This is a modern icon set with geometric shapes. A tasty set for the creation of the visual identity of shops, restaurants or bars. Thanks to its simplicity it will be perfect for printed and online materials. Baobaby Studio prepared an entire delicious set specially for you. Apart from “Vegetables”, our offer also includes Dairy, Bread and Confectionery, Meat and Seafood and Fruits. Everything in one style. Mix and match as you see fit. Bon appetit!

This is a modern icon set with geometric shapes. A tasty set for the creation of the visual identity of shops, restaurants or bars. Thanks to its simplicity it will be perfect for printed and online materials. Baobaby Studio prepared an entire delicious set specially for you. Apart from “Dairy”, our offer also includes Bread and Confectionery, Vegetables, Meat and Seafood and Fruits. Everything in one style. Mix and match as you see fit. Bon appetit!

About family “ZestPro” Creativity and creative zest. Used to try to beat past records to add zest for monotonous jobs… Zest means something like mirth, ardor, enthusiasm, appetite, deliciousness, delight… Zest is a food ingredient that is prepared by scraping or cutting from the rind of unwaxed citrus fruits such as lemon, orange, citron, and lime. This series is composed and includes ten fonts with 631 glyphs each, with true italics, and supports of course: Latin, Greek & Cyrillic.

This is a modern icon set with geometric shapes. A tasty set for the creation of the visual identity of shops, restaurants or bars. Thanks to its simplicity it will be perfect for printed and online materials. Baobaby Studio prepared an entire delicious set specially for you. Apart from “Bread and Confectionery”, our offer also includes Dairy, Vegetables, Meat and Seafood and Fruits. Everything in one style. Mix and match as you see fit. Bon appetit!

Abrikos is apricot in danish. A lovely and sweet fruit, often underestimated and not very well known - but if you ask me, it is delicious! The letters were drawn using a small brush, and as you can see, I almost ran out of ink - leaving the letters somewhat rough. I made 4 different versions of each lowercase letter, and these cycle automatically as you type in order to make some randomness. I threw in an extensive set of international characters as well! Enjoy!

Quince is a playful, zesty, handwritten font. Lower case letters are energetic and sweet, then as all-caps its essence shifts to more architectural and stylish. Both upper and lower case have a set of double-letter ligatures to keep it lively. Quince family also features Quince Designs, an original, floral picture font drawn by Amy Dietrich, rich with charming patterns, borders and spots. See your projects bloom with Quince. Posters also include images from Kiwi Fruits, another picture font by Atlantic Fonts.

“Tsubu” (つぶ) means something small and round, like a fruit seed or a grain of rice in Japanese. All characters are completely geometric, consisting of no more than 5 x 12 dots, with a few exceptions. And proportional and monospace styles are available. It is recommended that letter spacing be set to 0 to maintain dot pitch. When the line height is set to 100%, the dot pitch is aligned horizontally and vertically, resulting in a beautiful geometric display.

Everybody likes to have a picnic: some fresh fruits, cheese, ham, wine and so on. Like a “typographic picnic,” Typnic font system gather many fonts with different flavors too, and you can enjoy them mixed or on their own. Typnic Headline Slab is just a piece created to complement the Typnic font system and as in the first headline version it comes in six layered fonts that can be mixed in a powerful variety of combinations to obtain outstanding texts.

Mirfak™ is a new take on a work from Adrian Frutiger made in 1964. In the first place, it was a specific alphabet made for only one book. Only lowercases, capitals, numbers and a few mathematical signs where created. Covering only English language, used only once and unknown by most, we considered this Slab Serif as an hidden gem that needed a modernization. Mirfak™ is a result of a project whose goal was to take a beautifully designed Slab Serif and update it so that its technical standards surpass the status quo, leaving us with a truly superior slab serif family. Entirely coded from scratch with Metafont™, this family is not only an update but an expansion of the original concept, covering now most used languages on earth. Modernized and unique, Mirfak’s 3 weights, light to bold, can give a full range of expression for interfaces and corporate design; in print, on screen and in multiple languages.

Technology in mind in 12 fonts Allumi is a different font. Different from anything Jean François Porchez has designed in the past. Allumi is a sleek typeface designed with technology in mind. It’s a perfect font family for any communication concerning design, robotics, or functionality. Pushed to its extreme limits, the Allumi shapes are neither perfectly round or geometrically square. It’s a human design with a high tech touch. Allumi can be described as the Eurostyle (designed by Aldo Novarese in 1964) of the new century, mixed with Frutiger. Allumi is a serious typeface because of the unique design and sturdy form. The pure shapes can create a global presence today with an eye on the world of tomorrow. Two widths The Allumi family has been built around two series of widths, standard and extended. Italics have been carefully designed as slanted roman with all necessary optical and human corrections to create a perfect and neat italic. I Love Typography 2009

OCR A and OCR B are standardized, monospaced fonts designed for Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display graphics. OCR B was designed in 1968 by Adrian Frutiger to meet the standards of the European Computer Manufacturer's Association. It was intended for use on products that were to be scanned by electronic devices as well as read by humans. OCR B was made a world standard in 1973, and is more legible to human eyes than most other OCR fonts. Though less appealingly geeky than OCR A, the OCR B version also has a distinctive technical appearance that makes it a hit with graphic designers.

June is a contemporary neo-grotesque sans-serif typeface designed to be highly legible, readable, and usable. The clarity and mathematics were inspired by the research into type form by Adrian Frutiger. June was designed by developing a modern and unique approach to his findings. June's legible features include a near uniform stroke width, open apertures and counters, angular cut stems, and a large x-height. Italics are angled at eight degrees and have been redesigned to provide a stylistic difference without reducing legibility. June comes in seven weights, from Thin to Bold, each equipped with OpenType features. June can be used for all print sizes, and has characteristics that are more visible at larger sizes. June was inspired by a close family member of the designer. A part of all sales will be donated to Alzheimer's Society. Free Variable Font: If you buy the full family, you will also receive the Variable Font version of June, without extra charge.

OCR A and OCR B are standardized, monospaced fonts designed for Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display graphics. OCR B was designed in 1968 by Adrian Frutiger to meet the standards of the European Computer Manufacturer's Association. It was intended for use on products that were to be scanned by electronic devices as well as read by humans. OCR B was made a world standard in 1973, and is more legible to human eyes than most other OCR fonts. Though less appealingly geeky than OCR A, the OCR B version also has a distinctive technical appearance that makes it a hit with graphic designers.

Papillon Woodcuts is a digital revival of an ornate alphabet by French engraver Jean Michel Papillon dating back to 1760, when engraving was very fashionable in France. Each letter is displayed with a different themed background, such as a ship at sea; a fancy table topped with a bounty of fruits; flying birds; a parasol with flowers; playful cherubs; rich textured drapes and tapestries; and many more. These woodcut initials are especially beautiful when used at the beginning of a paragraph as in olden texts.

Angel Koziupa's familiar brush goes upright and narrow with Pinguino. Koziupa's approach to condensed brush fonts makes use of the same elements that have always distinguished his calligraphy from any other. With Pinguino, however, we see him softening his corners and adding a distinctly feminine touch to his exotic brush. Pinguino would feel at home on sobering coffee packaging just as it would on a bouncy mixed-fruit juice bottle. Try Pinguino for your next packaging project, and tell your client an Angel told you to use it.

My wife was watching a baking show in which a Scottish guy attempted to cook a clootie. A what?? A clootie??? Never heard of a clootie! Apparently it is a suet dumpling, containing dried fruits (like raisins) and boiled in a piece of cloth (clootie means ‘rag’ or ‘strip of cloth’ in Scottish). Clootie font is a handmade bundle of happiness. It is rounded, soft and legible and will look particularly good on book covers. And I promise you all: one day I will cook clooties to find out what they taste like!

LiebeCook is a carefully crafted collection of fruit and vegetables, forks and knives, pots and home appliances, in countless variations and sizes for creative flexibility. Create a neatly illustrated cookbook of your favorite recipes, send dinner invitations to your friends, or decorate your restaurant’s menu—with LiebeCook you will surely give your designs a personal touch. More than 170 drawings are included in this single font and can be used in any text or graphics application. Combine LiebeCook with LiebeMenu and LiebeMenuLettering to give your food-related projects a handmade but professional look.

Summer Days is a cute handwritten script font with ornaments and swashes, perfect for any design that needs an adorable handmade feel. Use this font family for signatures and logos, notes and quotes, social media posts, and branding and packaging. This set includes: 1 script font in two styles: regular and slant, with ligatues for a smooth handwritten font. 1 ornaments font, with 72 cute handmade drawings (fruits, animals, sweets, plants, etc) in two styles: regular and blackout, for easy layering. 1 swashes font, with lots of swirls and underlines.

A playfull fancy sanserif typeface in 16 fonts Parisine Plus was designed in 1999 as an informal version of Parisine. A reaction to the subjective functionalism of Parisine. In fact, when Parisine try to express neutrality (a typeface is never neutral), Parisine Plus has fun with contrasts and not-so-obvious additions for a sans family. Parisine Plus is a precursor in the way it offers many ligatures and strange forms we generally find more in serif typefaces families that express historical connotations. The various Parisine Plus typeface subfamilies Parisine Plus is organised in various weight subsets, from the original family Parisine Plus (4 compatible fonts), Parisine Plus Gris featuring lighter versions of the usual Regular and Bold (4 compatible fonts), Parisine Plus Claire featuring extra light weights (4 compatible fonts), to Parisine Plus Sombre with his darker and extremly black weights as we can seen in Frutiger Black or Antique Olive Nord (4 compatible fonts). About Parisine Parisine helps Parisians catch the right bus Parisine Plus and its fancy type effects Observateur du design star of 2007

Beach Please - Is a suite of handwritten fonts designed with pointed brush and watercolors. Beach Please Script is a relaxed and tender brush font, inspired by sign painting. The aim was to give a fun and fresh twist, exaggerating some curves and punctuation signs. There are also many alternates and swashes included accessible through opentype. Beach Please Caps & Wide have a bizarre look because of the reversed contrast on some letters, this particularity gives to the font a total new expression perfect for catchy headlines. Beach Please Wide works better when you need to use it in smaller sizes. It is full of ligatures to give to your text a realistic handwritten feeling. Beach Please works very will with our font family 'Aperó' We also present in this font family a slanted version for each font. To complete the Suite a set of tropical and fruity icons is also available. These sketchy vintage illustrations are perfect to create beautiful letterings and graphic layouts. Enjoy it! More about Opentype Features: https://bit.ly/opentype-rsz

The name of this blackletter font was chosen due to the centennial of the Bauer Foundry, Frankfurt am Mai, in 1937. Ernst Schneidler probably created then the most beautiful of all fraktur fonts. They are the fruit of countless calligraphic drawings and of many years of professional experiences. Zentenar Fraktur became in its time the workhorse among German blackletter fonts. To access all ligatures in both styles, it is recommended to activate Standard and Discretionary Ligatures. The round s can be reached by typing the # key, and the combination N-o-period plus the OT feature Ordinals gives you the Numero sign.

Mangaba is a condensed font designed to create a hand-drawn feel for texts in small spaces. It is great for packaging and labels as well as titles and other short texts. It has low contrast and high x-height. Blend well with other hand drawn, cursive and san serif fonts. Includes Latin characters, punctuation, diacritics and old-style numbers. It is a font inspired by the Brazilian cerrado, a region similar to the savannah, with low trees, with twisted trunks and exotic fruits, such as Mangaba. ?Mangaba Pro is perfect for bringing a natural and exotic touch to logos, packaging and even texts on social networks.

Patricia Pothin-Roesch's Saussa typeface began life as brush-lettered artwork for fruit salad packaging in France. After the key letters had been painted, Patricia Pothin-Roesch switched to digital tools to create the final font. True to its roots, Saussa is a real advertising face, perfect for point-of-purchase displays. Even its name is consistent with its intended area of application: Saussa sounds a lot like the word “sauce.” Saussa is an informal script; its outstrokes function almost like serifs, and the capitals have a lowercase structure. The feelings this typeface conveys are due to the hand of its creator, Patricia Pothin-Roesch, an experienced brush-letterer.

URBANI is the result of a mix between Neohumanist and Neogrotesque types. The subtle narrowness of its proportions makes it ideal for composing extensive blocks of text. The slightly superior height of its ascenders, the wider proportions of its counter-forms, the addition of ink traps at certain stroke intersections; every aspect of URBANI’s design was conceived with reading in mind. The Opentype tool Alternative Glyphs is especially important, since its use is fundamental in achieving a universal and geometrical visual language through the rationalization of the font family. URBANI is inspired upon the works of Adrian Frutiger and Paul Renner, a constant source of admiration and inspiration to W. This type family comes fully equipped with Opentype tools, a huge range of alternate glyphs, fractions, modern and old style numbers, superiors and inferiors, ligatures and smallcaps. Universality is a major goal when it comes to creating our fonts. URBANI is ideally suited for general graphic design, print and digital publications, motion graphics, web design, branding and interaction design. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Foundry On facebook W Foundry wtypefoundry.com

ALS Direct is an open and dynamic typeface with clear-cut letterforms that make it instantly readable. It lends text a neutral, yet agreeable and modern feel. Direct has nine font styles convenient for the purposes of navigation signage. Regular-style letterforms are rather wide, because direction signs are likely to appear before readers at an angle, so the type needs to withstand perspective distortions. And as signs and boards may vary in size, Direct was developed to include several width variations. Condensed fonts can be used where horizontal space is limited, allowing you to keep proper height and readability of the characters. A signage typeface must be easily readable from some distance away and have simple letterfoms with clear-cut features to quickly identify characters. Designing a type for a potentially wide range of purposes calls for a universal approach. If not destined to be used for navigation in a particular building, it shouldn’t incorporate any peculiar elements to agree with certain design or architecture. All of the above determined our choice of a sans serif with large apertures and definite features allowing readers to instantly recognize letters. Descenders are made compact not to interfere with the line below. And the low contrast between thick and thin strokes renders all elements equally perceptible. The x-height is significant, close to the cap height, which inhances readability of the lowercase type. There are two reasons why directions must not be set in all caps. Firstly, lowercase letters are more diverse and include ascenders and descenders identifying some of the letters in the line. And secondly, having learned to read, people recognize word shapes rather than individual letters, which makes lowercase text more readable. With Direct being a signage typeface, first to be developed were its width variations, and different weight styles and italics were added later. Another thing to be kept in mind was that signs often use dark background colors, and black type on a white background appears smaller than white type on a black background. Direct is the first Cyrillic typeface created for navigation purposes. Before that, designers could use the Cyrillic version of Frutiger (Freeset) developed by Adrian Frutiger for the Paris Charles de Gaulle International Airport, and a number of other, mostly body copy, neutral sans serif types. However, signs and boards were dominated by Arial, which Direct would be glad to replace offering elegance and lucidity of form instead of type bluntess. Direct was designed as a signage typeface, but its neutral style and clear-cut letterforms suggest various other ways of application.

Designed for the printing of a magazine, the Fontana Sistema was based fundamentally on the Spanish language as its natural and cultural context. Due to the spanish colonization of America, the spanish language has been influenced by native american terms that enriched it and caused significant changes in both the sound and form of words. These sounds and forms had a strong influence on the identity of text, substantially modifying the nature and the characteristics of the composition. The Fontana Sistema we present is the fruit of our desire to design a font that, based on the spanish language, would endow the publication with identity and at the same time offer a framework for typographic research.

Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. The Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. The W1G versions featuring a Pan-European character set for international communications supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet including several based on Cyrillic and Greek alphabets. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.

The font family Univers is one of the greatest typographic achievements of the second half of the 20th century. The family has the advantage of having a variety of weights and styles, which, even when combined, give an impression of steadiness and homogeneity. The clear, objective forms of Univers make this a legible font suitable for almost any typographic need. In 1954 the French type foundry Deberny & Peignot wanted to add a linear sans serif type in several weights to the range of the Lumitype fonts. Adrian Frutiger, the foundry’s art director, suggested refraining from adapting an existing alphabet. He wanted to instead make a new font that would, above all, be suitable for the typesetting of longer texts — quite an exciting challenge for a sans-serif font at that time. Starting with his old sketches from his student days at the School for the Applied Arts in Zurich, he created the Univers type family. In 1957, the family was released by Deberny & Peignot, and afterwards, it was produced by Linotype. The Deberny & Peignot type library was acquired in 1972 by Haas, and the Haas’sche Schriftgiesserei (Haas Type Foundry) was folded into the D. Stempel AG/Linotype collection in 1985/1989.

Heket was a goddess of childbirth and fertility in Ancient Egypt. She was depicted as a frog, or a woman with the head of a frog. Frogs symbolized fruitfulness and new life. Heket font is an expressive handwritten font, it is available in four versions: Regular and slanted. They have many advantages of the OpenType futures to choose from: stylistic alternates, swashes, contextual alternates, and a full set of standard and discretionary ligatures. Heket supports all diacritics for CE languages; they come also with a huge variety of ornaments, underlines, beginnings and word endings that will allow you to work in a creative way. They've been specially thought to use in packaging design, children books, advertising, logotypes, greeting cards, web sites and much more.

Teramo™ is daring, sharp and dynamic. Its personality is derived from asymmetry and movement. It is a contemporary serif family full of modern design elements playing with proportions of works of XV and XVI century masters such as Francesco Griffo or Claude Garamond. The family features four optical sizes. Display sizes feature extreme stroke contrast and are intended for fashion, lifestyle, cosmetics, magazine, business, hi-tech and advertising use. Text styles are created for all kinds of body copy — long and short paragraphs, books and websites in any modern design context. They are crafted to be elegant and legible, featuring more generous spacing and scrupulous kerning. Display weights are designed as modern, extraordinary variations on didone style. Teramo’s letterforms are merging classical proportions and precise, contemporary details such as asymmetric serifs, sharp edges and unconventional glyph shapes. Another important factor constituating Teramo’s personality is an angled axis, unusual for didone families and giving the typeface much more organic and dynamic feel. Teramo features a lively true italics strongly related to cursive handwriting. The italic styles imply movement, energy and fluency, introducing a new color to paragraph text, as well as being a powerful and interesting standalone display type. The family introduces additional titling letter variations for headlines and display uses, such as sharp and modern lowercase “y” or uppercase alternates for better all caps typography. Teramo consists of 56 fonts in 4 optical sizes - 28 uprights and their corresponding true italics + 2 variable fonts. It has extended language support as well as broad number of OpenType features, such as case sensitive forms, standard and discretionary ligatures, titling alternates, contextual alternates, lining, oldstyle figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

My latest typeface is a formal, copperplate script named Glade. Beginning as a project for a client who wanted several widths of a formal script style, the project never saw fruition. However, it did get me excited about the idea of a width family of steel nib scripts, ranging from extra narrow to extra wide, and the result is the Glade family. To give Glade a minor modern makeover from the original intent, the lowercase has been scaled up, and the Capitals scaled down for a more friendly personality. The character set has been expanded, and OpenType support has been added for unlimited fractions, ordinals, superiors and inferiors. So if you have the need for a formal connecting script, but are short on space, try Glade Narrow or Glade Extra Narrow. If space is not an issue, then the Regular, Wide or the generously gracious Extra Wide should do nicely. And if you get the whole family, well then you are set for anything that comes your way.

Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their corresponding Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. For international communication, the W1G versions offer the appropriate character set. They contain Latin, Greek and Cyrillic characters and thus support all languages and writing systems that are in official use in Western, Eastern and Central Europe. Century Gothic Variable is features two axes: Weight and Italic. The Weight axis has preset instances from Light to Black. The Italic axis is a switch between upright and italic. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.

Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their corresponding Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. For international communication, the W1G versions offer the appropriate character set. They contain Latin, Greek and Cyrillic characters and thus support all languages and writing systems that are in official use in Western, Eastern and Central Europe. Century Gothic Variable is features two axes: Weight and Italic. The Weight axis has preset instances from Light to Black. The Italic axis is a switch between upright and italic. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.

Stamen is the answer to a big question: What would happen if one tried to create a typeface that was ‘out of time’? If a type designer was to turn off the internet and put away the type specimens and just try to explore limbic, phantom history, what might that look like? No slavish explorations of the past. No gropings toward the future. No exhaustive core sample of the contemporary. Instead, using what one remembers of history and our collective vision of the future (usually a future imagined from the past) and channeling that into something that is, hopefully, new… The Bentons meet Frutiger for a Manhattan on a space station while Matthew Carter sways to the sweet sounds of the chorale that occasionally played through the halls of Stephenson Blake. This smear of implicit history expressed without explicit reference—this is Stamen: a family of 12 typefaces with a ton of alternate characters. The bold weight was designed for the LP “I Thought the Future Would Be Cooler” ( http://ittfwbc.com/ ) by the band YACHT in response to their request for a typeface that was ‘lost in time’, and refers to neither strict historical models nor purely futuristic forms. I built a small family out from there. It works well in text, but just as well for display setting. I think you’ll enjoy using it.

I recently walked part of the South West Coast Path in the UK. A couple of days in the hike, I came across a small cafe and I decided to have an oat latte (I am lactose intolerant). Since it was early in the morning, the breakfast menu was out and one of the items I noticed was ‘Overnight Oats’. I normally cook my oats with some lactose free milk and water, but apparently you can soak them overnight, add fruit and nuts and eat it like that. I tried it, it’s ok, but I think I prefer the cooked version. Overnight Oats is a bit of an odd font: it is very higgledy piggledy, yet legible and unique. If you want something out of the ordinary, then this may be your font!

NorB Architect Pencil Condensed fonts are the fruit from learning architectural lettering books so featuring 7 condensed weights going from Light to Extra Bold version. These Architectural fonts will add a beautiful architectural hand-lettering style to all your CAD project drawings. Architects have always wanted their CAD drawings to look more like they were drawn by hand, rather than by a CAD program. These AutoCAD fonts are the first step in bringing back that “artistic hand-drawn” feel to your CAD drawings or any graphic design project that can use true type fonts. They also can be used with any word processing program for text and display use, print and web projects, apps and ePub, Comics, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations … or even just for fun!

NorB Architect Pencil fonts are the fruit from learning architectural lettering books so featuring 7 weights going from Light to Extra Bold version. These Architectural fonts will add a beautiful architectural hand-lettering style to all your CAD project drawings. Architects have always wanted their CAD drawings to look more like they were drawn by hand, rather than by a CAD program. These AutoCAD fonts are the first step in bringing back that “artistic hand-drawn” feel to your CAD drawings or any graphic design project that can use true type fonts. They also can be used with any word processing program for text and display use, print and web projects, apps and ePub, Comics, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations … or even just for fun!

I love markets, especially the farmer’s markets with fresh produce and home made cheese. Too bad I need to travel a long way to get to one, as there is only a ‘regular’ market in my hometown - you know, with cheap duvets, ‘local’ fruit like bananas and a guy selling books about the end of times. I thought it would be great to create a font family you could actually use on a market. Hence Market Square. Market Square consists of 4 different fonts (each with its own Italic style), ranging from a fat marker font to a thin, squarish font. Each of them oozes freshness and authenticity and they were designed to complement each other. The cherry on top is the cute doodle font, loaded with fresh produce and seafood - just like you’d see on a Market Square.

From the designer, Tim Ahrens... I started designing this typeface about half a year after learning that Frutiger was not a new brand of sweets and that Garamond is not the name of a fragrance. In time it became clear that designing a sans serif must always be considered as a transformation of traditional serifed typefaces instead of deriving it from typefaces that have been derived from others which have been derived from others again. I did not want Aroma to be one of those odourless and tasteless typefaces wich sacrifice a natural feeling and the characteristic shapes of the letters to neutrality. I think that beauty often evolves unintentionally. For example, I am fascinated by the beauty of airfoils, which are actually a careful transformation of a bird's wing. I love their anorganic and abstract shape which still bears the essence and all the complexity of what they are modelled on. This is exactly the formal concept behind Aroma. Many of the outlines are actually parabolics. The small r, for example, consists exclusively of straight lines and parabolics. I decided to give Aroma more stroke contrast than it is usual for sans serif designs. Many strokes are slightly convex, which gives the font an anorganic feeling. The font was intended to have a feel similar to the antiqua. More specifically, it is based on Old Style Faces. The character of those fonts, which were cut during the Renaissance, is still inherent to Aroma.

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.