The concept is “Geo-Soft”: characters are constructed from arcs of circle connected by orthogonal straight lines, with few diagonals and nary a sharp corner. The effect has an engaging tension, as soft edges are carefully balanced against rigorous structure. All four of the main weights, including italics, have exactly the same metrics. Beyond these basic styles, suitable for both text and headline, there are additional display fonts—Extra Bold and Black for density, and College, Rust, Rough and Medium Shadow for decorative detail. As options, minuscule-form “a” and “e” are provided at cap height for the classic unicase style, in all 14 fonts.

Bric Sans is squared, it was inspired by colleges typefaces. Capitals aren't contrasted, giving a raw aspect to this typeface. The variety of styles makes this sporty typeface ideal for editorial projects, posters, packaging, branding, etc… The default setting of the numerals is tabular, proportional figures are available through OpenType Features. Bric Sans consists in a 12 styles family, including 6 weights in Condensed from UltraThin to ExtraBold. Each font includes OpenType Features such as Proportional Figure, Tabular Figures, Numerators, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals, automatic arrows and Fractions. The fonts have an extended characters set to support Central, Eastern and Western European languages.

I've had an interest in typography ever since my college days, even submitting my NDD thesis on the subject. The basic concept for this typeface stems from that early creative period, hence the obvious 60’s retro feel. It’s only recently that I've have had the chance to carry through fully some of my dormant typographic ideas, but ‘better late than never’ as they say! The font’s characteristic style is based on repeating or rotating templates of a half and a quarter circle, the geometric, modular building blocks used here. The name was simply influenced by the letter ‘u’, which visually describes a stylized ‘tulip’ flower.

I digitized and revitalize Hostetler Fette Ultfraktur Ornamental from the classical type specimen book from Rudolf Hostetler. He was a Swiss type designer, author of “The Printer’s Terms” designed by Jan Tschichold, of “Technical Terms of the Printing Industry” (5th edition was printed in 1995), and of "Type: eine Auswahl guter Drucktypen; 80 Alphabete klassischer und moderner Schriften" (Teufen, Ausser-Rhoden: Niggli, 1958). He also wrote "Type: A Selection of Types" (1949, fgm books, R. Hostettler, E. Kopley, H. Strehler Publ., St. Gallen and London) in which he highlights type made by European houses such as Haas, Enschedé, Deberny and Nebiolo. Jost Hochuli wrote his biography.

Geller Sans typeface have been developed based on his serif predecessor’s proportions. He’s quite handsome, quite organised. Looking at thin–extraheavy styles he has enough of charm to stand out in advertisement. In text styles you can relay on him. He’s able to meet demand of complex design tasks. Geller Sans has been fitted with wide range of OpenType features. As Geller Serif, he has bullets & dingbats, for easier entry-point making. Entire font family comes in 4 width (Regular, Narrow, Condensed, Compressed). Each width finds its best application in different typographic fractions what makes Geller Sans easy to apply in editorial graphic design. Who’d like to challenge him?

There's something about the endless variations of handwriting, the tactile process of pen, pencil or brush to paper, and the personal and ephemeral quality as a whole. I recently came across some old handwritten letters from when my younger sister was going to college, and as soon as I saw them, a flood of memories came back to me. All just from seeing her handwriting. That's just one thing handwriting can do. I hope you find enjoyment in my sister's handwriting as much as I still do. This font is complete with alternates that will auto-typeset via the ligature feature to give a more handwritten feel.

This ornamental font is the interpretation of ornaments of Trypillya culture. Trypillya culture, or Cucuteni-Trypillya is an archaeological culture of neolithic times. Its name derives from the name of the village of Trypillya nearby Kyiv. This culture experienced its culmination between 5500 and 2750 BC. The Trypillians lived in the territories between the Carpathian Mountains and the Dniper River of the modern Ukraine, Moldova and Romania. Many interesting ceramics decorated with original geometric ornaments survived to amaze us. Its heritage is still a little unknown to the public and therefore the patterns that are reproduced in this font have no analogues in the digital format.

Western Americana is a unique collection of signatures of 72 famous American frontiersmen, gunslingers, Wild West personalities, outlaws, and Indians in a high-quality font. A must-have for autograph collectors, desktop publishers, lovers of history, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous Western celebrities. This font includes signatures from the following American West personalities: William Frederick Cody ("Buffalo Bill"), George Armstrong Custer, Meriwether Lewis, William Clark, Kit Carson, Joseph Brant, David Crockett, Wyatt Earp, Geronimo, James Bowie, Daniel Boone, Sam Houston, Calamity Jane, Sitting Bull, William H. Bonney ("Billy the Kid"), Cole Younger, Bob Younger, Jim Younger, Pat Floyd Garrett, James Butler "Wild Bill" Hickok, Squire Boone, Samuel Colt, Gordon William Lillie ("Pawnee Bill"), Annie Oakley, William Barret Travis, Allan Pinkerton, Jose de Galvez, George Rogers Clark, George Crook, John Charles Fremont, George Croghan, Simon Kenton, Maj. Frederick Benteen, James Wilkinson, Nelson Appleton Miles, Philip Kearny, Chief G.H.M. Johnson, William George Fargo, William Barclay "Bat" Masterson, King Philip, Frank James, Eleazer Williams, Henry Wells, Junipero Serra, John Sevier, John Ross, Joseph Virgo, Chief Joseph, Red Jacket, Manuel Lisa, Julian Dubuque, John Augustus Sutter, Manuel Lisa, Jesse James, Jesse James alias Thomas Howard, Manasseh Cutler, Robert Newton Ford, Emmett Dalton, Henry McCarty alias Greenville Mellen Dodge, Edward Zane Carroll Judson ("Ned Buntline"), Rain-in-the-Face, James Robertson, Zebulon Pike, Chief Two Guns White Calf, Pierre Chouteau Jr., Frank Butler, Isaac Shelby, Moses Austin, Moses Cleveland, Rufus Putnam, Pierre Chouteau Sr., Father Pierre Jean De Smet, and Auguste Chouteau. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map.

Morris Fuller Benton designed the serifed Clearface typeface for ATF in 1907. He liked the design so much that he also created a flare-serif variation, Clearface Gothic, soon after. It is a great typeface for headlines. SoftMaker created an updated version, Cleargothic Pro, in 2012. SoftMaker’s Cleargothic Pro typeface family contains OpenType layout tables for sophisticated typography. It also comes with a huge character set that covers not only Western European languages, but also includes Central European, Baltic, Croatian, Slovene, Romanian, and Turkish characters. Case-sensitive punctuation signs for all-caps titles are included as well as many fractions, an extensive set of ligatures, and separate sets of tabular and proportional digits.

Being a geometric sanserif ocr-t comes in eleven weights from ultrawhite to infrablack (brightwhite, white, silver, lightgrey, grey, darkgrey, anthracite, black, jetblack). With more than 600 glyphs it covers all your typographic needs and manages to stay at the same place no matter which width you’re using. Its readability and legibility is more than fine although it needs no kerning. The infrablack is really black, in order to achieve this, the form of letters change from darkgrey to anthracite from upright to some kind of upright italic. This also gives opportunity to mix two weights with same colour but different architecture. Find also stylistic sets, alternate letters, lots of bullets, different arrows, hands and well: kind of hearts.

Arial was designed for Monotype in 1982 by Robin Nicholas and Patricia Saunders. A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

This font was inspired by the paint brushed letters in use in the 60 - 70s for protest slogans tagged on the cities walls. In those days, we didn't commonly use aerosols like today, so we used paint brushes, with paint or tar cans, drew the letters, and ran away quickly ! Capitals and lower case have the same size, and a lot of alternates characters or ligatures allows the user to vary each letter (until tree alternates for single letters) in each word of a text . Likewise, the words may be easily underscored or intersected by a few stains looking like paint spots, substituted to the following standards characters: [greater], [less], [dagger], [backslash], [bullet], and [underscore].

Arial was designed for Monotype in 1982 by Robin Nicholas and Patricia Saunders. A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

Italian Old Style™ was designed by Frederic W. Goudy for the Lanston Monotype Company in the USA. Goudy was asked by Monotype to copy Cloister Oldstyle, a successful font that belonged to a competing foundry (it was designed by Morris Fuller Benton, see Cloister Open Face). Goudy refused on grounds of ethics, and instead talked Monotype into producing a new face. This he based freely on fifteenth century Venetian types, which were the same historical models used by Benton for Cloister and later by Bruce Rogers for Centaur. Goudy's result was Italian Old Style, released by Monotype in 1924, and considered by many to be one of Goudy's best fonts for book typography."

The grandeur of what was Miami Beach had its golden years peak in the 1940s. One of the grande dame hotels that stood at Collins Avenue and 23rd Street was the Roney Plaza; built in the 1920s and demolished around 1969. An online auction offered a pair of gummed labels provided by the hotel to be used by their guests for shipping souvenir packages back home, thus also giving the hotel a promotional plug. Jeff Levine not only created two typefaces from this hand-lettered label - Old Miami Beach JNL and Old Miami Beach Nights JNL (a solid black version), but painstakingly recreated the look of the label for the promotional flag and banner for the fonts.

Loncherita is a typeface created by Fabio Eduardo Godoy Angel and has 5 files: Fill, Fill Outline, Shadow 1, Shadow 2 and dingbats variables. Its purpose is to serve as a childish fantasy modular typography useful in logo design and merchandising. It is also recommended to compose expressive titles that need the option in which letters can be colored by layers. In that sense Loncherita is a typeface with logic italic vertical logical and its amount of contrast between thick and thin strokes is monoline, its antlers are mullets and rounded ends. It is also important to note that ii has 26 Dingbats designed to be point of attention and illustrate countless children and playful issues.

Las Palmas is a vintage type collection with print texture. • Brush - Two weights of a connected Brush Script with Contextual and Swash Alternates • Pen - A connected monoline Script with Contextual and Swash Alternates • Slab - Two weights of a chunky Slab Serif with rounded corners, Bold has the same proportions but fuller texture. • Condensed - A bold and tight condensed Sans Serif with rounded corners. Las Palmas fonts are designed to work together - in pairs or more. Las Palmas is great for branding, posters or any display use. If you need a clean version of Las Palmas try Steak And Cheese by Fenotype. All fonts are PUA encoded and have a wide language support.

Alternate Gothic was designed by Morris Fuller Benton for American Typefounders Company in 1903. All three weights of Alternate Gothic are bold and narrow. In fact, this face is essentially a condensed version of Benton’s other well-known sans serif types, Franklin Gothic and News Gothic. In the early twentieth century, the modern concept of type “families” had not yet been formed — and though Benton designed these sans serifs to harmonize with each other, the foundry gave them different names. Robust, dark, and coolly competent, Alternate Gothic is a good choice when strong typographic statements must fit into tight spaces. As a modern usage, it is currently the font of YouTube’s homepage logo.

Arial was designed for Monotype in 1982 by Robin Nicholas and Patricia Saunders. A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

Arial was designed for Monotype in 1982 by Robin Nicholas and Patricia Saunders. A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

Panorama KG is a black display font. The starting idea was to design letters that stand on the horizon. For that reason, the descenders are extremely short, and the elements of the letters lying on the base line are cutten, the horizontal strokes are lowered ... These characteristics should reduce the spacing and emphasize the compactness of densely composed titles and shorter text forms. Panorama KG was designed specifically for headlines, logotypes, branding, and similar applications... Due to the characteristics that are in function only in the bold version, it did not make sense to make more styles or family, but Panorama KG can be combined with many other serif and sans serif typefaces.

Clearface Gothic first appeared in 1910, designed by Morris Fuller Benton, the world-famously prolific typeface artist. In addition to Clearface Gothic, Benton also designed classics like Franklin Gothic, Century Expanded, and many other types. Clearface Gothic is a sans serif face with light forms displaying the Zeitgeist of the turn of the 20th century. Distinguishing characteristics are the open forms of the a" and "c," the arched "k," and the upward-tilting horizontal stroke of the "e." The relatively narrow typeface, with its open inner white spaces, is extremely legible even in small point sizes. There is no accompanying italic. This digital version of Clearface Gothic was made in 1984 by the Linotype Design Studio."

Candida roman was designed by Jakob Erbar and appeared after his death with the typeface foundry Ludwig & Mayer in Frankfurt am Main in 1936. Due to the original designer’s death, the italic was designed by Walter Höhnisch shortly thereafter. In 1945 the roman was reworked, the breadth of the figures was reduced and the strokes made heavier. The bold weight followed in 1951. Later the typeface was expanded with further weights, which have for the most part fallen out of use. Three weights can still be found in catalogues, available as early as 1937 for the Linotype machine. Candida is a modest text font which retains its legibility even in smaller point sizes.

The “Ultimate Script”? Not yet, but we’re working on it! Just think: Loads of ligatures, contextual variations and stylistic alternates, coupled with easy use…Just what you’ve been looking for all this time? Well, here it is with all of its typographic power. The perfect partner for you: Technically adept, but still good-looking! What more do you want? Die „Ultimative Schreibschrift“? Noch nicht, aber wir arbeiten dran! Man denke nur an: Mengen an Ligaturen, kontextbezogenen Varianten und stilistischen Alternativen, gekoppelt mit leichter Handhabung…Genau das, was Sie die ganze Zeit gesucht haben? Na denn, hier ist es in all seiner typographischen Mächtigkeit. Die perfekte Partnerin für Sie: Technisch versiert, aber auch gut aussehend! Was wollen Sie mehr?

Rotulo is a contrasted sans family which combines the Thick & Thin signpainter's style and some 70s feeling in a huge font family with 90 styles. A visit to an exhibition of Spanish movie posters by Jano was the beginning of Rótulo (Spanish for Sign) project. Classic thick & thin signpainter style was featured in many letterings of those posters, as it was a very common style in 60s and 70s Spanish design. Unfortunately, today very few Contrasted Sans are seen, something that was quite common years ago has fallen into disuse in favor of Helvetic monotony. Rótulo recapture all that personality, with an extense range of weights and widths to be used in striking headlines and short texts.

The hand lettered credits from the 1942 British film comedy “The Goose Steps Out” became the model for Goose Creek JNL, a simple sans serif design available in both regular and oblique versions. According to the Internet Movie Database (imdb), “A bumbling teacher turns out to be the double of a German general. He is flown into Germany to impersonate the general and cause chaos and hilarity in a Hitler Youth college.” The title is a parody of the “goosestep” style of marching by German soldiers during World War II. As a variant on the movie’s title, the font was named for Goose Creek, South Carolina – a charming community just northeast of historic Charleston.

Based on the handwriting and sketches of American experimental composer John Cage, this set was produced in conjunction with The Museum of Contemporary Art in Los Angeles and the John Cage Trust. This unique collection includes 52 graphic extras culled from the composer's notes and scores, as well as the "Cage Silence" font inspired by Cage's seminal work 4' 33".

Rashfield is a soft serif type family in 5 weights and italics. Inspired by classical Windsor mood in Woody Allen movie titles, with outward bent h, m, n and a lot of modern alternates. Softly character with a hint of retro feeling. Rashfield has a lots of stylistic alternates that makes it very playful in various uses like logos, prints, branding, web design, packaging and more. Use it to create short powerful phrases and headlines and also use it in longer text like paragraphs and block texts. Perfect for modern projects with a little retro mood feel.

In 1932, the great American type designer, Morris Fuller Benton was busy directing the creative departments of ATF and designing type. Big on his plate during that period was the development of the Bank Gothic® family among other typefaces like Raleigh Gothic. Bank Gothic and Raleigh Gothic share some very similar design traits. The most obvious difference being the ultra condensed style of Raleigh Gothic. Although the Bank Gothic family was released with a condensed, Raleigh Gothic could have originally been planned as an ultra condensed Bank Gothic but for reasons we can only speculate, the Ultra Condensed Bank became its own design. So, If you like Bank Gothic, you may also like Raleigh Gothic. Separated at birth? Fun to speculate.

Alternate Gothic Pro is one of the fonts of the SoftMaker font library. Designed by Morris Fuller Benton in 1903 as a complement to his Franklin Gothic type, Alternate Gothic was created to solve a common problem: fitting headlines in narrow columns. For that purpose, it comes with three similar styles of varying widths. SoftMaker’s Alternate Gothic Pro typeface family contains OpenType layout tables for sophisticated typography. It also comes with a huge character set that covers not only Western European languages, but also includes Central European, Baltic, Croatian, Slovene, Romanian, and Turkish characters. Case-sensitive punctuation signs for all-caps titles are included as well as many fractions, an extensive set of ligatures, and separate sets of tabular and proportional digits.

Introducing Masterson, the strong slab serif that inspired from cowboy and western style. Masterson has three styles : Regular, Spurs and College that you can combine as a unite in your design project. Masterson is all-caps font, the good choice for your logo, logotype, badges, store front, headline, sub headline, even body text because the shapes already set to keep the readability when it's use in small size. This font is recommended for western style, vintage, retro, pop art or minimalist. 300+ Glyphs included with 27 accents : Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Spanish, Swedish, Turkish, Zulu. Masterson has catchwords to give you more variants in your design.

Inspired by the elegance of Herman Zapf’s designs crossed with the readability of early 20th century Gothic fonts by Morris Fuller Benton, 19-PRA is a sans-serif with a visible stroke contrast and a humanist tone of voice. The large x-height seen in fonts like News Gothic and Palatino increases legibility and condensed proportions give excellent readability making it perfect for newspaper and magazine publishing. A typeface that can serve for both body text and titling the uppercase excels for headlines and renders beautiful brand names when tracked out. It sets well with both a serif or sans serif and has various open type features including: 12 standard ligatures, 3 discretionary ligatures, tabular figures, old stye figures as well as European accents.

Papercute Inline is a cute layered hand-drawn font designed by Fanny Coulez & Julien Saurin in Paris. Inspired by paper cutting, this font is easy to read, and easy to play with 8 different styles, including 3D, outline, full or dotted line, that you can use alone or together. To do so, you can simply superimpose them with a compatible software like Photoshop, then choose a color for each, making your works charming and unique. This font, finely designed for cards, book titles, headlines or any artworks is the Inline version of Papercute . Just click on our foundry name to see it! You could follow us on our Instagram: instagram.com/sc.type We hope you will enjoy our work. Merci beaucoup!

The source of inspiration for MFC Patisserie Monogram is a letter set from the book, "Letters and Lettering" by Paul Carlyle & Guy Oring, published in 1938. This elegant decorative style was shown as Capitals & Numerals only, but we've expanded it out to include Capitals, Smallcaps, Numerals, an Ampersand, and ornamental parenthesis, brackets, and braces. MFC Patisserie Monogram can create one, two, or three letter monograms as well as basic headline and titling settings. It is a refined look that is as darling as it is delicate. The numeral set and bullet dividers allow for more detailed and personalized monograms. If you want an even more customized look, you can add any of a handful of brackets, braces, or parenthesis to surround your monograms in a complimenting style.

Once upon a time, in the days BC (that's Before Computers) there lived a very talented group of men and women whose job it was to render ads by hand. So skillful were these people that some say it was possible to actually identify the typefaces that the layout artists were emulating. Their renderings were swift and slick, no time for detail as it was necessary to do a whole bunch of variations, usually within ridiculous deadlines. Their only tools: bullet-tip markers and bond paper - often mistakes resulted but no time to re-do and white paint was totally unacceptable - just let the slipups be. Here's a simulation of their craft, we don't really know what typeface this was supposed to represent… any ideas?

Naïve is a serif handwritten font designed by Fanny Coulez and Julien Saurin in Paris. Our goal was to draw a font with finely irregular lines that give a human and whimsical feeling. The three weights of this subtle Parisian hand-drawn font can be enhanced with two alternates fancy glyphs for each letter, the “Fantaisies”, to improve your designs and bring a more poetic and unusual feeling. We hope you will enjoy our work :) You could follow us on our Instagram: instagram.com/sc.type Merci beaucoup! Note: This font is part of our Naïve superfamily that contains lot of variations: Line, Inline, Serif, Sans Serif, and a special Art Deco one. Just click on our foundry name to see them all!

Introducing Lando - a handmade uppercase type family with a natural character. Lando comes in two styles with two weights each. Its characters have been drawn by hand to give them a warm and authentic look. Lando's appearance is enhanced by two contextual alternates for each Latin character and all numbers. In addition, all fonts contain several open type functions such as swashes and initials, a selection of ligatures and support of open type fractions. It is rounded up by many handy extras, such as shapes and icons, catch words, bullets and much more. Lando is intended to work best in logos, posters, magazine headlines and on packaging and apparel. But it also feels comfortable with short texts, due to its support of many latin languages.

Stripated is an informal funky font mainly for distinctive headlines and posters, or similar display work. There's still all the features you'd expect like Class Kerning and accented characters, ligatures for ffi, ffl and so on, and a few other extras. The four versions are set up as follows: Plain has all the letters and black stripes in the normal vertical alignment; Jumbled One has the lower case letters all jiggled about but the boxes still square and vertical; Jumbled Two has ALL letters, numbers, and virtually all punctuation jumbled up; and Wild has all that and the black boxes going slightly off square as well. There's 3 different Space characters and a few other character variations in Stylistic Alternates (fuller details in the zip).