Monolith Pro is a futuristic heavy display that steals the show. This typeface is inspired by the popular Kubrick’s movie 2001: a space odyssey, from which the iconic monolith scene. The glyphs, in fact, have been designed to fill the rectangular shape, with the addition of minimal inlays to differentiate them consistently. While the uppercase is perfect for impactful headings and titles, the lowercase completes the main headline masterfully - but can also stand out alone due to its own distinguishable personality. The family includes 4 styles: regular, italic, outline and outline italic, to give more dynamism and sense of lightness when needed, in contrast with the heavy weight. Multilingual support is available.

dT Jakob started as a revival by Gustavo Soares for Paul van der Laan’s class at the Type and Media Masters, in The Hague, NL – back in 2007. There are quite a few excellent geometric sans typefaces available, but we did want to make our contribution and have a fine geometric face to offer. dT Jakob was born out of Erbar, by Jakob Erbar, one of the very first geometric sans, released in metal around 1926. Our goal was to make a versatile typeface, that handles display and text typography beautifully. To achieve that we designed a complete range of weights, matching italics and lots of OpenType Features. Hope you enjoy it :D

Splendor was originally produced and released in 1930 by Schriftgu� AG, Dresden. The typeface was designed by Berlin designer Wilhelm Berg. Ralph M. Unger, who in the last few years has created a whole series of revivals and redesigns from the hot metal era, ?retrieved? this jewel of a typeface design, redesigning, complementing and digitally remastering it for profonts. Splendor is a broad nip, non-connecting handwriting script of timeless elegance, charm and beauty. It needs tight setting with plenty of space around it. The font contains a number of alternate characters: Two uppercase As, Ss (with descender); in addition, two uppercase Ms, Ns and Zs as well as two lowercase zs.

Straits is an oddball fun ALL-CAPS font, a modern take / re-imagining of some old Art Deco signage and a sister to my other font Penang. The font is available in 2 weights for now, a light and a medium. In general I think ALL-CAPS steal 26 characters from you, so each letter in each case is a little different, however subtly. This being an ALL-CAPS font I imagine it will work best in Headlines and other bold statements, but buy it and find out. The font is loaded with plenty of extras and glyphs. This was designed to be fun, so I hope you can have some with it.

Annonce is a digitization and expansion of a 1912 Johannes Wagner Foundry classic called Aurora Grotesk, which also circulated later on in metal under the name Annonce. Bold, extended and clear as a bell, Annonce stood out as the definite big sign font long before the Helveticas of the world. With angled cuts on some of the letters, it also shows humanistic traits that make it more appealing than any other face in its genre. The Annonce set comes in two fonts, a regular and an italic, and includes a very large character set that accommodates almost all Latin-based languages, including Turkish, Baltic, Celtic, Maltese, Esperanto, and the languages of Central and Eastern Europe.

Omerta Blackletter Font Blackletter fonts have letters that are very bold and ornate. It is a Western calligraphy style that was used in Europe from 1100s to the 1600s. Blackletter is also known as Old English or Gothic script. During the 20th century, blackletter type styles were adopted by new audiences and came to be associated with punk, street art, and heavy metal. Omerta Blackletter Font Specifically developed to be suitable for perfect for tattoos clothing, labels and packaging, branding, or any Gothic-themed projects. Omerta Blackletter Font are great for Classic Calligraphic type projects and convey a sense of what’s to come. This font can be used with all software that can read standard fonts.

When I created Face Your Fears some years ago, it was an instant hit. I have seen it on Gangsta Rap albums, metal albums, books and on movie posters. It has been used for T-shirts, websites and, believe it or not, for a beer label as well. I have always toyed with the idea of redoing the original font, as some of the glyphs were a bit off. Face Your Fears II is similar in nature to the original font, but comes with a lot of improvements, has slightly altered glyphs and (probably) better kerning. But maybe, just maybe, it isn't your cup o' tea. In that case, you can always just go for the original!

Cloister Open Face was designed in 1929 by Morris Fuller Benton as one weight of the Cloister Old Style family. Cloister itself appeared from 1897 with American Type Founders, and later for the typesetting machines of the Linotype, Intertype and Monotype companies. At that time, it was the truest modern industrial revival of the Jensonian Roman. Benton stayed close to the style of his model in both design and spacing. Cloister Open Face has an old-world elegance, and it works well for titling in books and magazines. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e.""

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. Carol Twombly designed this Caslon revival for Adobe in 1990, after studying Caslon's own specimen sheets from the mid-eighteenth century. This elegant version is quite true to the source, and has been optimized for the demands of digital design and printing. Adobe Caslon? makes an excellent text font and includes just about everything needed by the discriminating typographer: small caps, Old style Figures, swash letters, alternates, ligatures, expert characters, central European characters, and a plethora of period ornaments.

Introducing by Teenage Foundry! Teenage Mugly is a Layered Halloween Typeface Font This font is thoughtfully designed with layers, allowing you to create charming and eye-catching Halloween-themed typography. layers add depth and dimension, giving your text a very beautiful look. With its spooky and unique letterforms, this font evokes the spirit of Halloween, perfectly capturing the essence of witches, ghosts, and all things supernatural. Whether you're designing a party poster, invitation, or spooky social media graphic, this layered Halloween typeface is a must-have for adding enchanting charm to your designs. Multilingual contained: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Zulu. For any questions please contact me 🙂 Thanks!

Introducing Ateknov, a retro condensed font that embodies classic elegance. This font is perfect for designers looking for a touch of nostalgia in their work. Ateknov features a clean and polished design with sharp edges and a condensed appearance that makes it a great choice for headlines, logos, and branding. Ateknov comes equipped with alternate characters and ligatures, each with a unique and beautiful design that adds depth and character to your projects. The font also supports multilingual characters, making it accessible to a global audience. Whether you’re creating a vintage-inspired design or a modern twist on a classic aesthetic, Ateknov is a versatile font that will elevate your work to the next level. Download it today and start exploring the possibilities. What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Yorklyn Stencil includes three fonts, each optimized for use at different size ranges. Grande has greater contrast and more delicate breaks designed to be used at larger sizes where finer details are more conspicuous. Medium and Petite are intended for smaller sizes where the breaks and contours must be more resilient. We embedded several OpenType layout features, including traditional fractions and nut fractions. We extensively tested Yorklyn Stencil in what might be the broadest range of media and conditions in the annals of Northwestern Delaware typefounding history. From the ceramic kilns of Heath Ceramics to our studio’s stucco facade, Yorklyn Stencil’s robust curves and deceptively delicate breaks will withstand a wide variety of harsh conditions with unprecedented aplomb. Whether you’re hand cutting a stencil to buzz your bespoke restaurant bar stools or simply looking for a practical yet illustrative display font, Yorklyn Stencil’s elegant efficacy will enhance any creative composition. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Cut as a private version for the Nonesuch Press in the early 1930s, Monotype Bulmer was first released for general use in 1939. Based on types, cut by William Martin circa 1790, used by the Printer, William Bulmer, in a number of prestigious works, including Boydell's Shakespeare. Martins types combined beauty with functionality. Narrower and with a taller appearance than Baskerville, it anticipated the modern face of Bodoni but retained vital qualities from the old face style. This new digital version of the Bulmer font family was drawn by Monotype following extensive research into the previous hot metal versions and a study of Bulmer's printed works. Additional weights have been designed together with a wide range of Expert and alternative characters.

I have always had a keen interest in forging; I used to be a silversmith, and I love working with metal. Some time ago I forged my first axe (a skeggøx or bearded axe), sharpened it and fitted it with a handmade ash handle. It isn’t perfect, but it is my first ever forged axe and I’m pretty proud of it. All of this went through my head when I started drawing the glyphs for this font. And to be honest, I couldn’t find a more suitable name for it! Bladesmith is a handmade font, forged in fire (haha). It was actually made with an old sharpie. It is a rough and ready font, quite suited for headlines, book covers and posters.

Longshanks is a condensed serif display font with a low waist, blade-like strokes, and other unusual detailing. This font features a medium-low x-height and works very well at larger display sizes. It's an excellent choice for any headline, banner, or title that would benefit from an old-world, historical, fantasy, magic, or sword & sorcery vibe. It also harks back to the metallic foil stamped type treatments from 1980s – 1990s romance novel book cover design. The offbeat features are subtle enough to leave this font with a very high degree of legibility in spite of its strong and dynamic treatment of certain serifs and finials. The namesake for this typeface is King Edward I of England, whose nickname was Edward the Longshanks.

Bold mutant typography. Retro-futuristic. Sixties meets 1990’s comic book inspired, superfast for your superhero? The pencil tissue was dragged out from the very back of the file cabinet, stuck in the metal rail, it was lost then found- to bring a unique look to your project. A companion font to astroluxtype’s Spacepod, both fine ways to mark and identify your spacecraft. Note the lowercase letterforms that make connectors such as g, j, y, b, d and g. See the posters at myfonts.com for examples of how to you might use this feature. Redrail Superfast is a minimal glyph set which can be used at various sizes, we consider it a headline/display font and best applied larger than 36 points in size.

The above-the-store signage for many newspaper stands, soda shops, candy stores, luncheonettes and pharmacies of the 1950s and early 1960s were what was referred to as “privilege signs” provided by one of the major cola brands. Consisting of the brand’s emblems on the left and right, the remainder of the sign would carry the desired message of the storekeeper (such as “Candy – Soda – Newspapers”) in prismatic, embossed metal letters. Inspired by these vintage signs, Privilege Sign JNL recreates the condensed sans serif lettering style in both regular and oblique versions. The typefaces are solid black, but adding a selected color and a prismatic effect from your favorite graphics program can reproduce the look and feel of those old businesses.

The Narsinh Series (from the 1940 Gujarati Type Foundry of Bombay, India) is a modular metal font comprised of 32 basic shape pieces which would be assembled into any configuration to form various letters and numbers. Examples of the alphabet and numerals were set in an Art Deco, condensed sans serif and were the basis for this type revival. Strongly resembling a stencil design, the typeface was named after the revered 15th-century poet-saint of Gujarat, India Narsinh Mehta, and the foundry itself gets its name from the language and script of Gujarati [spoken by the Indo-Aryan residents of the Indian state of Gujarat]. Divided Highway JNL is the digital version of this design, and is available in both regular and oblique versions.

Takox is a display typeface based on a synthesis of righteousness extreme, futuristic spirit leads us to a way of plotting the words in a new way and in line with trends and technology synthesis century. Extreme music. Takox is provided with style forms to small caps, in both Regular and Italic. What was the inspiration for designing the font? Takox is the result of my own research in finding straight shapes of great simplicity. What are its main characteristics and features? Display font witn straight shapes of great simplicity. Usage recommendations: This letter design is ideal for use 3D extrusions, ideal to represent natural forms of cristals, metal or mechanical things. Fits indiustriales representations and aerospace, also for extreme music and avant garde.

FF Bauer Grotesk is a revival of the metal type Friedrich Bauer Grotesk, released between 1933 and 1934 by the foundry Trennert & Sohn in Hamburg Altona, Germany. The geometric construction of the typeface, infused with the art déco zeitgeist of that era, is closely related to such famous German designs as Futura, Erbar, Kabel and Super Grotesk that debuted a few years earlier. However, Bauer Grotesk stands out for not being so dogmatic with the geometry, lending the design a warmer, more homogenous feeling. The oval “O” is a good example of that, as well as characteristic shapes like the capital M or the unconventionally differing endings of “c” and “s” which make for a less constructed look. Watch the FF Bauer Grotesk introduction video on Vimeo

Well, if you found this page via Google and what you're looking for is NOT a Slam Bang display and logo font (made famous by the logo of our sister company's flagship comic book title, HIP FLASK), but in fact a small metal bottle suitable for brandy, whiskey or the spirit of your choice, then we deeply apologize. If you've read this far, then we'd like to point you to eBay where you'll find a wide selection of the items you're looking for. While you're there you might also like to consider how difficult it is for HIP FLASK fans to find back issues of our comic amongst all those pewter and stainless steel christmas gifts for your golfing friends and fellow alcoholics.

After inventing a new metal typecasting procedure that allowed for the production of more detailed typefaces, the famous German typefoundry D. Stempel AG developed Kuenstler Script in 1902 - 1903. Originally called Kunstlerschreibschrift (artistic handwriting), this design was based on English copperplate script styles from the late 1800s. In 1957, Hans Bohn added the heavy Kuenstler Script Black weight to the family. Like intricate handwriting put to paper with a feather and an inkwell, Kuenstler Script makes almost any text look distinguished and elegant. Kuenstler Script is a joining script; and because of its fine hairlines and small x-height, it is best used at sizes above 12 pt. The typeface works well in advertising work and on invitations, greetings cards, business cards, and certificates.

Grange Rough is an inky, distressed version of Grange that mimics the effects of vintage hot-metal type on rougher paper. Grange is the Device interpretation of the classic “Grot” thick/thin sans style. Unlike the traditional models on which it is based, Grange takes a rational, consistent approach across wide range of weights and widths for contemporary use. The font includes alternative curved and straighter versions of key characters, most obviously the lower-case ‘g' and capital ‘R', allowing the font to take on either a sharper or warmer, more playful appearance. These can be toggled on or off using the ‘Alts' feature in Illustrator, or ‘Stylistc Sets’ in Indesign. Contains proportional, lining and tabular numerals. Perfect for both headline and text.

The German poet, painter, calligrapher and type designer Emil Rudolf Weiß originally created this eponymous typeface for the Bauer Foundry of Frankfurt. Long known and loved by metal type enthusiasts under the name "Weiss Antiqua," this design was inspired by typefaces from the Italian Renaissance while still distinctly reflecting the artistic and poetic personality of its twentieth-century designer. Weiss has tall ascenders, sharp apex points, and a low-slung midsection on the caps. The italic moves like a classical ballerina. Weiss is one of the earliest contemporary serif types to have italics based on the chancery style of writing. The Weiss family works well for warmly legible text typography; and it's also an original choice for refined headline and display graphics."

Lucifer Sans is a modern sans serif font rooted in Scandinavian geometry and minimalism, mixed with a healthy dose of black metal and irreverent attitude. Harsh vertical cuts and angles throughout the font creates a very strict and hard look, that can either be amplified or loosened up through its stylistic sets. Lucifer Sans family contains 162 font, 9 different weights and width, plus italics. In addition there are 3 different stylistic sets. This creates substantially diverse set of characters for contrasting against another and makes it a versatile font for different formats. Style 01 takes on an almost hand drawn style, while Style 02 enhances the geometric aspects of the font further. Style 03 uses only the rounded letter 01 without the hand drawn variations.

Palatino® Nova is Prof. Hermann Zapf's redesign of his own masterpiece, Palatino. The original Palatino was cut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt, and released in 1950. Palatino was later adapted for mechanical composition on the Linotype machine, and became one of the most-used typefaces of the 20th Century. Palatino was designed for legibility, and has open counters and carefully weighted strokes. The type was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. A modern classic in its own right, Palatino is popular among professional graphic designers and amateurs alike, working well for both text and display typography. Hermann Zapf and Akira Kobayashi redeveloped Palatino for the 21st Century, creating Palatino Nova. Released by Linotype in 2005, the Palatino Nova family is part of Linotype's Platinum Collection. Palatino Nova includes several weights (Light, Regular, Medium, and Bold), each with companion italics. Four styles (Regular, Italic, Bold, and Bold Italic) have Greek and Cyrillic glyphs built into their character sets. The Palatino Nova family also includes revised versions of Aldus (now called Aldus Nova), as well as two titling weights. The first titling weight, Palatino Nova Titling, is based on Hermann Zapf's metal typeface Michelangelo, including Greek glyphs from Phidias Greek. The heavier titling weight, Palatino Nova Imperial, is based on Sistina. The fonts in the Palatino Nova family support all 48 Western, Central, and Eastern European languages. Additional features: ligatures and historical ligatures, Small Caps, ornaments, and a range of numerals (proportional & tabular width lining and Old style Figures, fractions, inferiors, and superiors)."

Palatino® Nova is Prof. Hermann Zapf's redesign of his own masterpiece, Palatino. The original Palatino was cut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt, and released in 1950. Palatino was later adapted for mechanical composition on the Linotype machine, and became one of the most-used typefaces of the 20th Century. Palatino was designed for legibility, and has open counters and carefully weighted strokes. The type was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. A modern classic in its own right, Palatino is popular among professional graphic designers and amateurs alike, working well for both text and display typography. Hermann Zapf and Akira Kobayashi redeveloped Palatino for the 21st Century, creating Palatino Nova. Released by Linotype in 2005, the Palatino Nova family is part of Linotype's Platinum Collection. Palatino Nova includes several weights (Light, Regular, Medium, and Bold), each with companion italics. Four styles (Regular, Italic, Bold, and Bold Italic) have Greek and Cyrillic glyphs built into their character sets. The Palatino Nova family also includes revised versions of Aldus (now called Aldus Nova), as well as two titling weights. The first titling weight, Palatino Nova Titling, is based on Hermann Zapf's metal typeface Michelangelo, including Greek glyphs from Phidias Greek. The heavier titling weight, Palatino Nova Imperial, is based on Sistina. The fonts in the Palatino Nova family support all 48 Western, Central, and Eastern European languages. Additional features: ligatures and historical ligatures, Small Caps, ornaments, and a range of numerals (proportional & tabular width lining and Old style Figures, fractions, inferiors, and superiors)."

Diotima Classic is a total upheaval for the 21st century of Gudrun Zapf von Hesse's mid-20th-century Diotima, one of the most beautiful types ever cast in metal. Its roots lay in a calligraphic sheet written by Gudrun Zapf von Hesse. The text was the Hyperion to Diotima" by Friedrich Hölderlin; Diotima is the name of a Greek priestess in Plato's dialogue about love. In the philosopher's imagination, she should appear slim and beautiful. In 1948, Gudrun Zapf von Hesse finished the typeface's Roman. The Diotima family was released as a metal typeface for hand setting by D. Stempel AG in 1951-53. This original Diotima is a festive design particularly suited to invitations, programs, and poems. The delicate Italic drew attention to text passages that should be emphasized. Linotype's previous digital Diotima only had one weight, which looked great in display sizes, but was too thin for text setting. Diotima Classic has four weights. The new Regular has more robust serifs and thicker hairlines, making it more appropriate for text sizes. The Diotima variation with finer serif remains under the name Light. Gudrun Zapf von Hesse also took the opportunity in 2008 to add an extremely heavy weight to the family. In comparison to the old Diotima, letterforms of the Diotima Classic are more harmonious and balanced. The rhythm of the Italic letters in Diotima Classic is more consistent. The lining figures of the Diotima Classic align with caps, and the letter spacing of the tabular lining figures in Diotima Classic is significantly better. The forms of the figures have been improved as well."

The first weights of Neue Haas Grotesk were designed in 1957-1958 by Max Miedinger for the Haas’sche Schriftgiesserei in Switzerland, with art direction by the company’s principal, Eduard Hoffmann. Neue Haas Grotesk was to be the answer to the British and German grotesques that had become hugely popular thanks to the success of functionalist Swiss typography. The typeface was soon revised and released as Helvetica by Linotype AG. As Neue Haas Grotesk had to be adapted to work on Linotype’s hot metal linecasters, Linotype Helvetica was in some ways a radically transformed version of the original. For instance, the matrices for Regular and Bold had to be of equal widths, and therefore the Bold was redrawn at a considerably narrower proportion. During the transition from metal to phototypesetting, Helvetica underwent additional modifications. In the 1980s Neue Helvetica was produced as a rationalized, standardized version. For Christian Schwartz, the assignment to design a digital revival of Neue Haas Grotesk was an occasion to set history straight. “Much of the warm personality of Miedinger’s shapes was lost along the way. So rather than trying to rethink Helvetica or improve on current digital versions, this was more of a restoration project: bringing Miedinger’s original Neue Haas Grotesk back to life with as much fidelity to his original shapes and spacing as possible (albeit with the addition of kerning, an expensive luxury in handset type).” Schwartz’s revival was originally commissioned in 2004 by Mark Porter for the redesign of The Guardian, but not used. Schwartz completed the family in 2010 for Richard Turley at Bloomberg Businessweek. Its thinnest weight was designed by Berton Hasebe.

Smart Sans is a personal tribute to Leslie (Sam) Smart, the first type director to be hired by a major typesetting house in Canada. Smart was a twentieth century design pioneer who raised the standards of Canadian typography. Together with three of his peers, he established the first Type Directors Club in Toronto. After Smart's death in 1998, type designer Rod McDonald decided that something should be done to commemorate Smart's life and achievements. I had first thought of establishing a scholarship in Sam's name, but a typeface design soon replaced this idea," says McDonald. "Once I decided to design a typeface, however, it became a foregone conclusion that it would be a sans serif - for no other reason than that I loved the name Smart Sans." Two typefaces served as inspiration for McDonald's work. "Like thousands of designers, I'm keen on Matthew Carter's Helvetica Compressed series. And, when I was younger, I also loved Fred Lambert's Compacta," says McDonald. "I thought there might be a place for a small range that could take over from these 'old workhorses' and, in the process, bring a fresher look to the genre." McDonald drew three weights for the Smart Sans family, all ideally suited for setting attention-getting headlines and powerful display copy. The two-storied 'g' contributes to the design's lively personality, and the short 'r' helps maintain tight, even spacing. Smart Sans is the perfect homage to a great typographer, because it raises the bar on what to expect from condensed sans serif typefaces. Sam Smart would be pleased."

The life of Molière is a story of struggle, hard work, domestic unhappiness, death and burial in obscurity and almost in shame. Molière left behind a body of work that not only changed the face of French classical comedy, but has also come to influence the work of other dramatists from around the world. Despite his own preference for tragedy, which he had tried to further with the Illustre Théâtre, Molière became famous for his farces, which were generally in one act and performed after the tragedy. Both the comic and the serious drama were powerfully affected by the work of Molière, not only in his own age and country but everywhere and up to the present time. Didot is a name given to a group of typefaces named after the famous French printing and type producing family. The classification is known as modern, or Didone. The typeface we know today was based on a collection of related types developed in the period 1784–1811. Firmin Didot cut the letters, and cast them as type in Paris. Along with Giambattista Bodoni of Italy, Firmin Didot is credited with establishing the use of the "Modern" classification of typefaces. The types that Didot used are characterized by extreme contrast in thick strokes and thin strokes, by the use of hairline serifs and by the vertical stress of the letters. As in the extreme contrasts of the literature of Molière, in Didione's typefaces, thick and thin strokes, straight and curved, are the most relevant characteristic for an era marked by the changes.

Karl-Heinz Lange presented his first drafts of Rotola during a Typoart® type design competition in 1985 under the name "Boutique". A year later, Norbert du Vinage, former manager of the type design department, integrated "Boutique" in his production plan. Due the Fall of the Wall, it took about 18 years until Lange finished this font family in cooperation with Elsner+Flake. Karl-Heinz Lange was born on July 29, 1929 in Wiesenkirch in West Prussia. He was enrolled in the Humanistic Gymnasium at Elbing from 1939 to 1945 and changed to the Wernigerode High School after his family had to flee to central Germany. From 1949 to 1951, Karl-Heinz Lange studied at the Werkkunstschule Halle, where one of his teachers was Professor Post. After 1951, he continued his studies at the Hochschule for Grafik und Buchkunst in Leipzig with an emphasis on book design. He received his diploma in 1955 with distinction based on his design of a hot metal typeface. From 1956 to 1961, Karl-Heinz Lange worked as a lecturer for Type and Commercial Graphics at the Hochschule für Angewandte Kunst in Magdeburg. From 1961 to 1963, he taught at the Hochschule für Grafik und Buchkunst in Leipzig, and finally as a freelance commercial designer in Magdeburg. He worked on a variety of assignments, one of which was the design of trick films. From 1969 to 1976 he took the position of Artistic Director of the Henschelverlag, Berlin; from 1976 to 1994 he was Professor of Type and Typography at the Fachschule für Werbung und Gestaltung in Berlin; and, until 2004, he taught at various institutes for advanced professional education. From 2005 to 2007 he taught at the Fachhochschule Magdeburg/Stendal. Karl-Heinz Lange was awarded the second prize at the "International Type Design Contest 1971" for a headline typeface, and, in 1984, at the XI. Biannual of Graphic Design in Brno, he won a Silver Medal for the design of his typeface family Publica. He created the telephone book typeface Minima and re-designed the Typoart Super Grotesk® (Arno Drescher, 1930) as well as the Newspaper typeface Magna® by Herbert Thannhaeuser for the use on digital typesetting systems. To the day of his death on June 29, 2010, Karl-Heinz Lange lived and worked as a type designer. Among others, he closely followed the designs of the typefaces which were developed under his guidance for Typoart®: "Publica®", "Typoart Super Grotesk®" and "Minima®" which he launched as "Publicala", "Minimala" and "Superla" in 2009. In cooperation with Elsner+Flake, he developed the Typeface family "Rotola" between 2006 and 2009 as well as the script families of the "Viabella®" series. To the end, he followed the development of his first typeface, the "Diplom Antiqua", which he also wanted to bring to market together with Elsner+Flake.

(pronounced hor-hay) Some years ago my wife and I had our evening meal in a restaurant on what is called the northshore of Massachusetts. Of course, if you check a globe or map you'll see that the pilgrims needed a compass, it should have been called the eastshore as it's on the east end of the rectangle/hook we call the Commonwealth of Mass. In any event, the menu our waitress gave us was hand-lettered with shapes that I used to develop the 4 fonts called Jorge. When I brought the preliminary drawings into the office Steve Zafarana, a designer and cartoonist referred to them as Jorge's new design, the name stuck.

Enchante is the handwritten masterpiece typeface for luxury / branding / logotype / wedding invites / greeting cards / promotional graphics. Enchante typeface is completely handmade with more than 300 hours of artistic craftsmanship bringing perfection and aesthetics at its level best. The typeface comes with the following features: OpenType Features & Stylistic Sets The typeface contains 400 glyphs beautifully handcrafted with perfection. 122 stylistic alternatives with 70 lowercase and 52 uppercase letters. 61 unique Swashes & Lines arranged in separate font file to enhance ease of use and efficiency. Powerful OpenType features including multi-set stylistic alternatives and ornaments. Includes extended language support including Western European & Central European sets. What You Get The typeface comes with 2 fonts (Normal, Swashes) so you can easily add decorative elements by simply choosing the Swashes version of the font. The stylistic alternatives and ornaments can be selected via character options within any editing software such as Illustrator, Photoshop, Inkscape etc. The pack contains Desktop fonts (OTF, TTF) and Web Fonts (all EOT, SVG, WOFF, WOFF2) as licensing options. Advanced Kerning & Essential Ligatures: We have performed advanced, in-depth kerning to make sure the font looks amazing on all possible letter combinations.

🏆 Selected for Tipos Latinos 8. 🏆 Hiii Typography 2018 Merit Award. Rocher was designed while looking for an answer to a simple question: what would a typeface look like if it was made of stone? It certainly would look solid, but did we have to add cracks and rubble so it would resemble rocks? We didn’t think so. We decided to tackle the problem a different way. We added corners where there usually aren’t any and threw some unusual letterforms into the mix. The result is a typeface that feels like stone, but if you look closely there is nothing inherently stony about it. Unexpected corners provide just the right amount of roughness, while unusual letterforms give the text an informal aesthetic, traces of something naive and handmade. A family was born when the sturdy letterforms were turned into a series of playful layers. With 9 fonts in total, Rocher can be mixed and matched to create unique layered compositions that add depth to the layout. We designed Rocher to be used in logotypes, packaging, mobile apps and headlines. We are confident you will find another handful of scenarios where it can shine.

Makosi is a traditional serif typeface that is ideal for classic or retro modernist applications. With a graceful and elegant design, this typeface adds a distinctive touch to any text composition. Makosi includes unusual features such as ligatures and alternatives, which provide flexibility and provide intriguing variations in text appearance. As a result, you’ll be able to effortlessly adjust the style and feel you want for each of your creative projects. Furthermore, Makosi is multilingual, allowing you to utilize this typeface in a variety of languages all around the world. You may reach a worldwide audience while also providing a consistent and appealing visual experience. You will develop an eye-catching design with a distinctive classic touch if you use Makosi as the main font for your project. Join Makosi and give your distinctive typography a new depth. What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Beauty Dina // Playful Script Font is a stunning font with a stylish and lovely font that features a varying baseline, smooth line, modern, and with a depth of love. For those of you who need a touch of love and modernity for your designs or branding, it can be used for various purposes such as headings, weddings, invitations, signatures, logos, branding, t-shirt, letterhead, signage, labels, news, posters, badges, etc. We have a special font namely "Beauty Dina // Playful Script Font ". The font design looks simple without losing its elegance and warmness. The function of the font is to show that you have a modern spirit to serve high-quality products and services. We design this font with Open Type features to give an artistic touch to it. This font is also applicable for numbers, punctuation, and other languages. It is also a multi-functions font where you can use for a business logo, branding, wedding invitation, and anything you want. We have more great and artistic fonts. Just check my font collection by visiting Our Profile. Then, pick your most favorite font and use it to reach your goals.

Cotillion is an original design Jim Rimmer finished just before the turn of the century. Alongside its evidence of Jim's nostalgia at the deco type designs he was exposed to as a child, it distinctly shows a type designer who has become very comfortable with that rarest of design abilities: Bringing efficient typographic solutions to what is essentially a calligraphic endeavour. This design has all the elements of what made a traditional deco typeface display unmistakable elegance and luxury: The expressively low x-height, the precisely calculated upwards comfort and reserved grace of the vertical metrics, the subtle fusion of calligraphic ornamentation and clean minimalist type technique, and the unique indentity of the original lowercase flow. Cotillion was refined and remastered in 2012 to include a weath of aesthetic and functionality improvements. This Cotillion Pro set includes small caps, true italics, ligatures, seven types of figures, automatic fractions, extended Latin language support, stylistic alternates that include lowercase serif angle options, and plenty of extra OpenType features like caps-to-small-caps substitution, case-sensitive positioning, ordinals, and extended class-based kerning. At over 780 characters, each of the Cotillion Pro fonts is the equivalent of three fonts in one.

Kimilove // Monogram Script font is a stunning font with a stylish and lovely font that features a varying baseline, smooth line, modern, and with a depth love. For those of you who need a touch of love and modernity for your designs or branding, it can be used for various purposes such as headings, wedding, invitation, signature, logos, branding, t-shirt, letterhead, signage, labels, news, posters, badges, etc. We have a special font namely "Kimilove // Monogram Script font". The font design looks simple without losing its elegance and warmness. The function of the font is to show that you have a modern spirit to serve high-quality products and services. We design this font with Open Type features to give an artistic touch on it. This font is also applicable for numbers, punctuation, and other languages. It is also a multi-functions font where you can use for a business logo, branding, wedding invitation, and anything you want. We have more great and artistic fonts. Just check my font collection by visiting Our Profile. Then, pick your most favorite font and use it to reach your goals.

Mistery Brush is a captivating script font that exudes an air of intrigue and enigma. Designed in large letters with a thick weight, this typeface commands attention and makes a powerful statement. Each letter is meticulously crafted with brush-like strokes, adding a touch of handcrafted artistry to the font. The brush details in Mystery Brush lend the font an organic and dynamic feel, as if the letters were painted with the strokes of an enigmatic artist. These artistic details add depth and character, making every word a work of art. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Mistery Brush fits in headlines, logos, movie posters, flyers, invitations, greeting cards, branding materials, print media, editorial layouts, headers, and many more. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.