Ornata D is the fourth of a series of old ornaments that I am trying to save from oblivion. I am completely redesigning the ornaments from scratch, trying in this one to keep the rough "letterpress" character.
Corner D is a part of Corner type family. This subfamily is designed with inverse rounded shapes in the corners.The concept of the typeface Corner is based on variation of corner shapes in font characters, from what is also its name derived. The basis is a bitmap modular principle, to which by simple addition of “the missing pixels” in corners of the characters (Corner A) to the shape of diagonal (Corner B), curvature (Corner C), or inversion curvature (Corner D), three more font variations are created. The basic monolinear bitmap weight is supplemented by two more extreme thicknesses – hairline and fat weight. The character set supports the complete Latin, while the x-height of lowercase is drawn at the same height as in the uppercase characters. Corner is a strong display typeface, which allows you to easily experiment and to combine it with its mutual font variations.
D Blues its a sans serif typefamily of 9 weights plus matching italics. It is inspired by the neo humanist typefaces with a mix of 20st grotesque sans typeface. D Blues serve very well in web & print design areas, body text, excellent web-font legibility etc…
Project D is the fourth typeface released by DM Founts. It was inspired by the infamous graffiti atop the former Heygate Estate in South London, which I had passed by numerous times on the overground train years ago. Heygate Estate has since been replaced by soulless luxury flats (as per the gentrification agenda). You can see a picture of the former estate, along with the graffiti here:http://www.flickr.com/photos/richardfisher/4627788360/The letters don't entirely match the graffiti as they were created from memory, but I thought such a profound statement should be honoured.Project D is best used for impact at large sizes, although it should scale well. Use it for computer interfaces, retro headings and anything involving defiance, espionage, infiltration and spy games.
The history of this font is those. Once I assorted the old children's books which have stayed from times of my childhood. On one of them I have seen a trade mark of a printing house consisting of two Russian letters "L" and "B". From they were begun also with my font. And though finally from these letters a little that remained, elements of these letters can be seen in font D-block B.
A font package in two line weights and two styles, which emulates handwriting pratice guides for children in pre-school. Designed for the preparation of excercise sheets. The second style includes guidelines. Can be used in any wordprocessor.
Another Speedball pen alphabet from master draftsman Ross George, this face is bold and lively. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.
D Hanna Soft is a sans serif type family of 9 weights plus matching italics. It is inspired by the geometric style sans serif faces with a mix of rounded shapes and a little bit of black in some corners. The medium weights serve very well in body text, while the thinner and bolder styles make an excellent choice for headlines .
Core Sans D is a modern interpretation of condensed sans-serif typeface designed by S-Core and the whole family consists of 2 widths (Condensed, Normal), 7 weights (Thin, Light, Regular, Medium, Bold, Heavy, Black) with their corresponding italics.Core Sans D features a condensed geometric construction and has a large x-height which enhances legibility. The family is ideal for signage, headline as well as body text.
DIN stands for Deutsche Industrienorm, German Industrial Standard. In 1936, the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration, and business. The committee chose a sans serif font because of its legibility and easy-to-write forms. This font was not seen in advertisements and other artistically oriented uses, and there were disagreements about its aesthetic qualities. Nevertheless, this font was seen everywhere on German towns and traffic signs and hence made its way into advertisements because of its ease of recognition.
DIN 2014 is a contemporary version of a well-known DIN typeface. The Regular performs well in long text settings, while Light and Bold faces are extremely legible at large sizes. Type family spans 18 faces: 6 Upright with the matching Italics of normal width and 6 Narrow ones. The typeface was designed by Vasily Biryukov and released by Paratype in 2015.
DIN has always been the typeface you root for—the one you wanted to use but just couldn’t bring yourself to because it was limited in its range of weights and widths, rendering it less useful than it could be. The century-old design has proven to be timeless, but modern use cases demanded an update, which resulted in DIN Next—a versatile sans serif family that will never go out of style.
The digital outline fonts, DIN 1451 Fette Engschrift and Fette Mittelschrift were created by URW in 1984 and are the basis for all DIN font families. Both typefaces were designed for the URW SIGNUS system and were mainly used for the production of traffic signs. They have since become so popular in other areas that we have developed a complete DIN font family with 48 styles in OpenType Pro: URW DIN. It is semi-condensed, which is unique among the DIN fonts, so it has a broad spectrum of typographic uses. Its large x-height makes it perfect for use in e-publishing (web, apps, e-Books etc) and its adjusted stroke width between the regular and bold weights enhances its quality and distinguishability in print.
Designed at ParaType (ParaGraph) in 1997 by Tagir Safayev. Based on a condensed style of DIN type family (Linotype Staff designers). That is a group of sans serif faces made to conform to the German Industrial Standard. Based on geometric style, they vary in width but not in weight. Light style was added in 2014 by Manvel Schmavonyan.
Sola is a simplistic, stylish, and modern san serif type font with the unique addition of rounded corners. When creating this font, Bank Gothic originally influenced me, however when I made the square shapes lower case the font didn't retain its sophistication, so it was designed narrower. The result is this warm and soft looking font that works for all types of design, from posters and fliers to logos and business cards.
Hola! This is our new handwritten font. It's casual, young and pretty, perfect for logotypes, magazines, writing notes and comments.Thanks to many ligatures and alternate characters it is varied handwriting font.
Wola™, by Franciszek Otto, is not for the typographically timid. It creates vibrant digital headings, banners and navigational links, in addition to commanding print headlines and subheads – but it is not shy, reserved or demure. The design blends the stroke weight stress of Bodoni with the urgency of handwritten letterforms, conveying the energy and immediacy of a design that’s bigger than life – and outside the fence.
The Obla font family is a modern serif typeface accompanied by appropriate italic in seven weights. Sketches of letters were drawn manually, using thick marker for creating shape and pencil for finishing details. Calligraphic origin of shapes is revealed beneath strained curves drawn on computer. All of the weights were carefully adjusted to each other.
Kola is a technoid stencil-style sans serif font. All of the stroke endings in Kola’s glyphs are rounded, and the overall effect of Paris-based type designer Jean-Baptiste Morizot’s stencilling is a bit reminiscent of the kind of lettering used on LED displays. Kola’s lowercase letters have a large x-height, and the ascenders rise up to the same height as the tops of the font’s capital letters and numbers. Despite the x-height being tall, Kola’s diacritical marks are still huge. They tower above the ascenders, capital letters, and numbers, and are very legible and identifiable, even when the font is used in small sizes. In terms of proportion, Kola looks a bit like a contemporary condensed-style sans serif typeface. Many letters in the font have designs that are reduced; the ‘n’ for instance, is almost geometric. The capital ‘I’ and ‘J’ have contrasting designs so that they are easy to tell apart. The dynamic-placement of the stencil-bridges is particularly novel in Kola’s ‘K’, ‘j’, and ‘r’. The tail of Kola’s ‘Q’ is a completely-vertical stroke. Counterforms inside of the letters are large and easy to recognise. Although the lowercase ‘a’ is double-storied, the ‘g’ is single-storey. Because of its stencil treatment, Kola is best used in large sizes. It is an optimal selection for logo design, or for use on concert posters.