Some 40 km north of Helsinki, surrounded by meadows and a serene Finnish lake, lies Ainola, the former home and now museum of composer Jean Sibelius (1865–1957). I know the place quite well, since it is only a stone’s throw away from the art school where I began my graphic design studies. We sometimes went there after classes—a beautiful walk, especially in spring, when the days were getting longer, the snow melting in the sun and the ice cracking on the lake. The composer often professed his love for this landscape and found constant inspiration in its moods, sounds and scents during different seasons. For many people, Sibelius and his music, most notably his famous symphonic poem Finlandia, are a symbol of Finland. I decided to name the typeface family I’m presenting here FinlandiaScript, because it owes its influence to both Sibelius’ manuscripts and the Finnish landscape around Ainola. The shape of letters, their poise and the rhythm they create resemble Sibelius’ handwriting without copying it. The letters form gently flowing lines of text which is legible without giving up individuality. The font family comes in three styles: FinlandiaScript, FinlandiaScript Bold and FinlandiaScript Frost. Together they are perfect for magazines, websites and brands aiming to create a personal and sincere image. While the fine details of FinlandiaScript Frost are best suitable for display sizes, FinlandiaScript and FinlandiaScript Bold work well in both headlines and texts of smaller sizes. Hundreds of ligatures give them an especially flexible appearance. The FinlandiaScript family contains Western, Central European and Extended Cyrillic character sets and supports almost 100 languages. It is best suited for Opentype savvy programs with the “standard ligatures” and “contextual alternates” features turned on.

Although appearing at first as a no-nonsense bold titling face, Gordon actually offers a much greater complexity through the addition of a wide range of special superscript ornaments. This adds an element of spice and depth to the face, creating a wide variation of creative typographic possibilities.

PRISMATIC SPIRALS PRO FONT! The Prismatic Spirals PRO is a Decorative Type-System and ‘Assembling Game’, itself. Settled in squared pieces modules or tiles, embedded by unprecedented Intertwined Prismatic Structures Design, or intricate interlaced bars that may seem quite “impossible” to shape. Although it originated from the ‘Penrose Square’, it may not look totally as an Impossible Figures Type of Optical Illusions. More an “improbable” Effect in its intertwined Design, that even static can seem like a source of Kinetical Sculptures, or drive eyes into a kind of hypnosis. Prismatic Spirals Pro has two related Typefaces both more basic or easier to use versions, the Default Family plus its “bold” braided version Prismatic Interlaces… PRO provides a more advanced, complex, and twisted Design, plus requires to be typed alternating caps. Instructions: Use the Map Font Reference PDF as a guide to learn the 'tiles' position on the keyboard, then easily type and compose puzzle designs with this font! All alphanumeric keys are intuitive or easy to induce, you may easily memorize it all! Plus, often also need to consult it! *Find the Prismatic Spirals Pro Font Map Reference PDF Here! (!) Is recommended Print it to have the Reference or open the PDF to also copy and paste, when consulting is required or when it may be difficult to access, depending on the keyboard script or language. The 2 glyphs sets are separated in colors for facilitating. Also use the Map Font with key captions or switch to it for ensure that the characters are alternating between both uppercase and lowercase letters as other Keys as numbers, marks, and punctuation along the strings, holding Shift one by one or actually two by two. As a Tiles Type-System, the line gap space value is 0, this means that tiles line gaps are invisibly grouted, so the user can compose designs, row by row, descending to each following row by clicking Enter, same as line break, while advances on assembling characters. Background History: The first sketches of my Prismatic Knots or Spirals Designs dates back then from 2010, while started developing hand-drawn Celtic Knots and Geometric Drawings in grid paper, while engage to Typography, Sacred Geometry and the “Impossible Figures” genre… I started doing modulation tests from 2013, until around 2018, I got to unravel it in square modules or tiles from the grid, then idealized it as fonts, along with other Type projects. This took 13 years to come out since the first sketches and 6 months in edition. During the production process some additional tiles or missing pieces were thought of and added to the basic set, which firstly had only the borders, corners, crossings, nets, Trivets connectors or T parts and ends, then added with nets and borders integrations. Usage Suggestions: This type-system enables the user to ornate and generate endless decorative patterns, borders, labyrinthine designs, Mosaics, motifs, etc. It can seem just like a puzzle, but a much greater tool instead for higher purposes as to compose Enigmas and use seriously. As like also to write Real Text by assembling the key characters or pieces, this way you can literarily reproduce any Pixel Design or font to its Prismatic Spirals correspondent form, as Kufic Arabic script and further languages and compose messages easily… This Typeface was made to be contemplated, applied, and manufactured on Infinite Decorative Designs as Pavements, Tapestry, Frames, Prints, Fabrics, Bookplates, Coloring Books, Cards, covers or architectonic frontispieces, storefronts, and Jewelry, for example. Usage Tips: Notice that the line-height must be fixed to 100% or 1,0. In some cases, as on Microsoft Word for example, the line-height default is set to 1,15. So you’ll need to change to 1,0 plus remove space after paragraph, in the same dropdown menu on Paragraph section. Considering Word files too, since the text used for mapping the Designs, won't make any literal orthographical sense, the user must select to ignore the Spellcheck underlined in red, by clicking over each misspelled error or in revision, so it can be better appreciated. Also unfolding environments as Adobe Software’s, the Designer will use the character menu to set body size and line gap to same value, as a calculator to fit a layout for example of 1,000 pts high with 9 tiles high, both body size and line gap will be 111.1111 pts. Further Tips: Whenever an architect picks this decorative system to design pavements floor or walls, a printed instruction version of the layout using the ‘map’ font may be helpful and required to the masons that will lay the tiles, to place the pieces and its directions in the right way. Regarding to export PNGs images in Software’s for layered Typesetting as Adobe Illustrator a final procedure may be required, once the designs are done and can be backup it, expanding and applying merge filter, will remove a few possible line glitches and be perfected. Technical Specifications: With 8 styles and 4 subfamilies with 2 complementary weights each (Regular and Bold) therefore, Original Contour, Filled, Decor, with reticle’s decorations and 2 Map fonts with key captions. *All fonts match perfectly when central pasted for layered typesetting. All fonts have 106 glyphs, in which 96 are different keys with 2 versions of each of both caps and shift keys, plus a few repeated for facilitating. It was settled this way in order for exchanging with its Prismatic relative fonts which has only 48 different keys repeated twice. Concerning tiles manufacturing and Printed Products as stickers or Stencils, any of its repeated pieces was measured and just rotated in different directions in each key, so when sided by other pieces in any direction will fit perfectly without mispatching errors. Copyright Disclaimer: The Font Software’s are protected by Copyright and its licenses grant the user the right to design, apply contours, plus print and manufacture in flat 2D planes only. In case of the advent of the same structures and set of pieces built in 3D Solid form, Font licenses will not be valid or authorized for casting it. © 2023 André T. A. Corrêa “Dr. Andréground” & MMC-TypEngine.

The Stomp Family is a set of three different fonts, Swirl, Flowers and Circles which are designed to be used with Stomp Black to create dual colored type for bright and exciting images. Metrics and Kerning information for the four faces are identical so that they overlay perfectly. Stomp Black is also very usable on its own for bold, high impact type.

Clean and clear are the buzzwords for Invulnerable BB. A comic book font with no fuss. The opentype version includes contextual alternates to create multiple versions of letters, numbers and punctuation, as you type. Errant serif-I correction (in comics, only personal pronouns have the serf-I), also, type up to six consecutive, identical letters, and get a bouncy baseline.

Phoebus is one of Adrian Frutigers first typefaces which he made for the Deberny & Peignot foundry in Paris. The intention was to create a shadowed type with extra ordinary impression.

British type designer Malcolm Garrett created this display FontFont in 1995. The font is ideally suited for film and tv and editorial and publishing. It comes with tabular lining figures.

In contrast to the traditional process, Zubizarreta was created with the technique of emptying ink out to shape the letterforms. Oddly enough, the result is a type reminiscent of Basque.

Atlantide Regular and Decor - decorative fonts, works well as an identity logo type, poster and 3D works. Atlantide Decor has all the glyphs already to create vector and 3D compositions.

Habanero is a hot, bold and happy typeface.  The font was created by Måns Grebäck in 2016, and it contains contextual alternates and ligatures to make your type stand out.

Crunk was inspired by the creator's (at the time) teenaged hoodlum of a brother. The font Crunk is great for headlines and text and has served its creator well over the years since it was made.

Ribbon type. Holy grail of complex-lettering-turned typeface or an elusive Loch Ness monster that is often teased, possibly seen in the wild, but never confirmed? From the amazing lettering artist and author Martina Flor and masterful type designer Neil Summerour, comes the aptly named Ribbons. Ribbons is a sincere and well-conceived approach to providing a reliable solution to ribbon and ribbon-styled type for creative professionals when a lettering artist just isn’t available. Ribbons provides both flat and ‘folded’ options with the Regular and Fold styles, but then raises the bar with separate layer styles that will allow you to easily create the elegant back and forth movements produced with ribbon-style lettering we have all come to appreciate. These layer options are provided in both ‘smooth’ and ‘pleated’ connected styles. Flor and Summerour didn’t stop there. Each typeface was expanded with a number of stylistic alternates, additional swashed and flourished letters, ligatures, and even more in order to provide as many decorative options as possible to the creative. To round out the nine fonts available in the typeface and to ‘put a bow on it’, they’ve added a separate Shadow style and two different color fonts (available exclusively with family purchases).

Dutch type designer Just van Rossum created this blackletter FontFont in 1991. The family contains 2 weights: Bold and Condensed and is ideally suited for advertising and packaging, festive occasions, editorial and publishing, logo, branding and creative industries as well as poster and billboards. FF Brokenscript provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, and stylistic alternates. It comes with proportional oldstyle figures. This FontFont is a member of the FF Brokenscript super family, which also includes FF Brokenscript Rough.

British type designer Neville Brody created this display FontFont in 1991. The family contains 3 weights: Light, Medium, and Bold and is ideally suited for advertising and packaging, festive occasions, editorial and publishing, logo, branding and creative industries as well as poster and billboards. FF Blur provides advanced typographical support with features such as ligatures, alternate characters, and case-sensitive forms. It comes with tabular lining and proportional lining figures. In 2011, FF Blur was added to the MoMA Architecture and Design Collection in New York.

German type designer Verena Gerlach created this sans FontFont in 2008. The family has 8 weights, ranging from Regular to Black (including italics) and is ideally suited for festive occasions, editorial and publishing, logo, branding and creative industries as well as sports. FF Chambers Sans provides advanced typographical support with features such as swashes, ligatures, small capitals, alternate characters, case-sensitive forms, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

French type designer Xavier Dupré created this sans FontFont in 2005. The family has 11 weights, ranging from Light to Black (including italics) and is ideally suited for advertising and packaging, editorial and publishing as well as logo, branding and creative industries. FF Megano provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

Dutch type designer Evert Bloemsma created this sans FontFont in 1993. The family has 8 weights, ranging from Light to Black (including italics) and is ideally suited for editorial and publishing, logo, branding and creative industries as well as small text. FF Balance provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

Austrian type designer Viktor Solt-Bittner created this script FontFont in 2002. The font is ideally suited for advertising and packaging, festive occasions, film and tv as well as logo, branding and creative industries. FF Danubia Script provides advanced typographical support with features such as ligatures and alternate characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Danubia super family, which also includes FF Danubia."

Reaktif type family has been created with a new and modern approach to the popular geometric sans serif type. It has a very legible, multifunctional, contemporary and dynamic design. Sharp-angle details in minuscule letters “a, b, d, f, g, m, n, p, q, r, t, u” boosts its' characteristics in the Reaktif font family. Reaktif type family contains 24 fonts and 550+ glyphs. Stylistic alternatives come with 30+ ligatures and many opentype features. It can meet your needs in many medium such as Reaktif branding, editorial, web and printing.

PARMA is a type-writer style face with the form and elegance of a Bodoni. Functional beauty was the aim of mating the two disparate ideas in one type, creating a utilitarian face with graceful features. We�re even converting the keys on our beloved old Olivetti portable to type in Parma Typowriter. And then we�re going to get a Lambretta scooter to go zipping around in and maybe one of those front opening Fiat cars for drives in the countryside. Hey, waiter! Where�s my order of Giambotti? And more Sangiovese for everyone!

Proudly present Maxmillion - 80's brush type, created by ikiiko. A expressive handwriting type with a modern and wild shape used 80's vibes. This type is very suitable for making a posters, t-shirt design, neon sign, party flyer, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Complete Alternates & Swashes Multilingual Support Get also a good offer & FREEBIE at our site : www.ikiiko.com Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Santis is a multiface type, special for logos, brands, magazines and editorial world. Especially for setting trends in fashion and design. The particularity of this font is that you can easily read it, even when applying swash type letters. It is a Didot based font. Santis versatility can harmoniously display a word or phrase. Santis has 1017 glyphs with alternate characters, numbers and ligatures ornaments specially created for a better design. For best results use with Open Type. Designed by Enrique Hernandez with technical support of Daniel Hernández.

Introducing Fielke - Decorative Type, created by ikiiko. Fielke is elegant type with a beautiful decorative shape. This type is crafted with the touch of craftmanship. Fielke also clean have a ton of stylistic alternatives to choose. This typeface is perfect for an elegant logo, interior magazine, beauty product, packaging product, quotes, or simply as a stylish text overlay to any background image. What's included? 2 Weight : Regular & Italic Number & Punctuation Alternates Multilingual Support Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Crossten is a rounded sans serif type family based on geometric forms. It comes in 20 styles, 10 uprights and matching italics. Each weight includes extended language support and many opentype features. Crossten is incredibly useful for nearly any creative design.

Sébastien Truchet designed a modular typographic system during his last year in the School of Fine Arts of Besançon. The system is made of a unique grid and 6 modules which are the components to build several typefaces. The most radical is the "2-2". The last one is the "10-12". This is the 4-4. It is built into a square grid. Four modules in width and in height. This font proposes to you two appearances : the caps are blackest and the small letters are more open.

About family “SaetaPro” Wind games… The name is taken from an old paper toy made by someone who makes paper planes with teasing messages. But there are also songs with a strong feeling in flamenco style. It is also a way of expression in order to give way to emotion and interpersonal communication. They are wind games that people have been playing for a long time ago!!! This series is composed and includes twelve fonts with 632 glyphs each, with true italics, true Sloping and supports of course: Latin, Greek & Cyrillic.

Oceanshore is a modern display sans typeface with stencil characteristics and based on geometric shapes. That when combined gives the font a retro-futuristic look and makes it ideal for big and catchy editorial headlines. The family includes 6 styles, from Thin to Bold, each of them in a wide variety of alternates and ligatures that provides the users with a number of choices when composing. Each font comprises more than 550 characters and supports over 200 Latin languages. Seashore is well-suited for headlines, short text, posters, flyers and so on.

Inspired by a small fragment of sign-written lettering, discovered by accident, Snag is a robust mono-line font with small, pointed tips on its terminations. These embryo serifs are inspired by the legacy of a sign-writers brush, and add an overall texture and character to this, otherwise minimalist, style of lettering. Snag has a warm and traditional feel with a modern clarity. A strong component for a multitude of graphic design functions, including packaging, shop fronts, bar signs, advertising and clothing. Snag features a large glyph set, suitable for Latin-based languages worldwide.

Daniel Berkeley Updike seems to have stimulated the architect Bertram G. Goodhue to design the prototype in 1896 for Ingalls Kimball at the Cheltenham Press. Six years later Morris Fuller Benton at ATF developed it into the design and then the series that we know today. “Owing to certain eccentricities of form,” writes Updike, “it cannot be read comfortably for any length of time.” But he concludes: “It is, however, an exceedingly handsome letter for ephemeral printing.” Mergenthaler bought composing machine rights to the original design c. 1896, but bought the Benton design in 1904.

Ljubljana was inspired by art deco lettering seen in Slovenia, Croatia and Romania. It includes the Latin, Greek, and Cyrillic alphabets. It is named after the capital of Slovenia. Ljubljana is unicase, composed of as few basic glyphs as possible. The basic glyphs are shown in black, and the derived or duplicated glyphs in grey. Ljubljana attempts to encapsulate the essence of both upper and lower case designs in a single glyph. It also explores the common origins of the Greek, Latin, and Cyrillic alphabets, using the same glyph in more than one alphabet.

LOGX-30 is a geometric, all-caps, display typeface. As a brother of LOGX-10 and LOGX-20 , this is the most narrow version in a series of three related typefaces. LOGX-30 is designed, like other LOGX versions, for a wide range of graphic designs and visual identifications. I think that it works best in works with a technical, geometric style, and rather striving for minimalism. Both the normal and the italic version can be used together to compose graphics, photos, large and small text in an interesting way.

Insigne Fleurons offers a wide range of diverse text ornaments to enhance your designs. These 52 ornaments can be used as components of a logo, background patterns or elements, border patterns or to add flourishes and refinement to your designs. Insigne Fleurons can be resized and rotated easily without any loss of quality and can easily be converted to outlines and modified. Combine them to form unique compositions or insert them into text to draw attention. Please see the sample .pdf to see all 52 ornaments in action.

A 1942 photograph showing the exterior of the famous Hollywood restaurant Sardi’s and it’s unusually lettered sign was the inspiration for Fine Food JNL. Classically Art Deco, the Sardi’s sign had an ‘S’ looking like an inverted ‘J’ with a flat tail, a traditional ‘A’ replaced by a triangle and the ‘R’ composed of a ‘D’ with a diagonal extension. These elements were balanced against more traditional [but complementary] characters to retain the novel charm of the original signage. Fine Food JNL is available in both regular and oblique versions.

A Tompouce (also know as Tompoes) is a typical Dutch pastry. It consists of a thick layer of pastry cream, sandwiched between two layers of puff pastry. It usually comes with pink icing, except on the king’s birthday, when the icing is orange. Tompouce is also a very nice connected script, with a lot of curly letters, some double letter ligatures and all the diacritics you can throw a pastry at. If it is an elegant, yet fun connected script you’re looking for, well… Tompouce may just be what you need!