The 1765 Stamp Act ignited in American colonists a simmering distrust of the distant British Parliament, whose oppressive trade duties they deemed unfair assaults on their rights as English subjects. Before long, of course, this little dustup spawned The Boston Tea Party, the American Revolution, and the birth of the U. S. of A. But before the Battles of Lexington and Concord, a group of Philadelphia merchants made one last-ditch call for commercial cooperation across the Atlantic. This futile appeal survives to this day on a three-page broadside, finely engrossed by a penman of the period and passed down through the generations of a family named Remsen. Remsen Script is an interpretation of that penman’s neat, formal cursive—from its broad antique flourishes to its subtle unevenness and gently ragged strokes. Perfect for event announcements, fine product packaging, recreations of historical documents, or anywhere you wish to offer a whiff of a bygone era.

Neon Bugler Squared is a soft, boxy version of Neon Bugler, which is a font based on the third logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore. This font design has these principles as its parameters: The letters generally follow what would be natural stroke directions; no sharp corners, all gentle turns; no lines back up over each other, cross each other, or run into each other. All of this civility between the lines produces an unintentional but welcome neon quality about it. This font can have a variety of vibes depending on its context-it has a certain nostalgia to it, yet it also has a slick, clean, futuristic, sci-fi look. It can even be used in a semi-grunge setting. This is a very versatile font! Digitized by John Bomparte.

As comic book readers know all too well, team ups are every super hero’s bread and butter... when the brave and the bold are in a pickle, and super villains are running onion rings around them, here’s how they roll: They Meat! They Team-Up with your taste buds! They Fight Hunger! Our original Hero Sandwich font has become a go-to for video game and app graphics, due to its easy readability and friendly demeanor. The new Pro version adds nine weights from Thin to Heavy, with matching italics, plus a versatile Variable Font to dial in your preferred combination of weight and italic slant. Each weight includes four numbering options and support for 222 languages, including Cyrillics. So take a footlong bite out of crime, and make the subways safe again with our mouthwatering Hero Sandwich! Prepared with care and plastic gloves by those awfully nice chaps at the Comicraft deli.

Presenting to you Rushen. A vintage display sans serif with 5 styles. Designed with a bold weight that is awesome to be used for many purposes such as headline, branding, logo, apparel, logotype, cards, labels, poster, packaging, and many more. These fonts are all-caps fonts complete with multilingual support. Be Bold with Rushen! What you'll get : Regular: The basic one, with sharp geometrical shapes, formal and elegant look. Good to apply in Books, newspapers, letterhead. Curvy: Inky inspired from the old-school advertising, can be combined with your favorite fonts. Perfect for labels, posters, and short editorial. Stencil: The most explored with some adjustments that look good for a manly theme, urban style, military themes, brave, and youth. Shadow: The complement from all, but still can be stand-alone for western design, old school, and food themes. Distressed: The vintage-inspired with the neat ink effect and minimal anchor points to keep font still ergonomic. Thank you for your support!

With reference to the Type Heritage Project, this font (designer unknown) was cut by Henry Brehmer of New York for the Dickinson Type Foundary of Boston in c1879 and had the original trade name of Renaissant. John F. Cumming later cut a light-face derivative called “Artistic.” A history of the un-patented face can be found at the Type Heritage Project website. Ressonant has a full character set as well as ligatures, superiors, inferiors, numerators, denominators, old style figures, and auto-fractions. There are also alternate caps for N and M as in the original, and, unlike the original, comes in four weights. This font is a documented revival of a 19th-century typeface. The year, country, designer and/or foundry of origin will be published in a series of textbooks entitled “The Type Heritage Project.” Volume I explores quintessential Victorian faces, a spectacular trove of innovative gems; you can see samples by clicking the Type Heritage Project link above.

Originally commissioned in 1979 as a new corporate typeface for Volkswagen AG, the VAG Rounded™ family’s geometric sans letterforms feature distinct rounded terminals, imparting the design with a friendly, approachable demeanor. With its design led by Gerry Barney, the VAG Rounded family remained in use for Volkswagen AG’s unified, worldwide automobile marketing for over a decade. The design was released for public use in 1989, and was bundled with many desktop publishing software titles available at the time. This opened the door for millions of computer users to work with the VAG Rounded type family. Available in four weights—from thin to black the VAG Rounded family is an apt choice for logo design, identity systems, or any application where a typographic warmth is desired. For contrast in voice, consider pairing the design with a more reserved serif typeface, or a sans serif with narrow styles, such as those found in the Alternate Gothic, Trade Gothic, or FF DIN type families.

It all started with a simple idea back in 1998: do a digital version of a "lost" 70's typeface, and make up the missing letters that were not present in the only available example Jeff Levine had to work with. Jeff wasn't yet doing his own digital font creation, so he hooked up with Brad Nelson who owns a small foundry called Brain Eaters Fonts. Together, they collaborated on "Action Is"- a freeware font named after the source of the type example. This was a title page for a commemorative photo album of images from the 60's TV music show "Where the Action Is", formerly hosted by Jeff's employer at the time, singer-writer-producer Steve Alaimo. The free font took off like a rocket, being released just at the peak of the 60’s/70’s retro craze in the late 1990’s, and it was EVERYWHERE! It showed up on TV shows, packaging and web design -- and was even spotted on signage used on the side of a major amusement resort’s retro-themed hotel. From that point on, Jeff kept getting requests for a version with a lower case. Although they shared the copyright in the freeware version, Brad Nelson gave Jeff his blessing to re-work and take Action Is into the realm of commercial type. Newly improved and re-released as Groovy Happening JNL, it became one of Jeff's better selling type designs. A simplified, yet similar font was issued called Groovy Summer JNL. Now, after about a decade, Jeff had decided to clean up the 3-D (drop shadow) version that was originally freeware with many minute design flaws and re-release it commercially. Groovy 3D Caps JNL is an all-caps, limited character set font which ties in well with the previous releases, yet retains itís 1960s-1970s era charm. The font flag art is courtesy of Barbara D. Berney and is used by permission.

CF Cozyscript is an even weighted connecting script. Created in the spirit of the Old Grade School cursive chart seen above the blackboard in the front of the classroom. Giving students a constant visual reference of the smooth flow of Caps and Lower case script. Neither formal nor casual but a combination of both styles. Cozyscript is currently available in 3 styles: Light, Medium & Rounded. The Light & Medium styles are best suited for Invitations, Notes, Advertising, Personal Letters, and Sensitive Subjects such as Movie Titles, Biographies, Wedding paraphernalia, etc. The Light & Medium Glyphs finish in squared-off ends, whereas the Rounded version is slightly bolder than the Medium version with rounded ends resembling a tubular look. The Rounded version lends itself to effective use in Sports, Music, and Advertising, Graphics, Signage, Branding, Neon effects, Logos, Titles, and Packaging. With over 300 glyphs applicable in over 100 languages, Cozyscript is available for use! Cozyscript is CozyFonts Foundry's 17th Font Family released and 2nd script font by Tom (Cozy) Nikosey, California Designer.

Waltowns is a dynamic and expressive typeface that captures the essence of street art with its bold and energetic design. The letters are characterized by organic shapes, reminiscent of marker strokes on urban surfaces. The font exudes a raw and brave vibe, reflecting the spirit of graffiti culture. The font includes a diverse set of characters, allowing for creative and eye-catching compositions. Whether you’re designing posters, album covers, or any other graphic project, Waltowns inject a sense of urban attitude and artistic edge. Its versatility makes it suitable for a wide range of applications, making your designs stand out in the crowd. Waltowns is not just a font; it’s a statement. It represents expression, the vibrancy of the streets, and the bold creativity that defines graffiti art. Use Waltowns to bring a touch of urban authenticity to your design projects and let your creativity run wild on the walls of the digital world. FONT FEATURES Additional Accents 68 Languages Kerning SOFTWARE RECOMMENDATION Adobe Photoshop CC 2020 or later Adobe Illustrator CC 2020 or later

Turn the page to the future and leave all the past behind. It’s a new age and you will move the cogs of the world forward! There is no need to worry or fear, the Claston Script will pave the way for you. With its clean script-type design and curved indentations, this font will take your projects to the next level! Move forward with elegance and bring your audiences to where your vision is: the future. It might take some time to get them there, but that’s okay! You have the perspective, the frame of mind, and most importantly the attitude to wrap it all together into a neat project! The Claston Script aims to bring out a modern and stylish view to what you make. It fits right in with your designs, whatever it is! It’s beautiful without trying too hard, it’s gorgeous without being apologetic, it’s brave in the face of uncertainty, these all represent you. Easily connect with your urban and forward thinking audience with this script and blow their minds!

The new Fabrizio™ types, designed by Ari Rafaeli, have made their first appearance in Saggi di Letteratura Italiana: Da Dante per Pirandello a Orazio Costa, by Lucilla Bonavita, printed at Pisa in March 2016 by Fabrizio Serra Editore for whom the type was specially designed. The types are now offered for general sale. Each style (roman, small capitals, italic, semi-bold, bold) contains Cyrillic and ‘polytonic’ Greek letters and letters for many European languages (Czech, Hungarian, Icelandic, Lettish, Polish, Romanian, Serbian, Ukrainian, Welsh etc.), non-kerning fs, long ſ, ligatures and fractions. Alternative forms are supplied in ‘B’ versions of each style. A set of swash letters and sets of superiors, inferiors, fractions and phonetic letters are also offered. Two ‘Special’ fonts (roman and italic) containing special accents, letters for transliteration, Vietnamese letters, mathematics signs and symbols, arrows, commercial signs, pictograms, figures in circles, scansion marks, braces & benzene rings and the Rafaeli-Meruba Hebrew letters, as well as Latin, Cyrillic and Greek letters, are included in the Fabrizio family.

Take Bauhaus Bugler, dip it in chocolate, and what do you get? Bauhaus Bugler Soft, of course! Or dip it in butter! You can achieve all sorts of yummy, appealing images with the softness of Bauhaus Bugler Soft, whether it be food, cosmetics, fabric softener, or any number of other fluffy things! Unlike its fellow Bugler fonts, Bauhaus Bugler Soft’s design never appeared in Harry Warren’s 6th grade class newsletter, The Broadwater Bugler, but its design came about during that same period in 1975. Because of this, it has been officially designated an honorary Bugler font! Its theme of broad curves that leap over and under conjure visions of fashion and high-end department stores with their dress boxes and shopping bags, plus hair products, cosmetics, couture, and other stylish personal merchandise of the highest caliber. Bauhaus Bugler Soft also has an art deco flavor, especially when all capitals are used. It comes with two alternate versions of the upper and lower Y to give users more freedom of choice. Put Bauhaus Bugler Soft in your “haus” today! Digitized by John Bomparte.

Arise is a humanist typeface designed for both text and display purposes. Its an understated type family with enough subtle nuances and personality to add distinction to your own typographic compositions. As can be seen in the /a/c/f/g/r/y/ glyphs, hooked terminals are a key feature of this typeface. These terminals are blade-like in appearance, defining a distinctive character that is unusual, yet balanced and refined. Practical features include 38 capital swash alternates for intial and final forms that can be particularly effective when used in titling and branding situations. Small caps are also included (along with matching diacritics) – these are designed to harmonise with regular lowercase forms so that you may easily achieve unicase-style typography. There are 18 fonts altogether, with 9 weights from ExtraLight to Ultra in both roman and italic. Arise has an extensive character set that covers all Latin European languages. Key features: 9 Weights Roman & Italic Small Caps 38 Alternates Old Style Figures European Language Support (Latin) 700+ Glyphs per font.

Rig Shaded is an award-winning 3D type family with a geometric sans serif at its heart. As its name suggests, Rig is designed as a framework to support a range of striking 3D effects. It has four versatile weights including a unique ‘zero’ weight. Each has two grades of distinctive halftone shading, Fine and Coarse, which emphasises Rig’s solid appearance. Rig developed from my quest to find ideal letter shapes for a shaded typeface while retaining their geometric principles and legibility. Each character has been designed to ensure maximum clarity and harmony when combined with 3D effects. The extrude and shaded styles have been handcrafted to produce a consistent weight and tone. Rig’s character set includes 230 glyphs, supporting 198 languages, including all Western, Central and South Eastern European languages. You can buy individual weight packs of Rig Shaded or the entire family for a discounted cost. See the full specimen for Rigs design features, additional examples and tips on using the typeface. Note: Rig’s shading styles have a high level of detail so may process more slowly in some applications.

Electro Wave Vol.2 Comes with updated neaterglyphs, more stable kering size, new punctuation & numbes. Electro Wave Vol.2 is a brave decorative display font that is suitable for branding, wedding invitations, greeting cards, posters, name card, quotes, blog header, logo, fashion, apparel, letter, stationery and other projects. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates. The Open Type features can be accessed by using Open Type programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. Electro Wave Vol.2 : Uppercase & Lowercase International Language & Symbols Support Punctuation & Number PUA Unicode. If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows). If you have any question, don't hesitate to contact me. Thanks for your visit.

Trump Soft Pro is the softer, round-cornered version of Trump Gothic Pro, the popular condensed gothic seen on films, magazines, book covers and frashion brands all over the globe. Trump Soft offers a friendlier grade of the same economic functionality, clear modular aesthetic and extended character sets as Trump Gothic. The sharper Trump Grothic series is a reconception of ideas from Georg Trump’s seminal 1955 Signum typeface and its later reworking (Kamene) by Czech designer Stanislav Marso. Originally cobbled together for a variety of film projects in the late 1990s and early 2000s, the Trump Gothic family was made available for the general public in 2005. Shortly thereafter, it became extremely popular. It continues to be used extensively today. In 2013, the typeface was redrawn, refitted, optimized and greatly expanded into a multiscript family of six fonts, each containing over 1020 glyphs and a wealth of OpenType features, including small caps, caps-to-small-caps, stylistic alternates, unicase/monocase alternates, fractions, ordinals, class-based kerning, and support for Latin, Cyrillic and Greek locales.

Gunsmoke is a revival of a James Conner's Sons font that's been listed under different names such as Extended Clarendon Shaded, Original Ornamented and Galena. Dating back to 1888 this font was available with an original lowercase, numbers and punctuation. Today we've expanded the set to include the original shaded version a regular black, open left, open right and a fill font for the two open faced versions. The single Gunsmoke fill font is in alignment with the Gunsmoke Open R version and will also work with Gunsmoke Open L by shifting your fill font layer to align with the Open L version. You will need an application that works in layers in order to use the fill font with the Gunsmoke Open L and R fonts. Make sure you check out the left and right pointing gun hands on the less than and greater than keys, the gun alone is on the left and right brace keys. Remember to check your gun in with the Marshal when entering Dodge City.

Wink has been created as the result of exhaustive research, trial and development. It is an OpenType set of fonts which appears in a friendly and fun way, with a new twist on what Joluvian has previously created. Full of personality, with a brave and strong creative line, it is intended to reflect authenticity when being used in all types of media and styles. The ornaments offered in this font work as a graphic resource that expand all the possibilities for Wink users.
 
Although Wink is inspired by traditional calligraphic flourishes, its modern twist makes it elegant and simple at the same time. It’s not  completely a brush type but it has been created with the same calligraphy base Joluvian usually works with. Wink also has a caps version with the same style of the script. Both versions could work perfectly, individually or together. As usual, the type has been developed with Ale Paul for Sudtipos, and the collaboration of Macus Romero has been essential to illustrate the style that Wink represents.

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.

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.

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.

The typeface family TV Nord is based on the corporate typeface NDR Sans which was developed by Elsner+Flake for the Norddeutsche Rundfunk (www.ndr.de) between 1999 and 2001. This new design came into being as part of a complete overhaul of the visual image of the NDR. This became necessary because the NDR, founded in 1954, incorporated the stations of the East German states Mecklenburg-Vorpommern (1992) and Brandenburg (1997) after the re-unification of Germany. The Hamburg advertising agency DMCGroup developed a new and unified image for the NDR which is in existence to this day. The typeface TV Nord relates to the design of the Trade Gothic and similar American sans serif typefaces of the early part of the last century. Its development concerns itself as much with good legibility for print, as it does for the reproduction on TV screens, which among others, is achieved through its high x-height. The logotype for the NDR as well was developed from the capitals of the NDR Sans. In 2014, the TV Nord was revised stylistically and expanded to incorporate all European-Latin languages. As part of this effort, further complementary cuts were added.

A highly legible typeface in 4 series Le Monde Journal by definition is intended for newspaper use & at small sizes. It’s an economical and workshorse typeface adapted to any extrem condition of uses. Even though it has the same colour as Times, it appears more open. The reading flow has been made more fluent & less abrupt. The glyphs counters are bigger, as if they were “alluminating the interior.” The form, characterized by its serifs, remains embedded in our visual memory. Intermediate weights like Book can be considered as a grade supplement of the Regular. Italics accompany Le Monde Journal. With a more delicate design & a distinctive rhythm, they remain noticeable when used with the romans. Its companion, Le Monde Sans can extend your typographic palette. For beautiful page layout, use it in conjunction with Le Monde Livre for titling sizes. The verticals metrics and proportions of Le Monde Journal are calibrated to match perfectly others Typofonderie families. This family was designed in 1994 as bespoke typeface family for the French newspaper Le Monde. The family is not used any more by this newspaper from November 2005. Bukva:raz 2001 Type Directors Club .44 1998 European Design Awards 1998

The major focus of my life and ministry at this point is book design. In the brave new world of 21st century self-publishing a new paradigm has arisen: the indie small shop. One of the problems is that all books are published as ebooks, and many books are published only as ebooks. There are two problems with this: character availability and licensing. The licensing problem is solved by including an ebook license with all of the Librum E fonts. The character availability is the core of the design. OpenType features do not work yet with ePUBs [though it is in the spec, if I understand correctly]. Kerning doesn't work, and so on. So these five fonts have only the 256-character [or less] ASCII set. A separate small caps is included. It has lining figures {proportional} and small caps instead of the graphics. The other four fonts have graphics to give bullet choices in lists, oldstyle figures {proportional}, and care given to character shapes so they will work better without kerning. For a great deal, see Librum Book Design Group , for a package containing all fifteen fonts!

Gabby is an authentic handwriting of a First Grader. I took all the papers from her backpack during her first grade year and scanned in various letters, cleaned them up, and turned them into a font. This font is how I captured memories of my daughter's handwriting. This font is perfect for projects requiring the handwriting of a child, such as kid-friendly t-shirts and school projects. Comic Sans can move over because Gabby is readable and authentic. Unlike many decorative fonts, Gabby works well in All Caps or Caps and Lower case. The license allows creative and commercial use, meaning you can use this font on t-shirts, marketing gear, and just about any project you want to do, whether you make money or not. The only stipulation I have is try not to be a jerk with the font. This is my daughter's handwriting, and we would both cringe if we discovered it was used to bully or threaten people. The license attempts to protect religious icons and the US Military, but overall, just don't be mean with the font. If you want to be mean, try Comic Sans.

Milton Glaser’s Kitchen Typeface from the mid 1970s exemplifies the bold 3-D art deco revival genre that was a trademark of the Glaser style. This typeface resulted from his involvement in the design of the The Big Kitchen in the World Trade Center’s concourse in New York City. The new P22 Glaser Kitchen takes on the technical challenge of overlapping 3-D shadows by offering two styles. P22 Glaser Kitchen Regular is spaced out so that the shadows do not overlap the white spaces of the neighboring letters. Whereas the P22 Glaser Kitchen 3D Fill and 3D Shadow can be used layered on top of one another to achieve the tight spacing intended by Glaser. P22 Glaser Kitchen was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Typographic punctuation and sorts were imagined by James Grieshaber to work with Glaser’s design, as well as diacritics to accommodate most European languages. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official fonts approved by Milton Glaser Studio and the Estate of Milton Glaser.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Making your brand visible, interesting and recognizable without having to get in the way of your customer’s experience is hard. It takes a lot of time, money and effort to make a clear brand. And maintaining it through all your customer touchpoints is even harder. Introducing, Marker Makers is a versatile marker font that takes inspiration from the boldness of graffiti and the playfulness of primary colors. It's a joy to use for any design project where you want your audience to pay attention, this is your go-to font and take your next project from good to WOW! Marker Makers comes with more than 400 glyphs, including punctuation, numbers and upper and lower-case letters you’ll have all the tools you need to create invigoratingly unique content. Whether it’s included on posters at trade shows or on the walls of any room in your office, no one will ever think it was boring! A Million Thanks Colllab Studio www.colllabstudio.com

The great value of something crafted thoroughly by hand has been observed for years by Guille Vizzari throughout a wide spectrum of clients and projects developed at «Yani & Guille» —the studio he runs cheek by jowl with Yani Arabena—, and they both noticed that recently it has been taking on a new meaning. From barbers at their shops, to a barista that passionately prepares coffee every morning, or a bartender that deeply enjoys diving towards unknown ingredients, and even Guille’s admiration for sign painters worldwide that keep spreading their passion for the perfectly constructed letter. This wide trades universe, where craftsmanship represents a huge difference, is where «Proprietor» lives, and it’s the reason why it exists. «Proprietor» was born in a Moleskine notebook —just pencil, paper and ink— as a tribute to those crafts, and to regain the art behind Type Design that involves the fusion between tools, materials and the action of the hand. Fed by these principles, every single glyph within the whole «Proprietor» Family has been fully designed and illustrated by hand by its author (including all the ornaments, frames and crafts icons that can be seen along this specimen), showcasing Vizzari’s solid formation in the drawing field. Proprietor can be described as a compact type family system illustrated by hand, intended and designed to be able to create solid —but beautifully ornamented— paragraphs, and elaborate compositions. For this purpose, Proprietor Roman and Open displays a notorious x-height which goes perfectly with plenty of ornaments that unfold along the ascenders and descenders, but always containing its swashes inside the text line. The icing on the cake, Proprietor Script, a copperplate-based font unbelievably flooded with ornamented capitals, flourishes and endings to break through the coarse feeling of the Proprietor non-script sets, with a huge load of delicate and warm letterforms. Proprietor Wide and Wide Open hand a complete font set to complement the family for composing extended words in uppercase, matching in style and adding a striking personality. And as being part of Sudtipos’ catalogue «Proprietor» comes packed with full Open Type support —thanks to Ale Paul, fearless to tame this hand–drawn beast, supported by his vast knowledge in programming and optimization—. 7 imperfectly elegant and completely handmade fonts join the «Proprietor» system, bringing life to designs that are meant to represent the spirit of the genuine and skilled craftsmen, showing respect for their trade, and at the same time being part of it.

Since its foundation in 1901, the iconic building in the Rotterdam neighborhood Kop van Zuid, is shining. Where previously the Holland America Line was housed, you will now find Hotel New York. A building with a tremendous history. We’re glad to take you back in time with captivating memories. In 1991, catering entrepreneurs Daan van der Have, Hans Loos and Dorine de Vos refurbished the at the time vacant property into a hotel/restaurant. To honor its 25 years existence, we celebrate this happening with a brand-new font, ‘America Line’. A tribute to Wim ten Broek, the multi-talented Dutch Graphic Designer. As early as the 1930’s before the Second World War, Wim ten Broek made the famous posters for the Holland-America Line. The influence of A.M. Cassandre here in, is clearly recognizable. Wim ten Broek also worked for HAL with large surfaces and fixed lines in which primary colors dominate, accentuated with shadows acquired by spraying technique. He also made graphic works for, among others, the World Exhibition in New York, the Dutch railway company ‘Werkspoor’ and the royal Dutch steel factory ‘Hoogovens’. His drawings and lettering gave me a love for the trade and naturally gave me a completely different view on fonts. That’s how I slowly but surely made my way to the trade. Based on the letters I had at my disposal from the Holland – America Line poster, I started to complete the alphabet in the same style as the original text. I digitized everything in order to acquire a usable and modern font. The Holland America Line Font comes with uppercase and lowercase with all the needs of modern times to create a good digital font and to be able to use it for all graphic purposes. The font is ideal for headtext, posters, logos, etc... Don't hesitate and use this unique historical font! It will give your work that glamour that you will find in few fonts. Enjoy the Holland America Line. The Holland America Line Font comes with uppercase, lowercase, numerals, punctuations so you can use the Holland America Line font to customize all your designs. The Holland America Line font is designed by Coert De Decker in 2018 and published by Kustomtype Font Foundry. The Holland America Line Font can be used for all graphic purposes. It is ideal for headtext, posters, logos,  logos, letterhead, apparel design, package design, label design etc... Don't hesitate any longer and enjoy this unique historical font! It will give your work the glamour that you will only find in a few fonts. Enjoy your journey with the Holland America Line!

Any prototype you can imagine, Skolar Sans can materialise. This industrious type family is more than just a versatile partner for our award-winning Skolar collection: it is a true sans-serif type system envisioned for the age of responsive design. We developed Skolar Sans to accommodate contemporary typographers and the challenges they confront: an ever-changing spectrum of outputs and devices, in which serious typography can get lost. Skolar Sans is engineered to cope with complex editorial texts and data-rich layouts alike. Its construction is designed for easy reading, and its subtle personal style and a touch of flourish. From gently thin to black, the finely-tuned weight variants will fit any composition from wide-screen dashboards to compact mobile editorial designs. Its four subtly graded width variants allow you to fit any page context with comfort. The 72 styles; 36 weight and width variants in uprights and true italics with ligatures, arrows, scientific figure variants, and fleurons. The two variable fonts (one for uprights and one for the italics) allow user precise navigation of the Skolar Sans design space and streamline delivery. The linguistic scope of Skolar Sans PE is an exact match to Skolar PE: Latin, Cyrillic, and Greek (including polytonic) scripts and support for hundreds of languages and transliterations.

Alizé is a three-weight typeface inspired by the chancery italic of the 16th century. It is a high-contrast face, created with syncopations in axes and proportions and subtle irregularities that form a lively and delicate weave, suitable for setting a single word, a special expression, or a short block of prose. The family does not contain a roman, and instead promotes the italic as a primary style, a common printing convention in the 16th and 17th centuries. The italic lowercase predates inclined capitals by about twenty years, and as a nod to this typographic evolution, Alizé’s capitals, small capitals, and figures are very slightly inclined to match the energy of the lowercase. The low x-height and long ascenders and descenders, features associated with finesse and luxury, are reminiscent of the Venetian-style italic, but are further emphasised. Unlike the Venetian italic, however, Alizé has a sharp slope, giving a prominent sweep across the page (alizé is the name of trade wind). Each font of Alizé has a character set count of exceeding 700, and contains an abundance of ligatures, dynamic fractions, ornaments, and pan-European language support. They have also been manually hinted for the highest-quality display on both print and screen.

Neacademia is a Latin and Cyrillic type family inspired by the types cut by 15th century punchcutter Francesco Griffo for Venetian printer Aldus Manutius. Beyond the letterforms themselves, however, the digital fonts themselves are based on the techniques and methods Griffo employed. The family comprises four distinct variants optimised for specific point sizes, as was traditional in metal type. While the display sizes maintain a visual link to calligraphic roots, text sizes exhibit more typographic qualities, following the hand of the carver. Likewise, Neacademia maintains its even colour on the page by carefully employing alternative letterforms, rather than leaning on a multitude of kerning pairs. A geeky little detail you’ll likely need to point out with a magnifying glass to your type friends, but creating a neat texture that works in readers favour nonetheless. Neacademia’s historically sensitive eye is put to work for modern typographers’ needs. It incorporates Griffo’s italic capitals and harmonizes them with the lowercase and the romans — where the original Aldine italics had no capitals of their own and simply re-used the uprights. It was designed with specific allowances for letterpress photopolymer printing. Printed digitally, it can tolerate – and even benefit from – low resolution, rough paper, and low-grade presswork. In many ways, it feels like using metal type again!

A typical Art Deco font. I have redesigned the uppercase “S” to mach the lowercase, tweaked a little here and there - and completely redesigned all the diacritics (which didn't really match the letter designs). Nick Curtis says: "The inspiration for this font came from a poster for an Austrian trade show from the 1920s, credited simply to Wasserman." ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Presenting the LAVOZA typeface from alitdesign. LAVOZA font is designed by combining a slant blackletter font with a classic serif font style. The Lavoza font is inspired by a classic roman design that we apply modern elements according to current trends. This bold classic concept will create a design that is frightening but still looks modern and elegant. The Lavoza font is perfect for the design of young people who dare to be different and unique from the current trending design concept. Lavoza font is highly recommended to be a collection of fonts for current or future design creation. LAVOZA is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with unique and modern and brave concepts. besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The "LAVOZA"contains 587 glyphs with many unique and interesting alternative options. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Aljaraz (meaning “small bell” in english) is a curvy typeface inspired on the “Fat face" letters with an extremely bold design from the early 19th century, but with an insolent touch of brave and psychedelic distortions. Aljaraz has a regular and italic variable, and in both styles the capital letters have a swash alternative where the naughty touch reaches its maximum expression. It is ideal to recall the lysergic era of the 60s, write funny words, or simply to express small texts in a display way that powerfully attracts attention. Let Aljaraz inspire you groovy kind of love! Designed by Carlos Campos cuchi@cuchiquetipo.com Secondary typeface: 'Escuela', also by Carlos Campos _ Aljaraz (“campanita”) es una tipografía curvy inspirada en las letras con un diseño extremadamente grueso y atrevido de principios del siglo XIX (las “Fat face”), pero con un toque insolente de valientes distorsiones psicodélicas. Aljaraz tiene una variable regular y cursiva, y en ambos estilos las mayúsculas tienen una alternativa súper decorada donde el toque travieso alcanza su máxima expresión. Es ideal para rememorar la época lisérgica de los años 60, escribir palabras graciosas, o simplemente expresar textos graciosos de una forma visual que llame poderosamente la atención. ¡Deja que Aljaraz te inspire su maravilloso amor!

Introducing the "Northnoh Metal Modern Typeface" – where the raw power of brutalism meets the modern edge of dead metal aesthetics. Unleash the untamed spirit of your designs with this bold and brave font that boasts a prickly character, exuding strength and attitude. Designed for those who dare to be different, this typeface is a true representation of fearless creativity. With 862 meticulously crafted glyphs, the "Northnoh Metal Modern Typeface" ensures a comprehensive arsenal for your typographic adventures. Explore a world of possibilities with included ligatures and alternatives, allowing you to customize and enhance your text with a touch of unique flair. The font's distinctive personality is perfect for projects that demand an unconventional and daring approach. Whether you're working on album covers, posters, branding, or any other design where a fierce statement is required, the "Northnoh Metal Modern Typeface" rises to the occasion. Embrace the rebellious spirit of dead metal while enjoying the ease of use and versatility this typeface offers. Its multilingual support broadens the horizons of your creativity, making it a global tool for expression. Unleash the brutal beauty of "Northnoh Metal Modern Typeface" and let your designs scream with individuality. Elevate your projects to new heights with a font that challenges the norm and breaks free from the conventional boundaries of typography.

The Black Puma typeface was inspired by the rock beats and the honest spirit of today's indie music scene. Just as evolving garage bands', Black Puma’s strength lies in its fresh and brave approach: to playfully experiment and proudly take its imperfections as long as they are needed to stay real and honest. Black Puma's aim is to entertain, while expressing a strong human touch through its handmade and creatively assembled characters. Black Puma's varying rounded and edgy shapes create a vibrating yet coherent visual, which carries a positive, playful atmosphere. Its irregularities and extra bold characters empower Black Puma to have great and touching visual impact, which make it stand out of the mass flow of information delivered in the information society we live today. Black Puma font - with its 370 glyphs - includes all the accented characters of the Latin alphabet, and also comes with a couple of alternate characters (stylistic and contextual) to play around with. And, above all - as mentioned before - it includes its essence: the young spirit. So come, play around and have fun with Black Puma. Use it to create expressive, passionate posters, flyers and art work full of spirit for the awaiting young-minded public. You can find more artwork using Black Puma under the "Gallery" tab above.

Many sport publications missed typefaces designed especially for sport communication conditions. We usually see only mechanically slanted or other synthetically destroyed standard typefaces. I want to fill in this space and create a system of fonts, that will be used primarily in sport. It is usable for many prints - logotypes, magazines, catalogues, posters etc. Elasticity of glyphs reflected an adrenalinous shapes of latest bikeframes, skies or sportcars. Maximum open arches guaranteed good readability in very small sizes and prevented interchanges of glyphs „o, c, e“ per poor reading conditions. Softness of lowercase is at uppercase balanced in bottom arches, that are subtly kicked-up. Numerals are an important component of sport communication, so this font offers expressive design, different from numerals of book typefaces. Every font has 9 kinds of numerals. Character case contains over 1000 glyphs, sport icons and othes signs creating the sport feeling. The font name, Akceler, represents acceleration, which is characteristic attribute of this typeface. It’s suitable for display and text usage, too. To see more please visit the PDF specimen. ■24 styles (2 alternatives, 3 grades of dynamics, 4 weights) ■over 1 000 glyphs per font ■9 kinds of numerals ■icons of sport equipment ■8 stylistic sets ■8 kinds of arrows ■23 OT features ■support of latin languages