­tu­gese, Roma­nian, Slovak, Slove­nian, Spa­nisch, Swe­dish, Tur­kish, Zulu ■ Spe­cials: 290+ deco­ra­tive extras like icons for arrows, ding­bats, emo­jis, sym­bols, geo­me­tric shapes, catch­words + Ger­man Capi­tal Eszett. ■ Open Type Fea­tures: Kerning (kern), Sty­listic Set 1 (ss01) … Sty­listic Set 6 (ss06), Ornaments (ornm), Titling (titl), Loca­li­zed Forms (locl), Sub­script (subs) Super­script (sups), Ordi­nals (ordn), Old­style Figu­res (onum), Lining Figu­res (lnum), Frac­tions (frac), Deno­mi­na­tors (dnom), Nume­ra­tors (numr), Stan­dard Liga­tures (liga), Con­text­ual Alter­na­tes (calt) e. g. Sty­listic Set-Loop and Deco­ra­tive Liga­tures (dlig) e. g. type the word “LOVE” for ❤ or “SMILE” for ☺ ■ Design Date: 2017–2018 ■ Type Desi­gner: Manuel Vier­gutz

Your design tells who you really are and should represent your personality. Without the right font, it will be hard to be prominent and to impress your audience. Therefore, Bacode is the answer to your necessity. Bacode is a font type to produce manual brush-looking displays to show natural, casual, informal impressions to make people feel close to the brand or design displayed. Its letter proportions are equal, yet high in contrast to be more visually attractive. However, brush fonts are less legible in lengthy texts. As a result, they are more suitable to apply for short texts. You can also enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Bacode fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Meleo is a semiserif consisting of 10 fonts with a few original quirks but still very legible at both text and display sizes. Since its conception, the aim was a balance of uniqueness and functionality. The typeface owes its energy to the slight suggestion of calligraphic crafting and humanist structure. But it also breaks the rules: a small x-height and a whimsical uppercase with resemblance to the lowercase may render Meleo more friendly than a conventional (semi-)serif. Titles and texts of moderate length, like those found on websites, flyers and packaging, are the natural habitat of Meleo, but it may as well thrive under different settings. Meleo supports most of western-european latin languages which are included in the ISO-Adobe character set.

Taking its cue from the lettering of 1930s Dutch commercial artist Martin Meijer, Libertine is a script where expert calligraphy and total wrist control are on display. With strokes stopping and starting at very steep angles and extreme contrasts, every character is a high riff jolting from within a stunning epic that brands the message home. This is the rebel yell, the adrenaline of scripts. Libertine comes in three interchangeable fonts, each of which containing extended language support. The complete set comes with a fourth font that includes tons of alternates and ligatures and, more importantly, Libertine Pro, the 1160+ character behemoth that combines all four fonts for advanced typography environments, where automatic ligatures, stylistic alternates, and position-sensitive forms are seamlessly put to good use.

The design of Sanity typeface is modernized by abandoning any characteristics associated with hand writing, such as curved lines or elaborate corner details. The design is based on a rigid geometric grid and radiates confidence with its daring contrasts and provocative style. In large amounts of text the font “Sanity” can be hard to read due to a «dazzle» effect caused by alternating thick and thin strokes, particularly as the thin strokes are hardly visible at small point si es. Due to this quality, the “Sanity” font-family is best suitable for titles or large print advertisements. There are five key stylistic principles taken as a main framework for the creation of the “Sanity”: symmetry, contrast, geometry, artificiality and monospacing.

One look at the font Wanted brings to mind swinging saloon doors, double shots of whiskey and sheriff's badges. It belongs to the so-called Italienne typefaces which began to appear at the beginning of the 19th century. The distinguishing characteristic of such typefaces is the robustness of its serifs, which exceeds that of the base strokes. Wanted looks almost as though it were stamped on paper. Small white flecks appear in some of the strongest black strokes just as they would in a stamp which did not get quite enough ink...or are they perhaps the work of a sharp shooter? Wanted is best for short headlines and perfect for anything which should have the look and feel of the Wild West.

African fonts are characterised by design considerations that differ from those of Europe and the Americas. At one extreme we have a relaxed and casual approach to life that values the quality of each moment in life far more than people do in the west. In this approach each element of the font, while being part of a community, nevertheless stands on its own and has its own "character". An African font that characterises this approach is Ubuvila (the word means relaxedness or relaxation in Zulu). There is no strict adherence to a design format in Ubuvila nor are the characters constrained by resting on the same baseline. They wander up and down in the sentence and find a comfortable resting place.

Manhattan was designed in 1970 for ITC by Tom Carnase, who also created Avant Garde Gothic. The distinguishing characteristic of this designer's work is found in the emphasis on the thick-thin constrast. In this case, Carnase approached the border of the impossible. The heavy vertical strokes stand opposite the finest of lines and the thick columns dominate the overall look. The basic forms are strictly constructed, as are those of Morris F. Benton's Broadway of 1925, to which many parallels can be found. Manhattan is best used for applications which will not be placed too far from the viewer, as at too great a distance the fine lines can no longer be seen. It should be used exclusively for headlines in medium point sizes.

A text face in 4 styles Before the arrival of Phototypesetting, each font size had a specific design. Le Monde Livre, designed by Jean François Porchez, along with Le Monde Journal re-establishes this practice. When Le Monde Journal was developed specifically for use at small point sizes (below 10 points.) Le Monde Livre works beautifully for book typography, magazine settings. In comparison to the italics in Le Monde Journal, Le Monde Livre’s italics are of a totally different design, closer to the models of the Renaissance. The families match well together on the same page, Le Monde Journal for small sizes settings, Le Monde Livre for large settings. The verticals metrics and proportions of Le Monde Livre are calibrated to match perfectly others Typofonderie families.

Kamerik 205 is inspired by the classic, geometric sans-serifs such as Futura and Avant Garde, but has shallower ascenders and descenders for a more compact look, and features a traditional double-storey lower case a and g. It's a versatile, modern sans, highly legible as a text font and with a clean, elegant look as a display font at larger sizes. It includes old style non-aligning (lower case) numbers, both proportional and tabular as well as accented characters for Central European languages. The Kamerik 205 family comprises of six weights, and is closely related to Kamerik 105. The most notable differences between the two variations, are the two-storey lower case a and g in Kamerik 205, where they are single-storey in Kamerik 105.

Halesbridge is a soft sans serif font family consisting of 7 weights (from hairline to black), 4 widths (regular to super wide) and all styles are in italic. Many languages are supported (see the picture showing the international glyphs). It’s simple letterforms make it easy on the eyes for reading large amounts of body text and looks very modern, especially in the lighter weights. This family is perfect for editorial design, website design and general informative media. However, I can see endless possibilities for typographic logo designs because of the different widths and weights. Overall, this font family will be a great addition to your design assets, commanding the attention your creative projects deserve. For regular updates and freebies please follow me on Instagram at joannemarie_cm

CHARACTERISTICS The fresh and unique character of the typeface are awesome BOOM! The letter-forms are associated urban graffiti tags and pieces. Many Dingbat symbols like microphone, tape deck, ghetto blaster, vinyl, etc. make this font really fresh n HOT! APPLICATION AREA The handwritten, sloppy, square, shaky and fresh urban script font »Tag Hand Graffiti Trash« BANG! would look good at display size for headlines in magazines or websites, movie posters, music covers artworks or music webbanner. TECHNICAL SPECIFICATIONS Headline Font | Display Font | Fancy Font – Tag Hand Graffiti Trash OpenType Font with 393 glyphs - alternative letters and ligatures like Mr, Mrs, Ltd, Co, Dr, Mc, Dj etc. (with accents & €) & 2 styles (regular & fat) + dingbats like diamant, tape deck, microphone, vinyl etc.

Bourgeois Rounded is built upon the framework of Bourgeois, our popular geometric type family. As with the sans-serif Bourgeois Rounded letterforms are contemporary in look and feel. Echoing late 20th century modernism in style, Rounded’s overall look is clean and sleek, more ephemeral and dynamic than Bourgeois’s pared-down asceticism. The Rounded’s place in the history of font is a complex one. Being lauded for their legible characteristics and also at the same time their fashionable qualities, looking ultramodern and nostalgic, readable and highly stylised, authoritative and playful. Bourgeois Rounded and Rounded Condensed when combined, offer 24 styles suited for text of all kinds and sizes. Both are particularly good for short pieces of text requiring a sense of urgency or playfulness.

Cell is a sturdy, geometric typeface with many potential applications. Though it is best suited to display sizes, its construction is simple enough for use in smaller settings. Its octagonal, almost mechanical design is softened by rounded corners. The face is characterized by a single thick stroke in each letter, lending it a unique appearance. It also features an oblique counterpart with several italic-style glyphs. Both members of the family also include small capitals mapped to the Private Use Area. Cell was designed to be at once simple and unique. Its grid-based structure is enhanced by slight adjustments for optical consistency. Glyphs which are normally round instead have 45-degree angles at the corners, sticking to the grid system without losing legibility.

Compact sans, ideal for setting long texts in small or very small type sizes: for packaging, instruction booklets, drug information leaflets and anything else that has to be legible at very small sizes. Lean and rhythmical, designed ideally to be used at less than 8 points (Brevier was the old typefounders’ name for 8-point type), Brevier holds up well even under adverse printing conditions. The apparently geometric letterforms hide Renaissance characteristics, the x-height and openings are very generous and the strokes slightly modulated. In order to offset ink spread – which is inevitable when printing very small sizes of type – Brevier has large white spaces between the letters. All internal angles have deep ink traps and many connections have been left open.

One of the earliest Monotype faces, issued about 1906 in two weights, normal and semibold. Based on Schelter & Giesecke's School Fraktur which was in turn based on type favored by early 16th century printers in Wittenberg. It was the door of the Schlosskirche in Wittenberg on which Luther nailed his 95 theses. For this reason, types similar to Wittenberger Fraktur are particularly associated with Lutheran theology. There are two s versions in the DFR-layout. They enable you to typeset the old way, where the long s with the form like an f is used in the beginning and middle of a syllable or word and the typical round s, also called final s, is used at the end of syllable and end of words.

Analogia is a digital interpretation of types used in the mid-18th century in books printed at Leuven by Martin van Overbeke. It is intended primarily for use in running text. The roman is businesslike, yet with a distinct personality; it has a generous x-height and is slightly condensed, though without appearing cramped. It is complemented by a more lively italic, which retains some irregularities in the angle of slant that are characteristic of the original. Analogia provides wide support for west, central, and east European languages that use the roman alphabet. Among its OpenType features are ligatures, small caps, several sets of numerals, contextual alternates, intelligent implementation of long ‘s’, and fractions. For more detail, please see the pdf available in the Gallery.

Ciseaux was inspired and is dedicated to the art of paper cutting. Early paper cutting artists were often royalty, but it soon became a folk art practiced by commoners whose cutouts decorated their homes. By the seventeenth century it had spread throughout the world. The Japanese called it Mon-kiri, the German's Scherenschnitte and Turkey even boasted a guild devoted to the art form. In Poland the designs were traditionally symmetrical and often used layers of colors to form pictorial collages. When Russian invaders confiscated scissors, villagers were found to cut their intricate designs with sheep shears! The art form later developed into cutting out elaborate designs of nature scenes and people, celebrating special occasions and even decorating legal documents. Ciseaux letterforms mimic paper cutting art in its shapes with a rather loose and almost joyous rhythm. The overall effect is somewhat earthy and natural yet it has an element of sophistication that cannot be ignored. Just like paper cutting, Ciseaux can be used for special occasions like invitations, brochures, identities, restaurant menus, and if you dare, some awesome looking paper graffiti. Available in TT, PS and Opentype for Mac and Windows.

Vintage sheet music for the 1920s song "Where Did Robinson Crusoe Go with Friday on Saturday Night?" yielded the hand lettered Art Nouveau alphabet for Nouveau Display JNL. Because the Art Nouveau movement was so influential in the graphic designs of the 1960s "Love Generation" counter culture, this typeface blends itself well with projects crossing many decades and varying styles.

Gracious Azaleas, the flourished ornaments typeface, was designed entirely by hand, without use of auto-tracing, by Iza W. Its well elaborated and unusual design was inspired by old cross-stitch and craft books. Good to use in arts and crafts works, books of arts, stationery, publishing stuff and many other applications. Another recherché masterpiece by Iza W from Intellecta Design.

Introduce, New Font in Fearless Queen Inspired from old skool graffiti Sketch and street art, we created this Typeface. Drawn in Procreate app, then vectorized and crafted carefully with passion, love and Prides :). Fearless Queen Typeface Suitable for many design project, branding, packaging, logo, wall art, headline, template, banner, poster, and many more projects. These include all caps, punctuation, and numerals.

Paku, a typeface that grow on the inspiration of fiddlehead (fern), taking Fibonacci curve as the base, with influence of Art Nouveau & Art Deco, it evolves into a simple yet magical typeface. The spiral’s characteristic in the typeface give the stylish impression of grace, rhythmic, classical & poetry. It’s unique & distinctive looks suitable for any surface printing, publishing, branding, packaging, advertising & digital content.

Par Avion's design draws something of its inspiration from the wings of the old BSA Motorcycles logo and was developed in parallel with our Vinea typeface family. “Par Avion” means ‘By Air’ - remember those little blue stickers in the Post Office - for sending Air Mail? We think this typeface design has a lovely streamlined feel of the early jet-era about it.

Steve Jackaman & Ashley Muir. Packard Old Style is based on lettering drawn by Oswald Cooper for the Packard Motor Company (ATF 1913). The bold weight is credited to Morris Fuller Benton (ATF 1916), but it is highly probable that Benton did the adaptation for both weights. Packard Old Style Pro contains all the high-end features expected in a quality OpenType Pro font.

The 1907 novelty song "Since Arrah Wanna Married Barney Carney" (about an Irishman taking an Indian maiden as his bride) had its title hand-lettered in a sans serif style that reflected both the Art Nouveau flavor of the time and a hint of what was to come during the Art Deco movement. This is now Song Stylist JNL and it's oblique counterpart.

Paris Serif is an avant-gardist serif handwritten font designed in Paris. It’s an all-caps thin font, with Art Deco ornaments and extended glyphs for many languages. But the little difference of Paris Serif from other handwriting typefaces is the Art Deco feeling that brings it a retro and directly familiar look. We hope you will enjoy our work. Merci beaucoup!

Solente is an elegant slab serif font and was inspired from Early 1900's Art-Deco, Art Nouveau and Jugendstil fonts. Perfect for use as headline or sub-head text in you design. It perfectly represents vintage esthetics in a modern way. The font has stylistic alternates for all capitals and an extra set of ligatures to replace some combinations.