Pantoufle is French for slipper. Not the flipflop variety (or thongs if you’re from Australia), but the one you wear indoors when it’s cold. I have some too; Spanish ones, made from recycled PET bottles. Here in Holland, we call them ‘Pantoffels’ and you don’t have to be a language expert to see the resemblance between the French and the Dutch word. That is because the French are probably more savvy when it comes to keeping your feet warm and the Dutch just borrowed the word, pronunciation and all! Pantoufle is a font I made with a big fat marker pen. My kids had used it to decorate some gifts for Sinterklaas (if you want to know what Sinterklaas is, look it up). Pantoufle comes with extensive language support and a full set of alternates for the lower case glyphs. Enjoy!

The Palatino™ typeface was first designed over 50 years ago by Hermann Zapf, and is probably the most universally admired and used of his type designs. In 1950, it was punchcut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt am Main, and then adapted for Linotype machine composition. Zapf optimized Palatino's design for legibility by giving it open counters and carefully weighted strokes, producing a typeface that was legible even on the inferior paper of the post-World War II period. The font 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. It has become a modern classic in itself, and is popular among professional graphic designers and amateurs alike. Palatino works well for both text and display typography. The new Palatino™ Linotype typefaces are OpenType format fonts, which include many newly designed characters in four large character sets; including extensive support for the Latin, Greek, and Cyrillic alphabets, as well as for Central European and many other languages. The Palatino Linotype OpenType fonts contains the following Microsoft code pages: 1252 Latin 1, 1250 Latin 2 Eastern, 1251 Cyrillic, 1253 Greek with polytonic Greek, 1254 Turk, 1257 Windows Baltic, and 1258 Windows Vietnamese. The fonts also include many ligature glyphs, including some historical long s-ligatures, as well as sets of Small Caps, Old style Figures, and vertical & diagonal fractions. Each font contains 1325 different glyphs.

The Trellis font family was an effort to combine my love for Art Nouveau and storybook lettering. The capital letters are intricately illustrated and fully appreciated when magnified. Trellis is a font family decidedly decorative and ready for greeting cards and holiday cheer. I was inspired by Storybook caps for the capital letters, and wanted to combine it with some lettering from early 20th century posters. What are its main characteristics and features? Leaves intertwined and growing out of the ends of the capital letters. Although it's highly decorative, it remains legible. Usage recommendations - Holiday Greetings, scrapbooking, personal seals since the capitals are quite attractive.

A series of lettering guides called “Mimeostyle” for the A. B. Dick Company of Chicago (produced for use in making mimeograph machine printing stencils) were custom manufactured by the Wright-Regan Instrument Company (Wrico). One design featured a sans serif letter produced in Shadow relief, with a touch of Art Deco flair. This is now available as Template Shadow JNL, in both regular and oblique versions.

A roman face designed in the early 1980s by Ed Benguiat for ITC, ITC Benguiat shows a strong Art Nouveau influence. As with ITC Korinna, the stress of the ITC Benguiat font family occurs in the upper half of each capital. This distinctive typeface is particularly useful for display and advertising work. ITC Benguiat® font field guide including best practices, font pairings and alternatives.

KONSTARICA is a serif font with some unique ligatures. It is suitable for branding and can be used for fonts on social media. In addition, it will also be suitable for headline fonts. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Guides to access all alternates glyphs : http://adobe.ly/1m1fn4Y Cheers!

Developed by Adrian Frutiger for Bauer in 1966, Serifa is a slabserif based on the principles that led to the success of Frutiger’s 1956 sanserif, Univers. Glypha, designed by Frutiger for Stempel in 1979, is a version of Serifa with a moderately larger x-height; Stempel has paid royalties on Glypha to Neufville since 1984. Serifa® font field guide including best practices, font pairings and alternatives.

Meet Balisay, A Calligraphy font that is perfect for branding, invitation, stationery, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, special events, and more. Features: Uppercase and lowercase letters 70+ Lowercase Swash alternates Multilingual symbols, numerals, and punctuation How do access swashes alternate? https://sronstudio.com/sronstudio-font-guide/ Any question? Don't hesitate to drop me a message :) Follow Instagram: @sronstudio

This delightfully playful font is based on a single-stroke pen font from the 1922 tome Heberling’s Basic Lettering, and elements of composition, color harmony, gilding, embossing-processes, etc. by Walter A. Heberling. Swoopy, loopy, but never poopy, this font delivers on the fun. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

"Easter Park" is a very cute display font and is perfect for your Easter moments. This font is equipped with uppercase letters, lowercase letters, alternate lowercase letters, alternate uppercase letters, multilingual support, symbols and numbers. This font is very easy to use and there is already a user guide in the preview. Can also be used for posters, stickers, banners, logos, covers, movie titles, and more.

Deco is a minimal, easy-to-read gothic without fuss. Geometry is sharp, strokes are uniform throughout, and characters are slightly condensed. This version is based on wood type of unknown origin, but the design was likely based on lettering from the Art Deco period of the 1920s and '30s.

The Ugaritic alphabet is a script with ancient letters that was used around 1400 BC. Ugarit is an Old Southwest Semitic language and was found in Ugarit, a place in Syria. It has 30 letters. Other languages ​​(especially Hurrian) are sometimes written in the Ugaritic script in the area around Ugarit

British Stencil JNL was sketched from images of a vintage stencil set made by Reese and Sons of England that was being sold on ebay. In truth, this is a semi-stencil, as some of the characters are solid; lacking the breaks in the letter shapes so typical of stencil alphabets.

Who doesn't love Fridays? For many people it is the end of the working week and the start of the weekend. What's not to like? I tried to put all that great vibe into this font - it is charming and clumsy and ready for a party...just like my Fridays...ehh...my Fridays are actually quite simple - no parties or staying out till early morning...been there, did that...now I love my Fridays, just the way they are! :)

The Scaffoldini Family provides four different isometric perspectives and is suitable in use in science, engineering and sci-fi themed projects or however you see fit. The lines are formed by bubbles (or circle bricks in Fontstruct) and appear smoother the smaller the size of the type. These are not straight line segments and the gylphs will appear bubbly (scalloped edges) at larger size. Please be aware of this feature of the font before you purchase.

FA Berlewi is inspired by stencil lettering of a vanguard creator, Henryk Berlewi, who was a precursor of contemporary typography, a painter and a creator of the mechano-facture (Mechano-Faktura) theory. In 1924 he designed a poster for his mechano-facture one-man show in Warsaw Austro-Daimler car salon. An attention-grabbing composition with stencil lettering was doubtless a real innovation and according to Berlewi - the first typographic poster to be made in Poland.

Handsome in its own way, More versatile than one could say. Four alternates to each letter, Because in this family Spontaneity do matter. (And just in case someone wonders, Yes, there are alternates for numbers!) Seven cuts the family holds. Six of them Are for saying with words. And the very last, (Before someone asks) Holds some very cool dingbats. ​Books, app​s​, ​mags, To just name a few, ​Now go with Somehand And try something new​ :)​

This typeface was created as a personal project. Inspired by places like Chattanooga and Berkley, I wanted to create a bespoke typeface family for the US Virgin Islands. I noticed that the typeface Berlin Sans was in use all over the islands, in signs, logos, even on the side of police cars. So I built this typeface from the ground up with the goal of updating an old tried-and-true font into a family with versatile potential.

Download PDF Instructions from https://peggofonts.com/download/Rationell-Instructions_4.59.pdf Behance presentation https://www.behance.net/gallery/88695175/Rationell Rationell is a functional multipurpose corporate typeface, based on classic 1950's swiss rationalism, subtle tuned on a XIX century didonesque modernist structure, a contemporary interpretation with the eyes of the Latin idiosyncrasy. Designed in 12 upright weight with 12 matching Italic, from Hairline to ExtraBlack, average weights (Light to Bold) are easily read on text sizes, printed and digital media, while Hairline to ExtraLight and ExtraBold to ExtraBlack are especially suitable for big contexts like headlines, poster and higher sizes as big as storefronts, monumental billboards or building size printed mesh covers. 40 OpenType features: Standard and Discretionary Ligatures, Lining, Old Style and tabular numerals, scientific and fractional forms, slashed zero, stylistic and contextual alternates (rounded dots, "Il" readability, auto roman numbers, auto group enclosed numbers, slashed zero on alphanumeric contexts), sensitive case, localized forms, glyphs composition/decomposition, access to all alternates. Rationell has a serious but kind timeless look, an ideal voice for corporate publishing, branding, wayfinding and complex technical information systems. It Supports 222 Latin based languages, with +2200 glyphs Rationell is capable to solve the most advanced nowadays global design needs.

The dearJoe series of fonts had it’s origin somewhere around 1999, the year I created dearJoe 1, which was a first (and half-assed) attempt at converting my own handwriting into a working font. Being able to type in my own handwriting had always been a childhood fantasy, and even though I only partly understood the software, a working font was generated and I decided to put it on the internet for people to use. And that’s what they did: at this moment the dearJoe 1 font has been downloaded millions of times and can be found on just about anything, ranging from Vietnamese riksjas, a Tasmanian gym to a fancy chocolate store on 5th Avenue. The font is not something I am particularly proud of, but it started me of in building what later became the JOEBOB graphics font foundry. Inbetween creating other fonts, the dearJoe series has become a theme I revisit every once in a while, trying to create an update on how my handwriting evolved, along with my abilities in creating fonts that mimic actual handwriting. In the last decade or so I started implementing ligatures and alternate characters, which helped a lot in making something that can almost pass for actual handwriting.

Taglio’s name is derived from intaglio, which means “incised carving” or “an impression from an engraving”. Indeed, Taglio looks like an incised engraving with a contemporary calligraphic interpretation. The down strokes start with a single horizontal line that curves into a dual vertical line and ends with the same single line at the base. The dual elongated strokes create a bold overall impression but is literally twice as sophisticated than if the two lines were solid. That was exactly the goal in creating this font. We managed to create a font that is distinctive, elegant, and crisp that is also intentionally stencilled for more flexibility. For instance, it is ideal for laser cutting signage. One of the unique features in using the capital glyphs is that they stack perfectly without losing legibility, primarily because of the slanted ends of the dual vertical lines - see the example “Miami Fashion Week” display ad. Taglio’s unusual style was carefully crafted to come to life at display sizes. It is therefore ideal for use in branding fashion, restaurants, buildings, packaging, museums, signage, etc. An ideal pairing font is our WERK family which can be seen on some of the display ads below. Taglio has a sparkling and sophisticated personality that will absolutely delight!

Created as a logo typeface in 2004 by Francesco Canovaro, Duepuntozero is one of Zetafonts classic typefaces. A monolinear sans serif typeface with rounded corners and condensed proportions, strictly based on modular geometric design, it was at first designed in five weights to be used as a condensed companion typeface to the rounded display family Arista. In 2019 the family was completely redesigned by the Zetafonts Team, expanding the original character set to include cyrillic and greek glyphs and adding four extra weights and italics to the original weight range. This restored and revamped version, named Duepuntozero Pro, also includes full Open Type features for positional figures, fractions and Small Caps. With his rounded, minimal aesthetic, Duepuntozero embodies the desire for simplicity and playfulness of contemporary mobile applications, making it a perfect choice for gaming and app interface design. Its compact design allow for maximum space saving on mobile screens when used as a text typeface, while the strictly geometric design and the extreme range of weights (including thin and black) make it excel in display, logo and editorial use. A complementary set of free icons in the same range of weights of the font is provided to help designers build consistent branding through pictograms in infographics, interfaces and editorial products.

If you like old style type, ephemera or victorian era, you must be collect this font , its combination of old and modern touch ,it so adaptable and thats make an eye catching design. This unique and classic font for signage, label, poster, gold leaf, sign painting, branding and the other graphic design made. Gold shine inspired of vintage advertising and sign shop around the world. Goldshine comes with tons of alternates characters to make more eye cacthy . It is suitable for authentic logos, headings, sign painting, posters, letterhead, branding, magazines, album covers, book covers, movies, apparel design, flyers, greeting cards, product packaging, and more. To make everyone enjoyed Goldshine give you one extras font including ornament and traditional badge. If you use Goldshine with you imagination, you just combine with the another font like script , serif or san serif font and adding some effect finally BOOM..!! you get a great design for your project.

Bourton is the sans-serif cousin to Burford. In addition to a new look, it boasts more layering options, stylistic alternatives, graphic extras and even comes with its own script font! For a hand-drawn look, check out Bourton Hand Okay… so here’s everything you get with Bourton! Bourton Layering Fonts • 6 Base Layer Fonts (Base, Inline, Marquee, Stripes A, Stripes B, Stripes C) • 6 Top Layer Fonts (Base Drop, Dots, Line Light, Outline Light, Outline Medium, Outline Bold) • 6 Extrude Fonts (Extrude, Outline, Shade A, Shade B, Shade C, Shadow) • 5 Drop Shadow Fonts + 5 solo styles (Drop Shadow, Drop Extrude, Drop Line, Drop Stripes A, Drop Stripes B) • 2 Line Fonts for secondary text (Line Medium, Line Bold) Bourton Script • Light • Bold Bourton Extras Ornaments, banners, frames, borders, flags and line break (OTF, EPS, AI with User Guide for OTS) Flourishes (OTF, EPS, AI with User Guide for OTS). Happy Creating!

Lapis was Jim Rimmer's venture into a territory he'd earlier explored with his Lancelot and Fellowship faces. This time he stayed much longer, dug pretty deep, and had plenty of fun in there. The end result is the kind of mosaic of influences only a guy like Jim could consider, gather, manage and apply in a way that ultimately makes sense and works as a type family. On the surface Lapis seems like something that can be billed as what Jim would have called an "advertising text face". But under the hood, it's a whole other story. On top of the calligraphic, nib-driven base Jim usually employed in his faces, Lapis shows plenty of typographic traits from a variety of genres, from Egyptian to Latin, from blackletter angularity to Dutch-like curvature, with an overall tension even reminiscent of wood type. There are some Goudy-informed shapes that somehow fit comfortably within all this. Then it's all strung together with a mix of wedged, tapered and leaning serifs, placed with precision to reveal expert spontaneity and a great command of guiding the forms through counterspace. In the fall of 2013, the Lapis fonts were scrutinized and remastered into versatile performers for sizes large and small. The three weights and their italic counterparts have been refined and expanded across the board to include small caps, alternates, ligatures, ordinals, case-sensitive forms, six kinds of figures, automatic fractions, and a character set that covers an extended range of Latin languages. Each of the Lapis Pro fonts contains over 760 glyphs. For more details on the fonts' features, text and display specimens and print tests, consult the Lapis Pro PDF availabe in the Gallery section of this page. 20% of Lapis Pro's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

A ”modern“ Gothic – designed according to principles of modern form in three variations Faber Gotik is a reminiscence of Gutenberg’s first script from around 1450. The heavily broken forms allow further development in the direction of a modern, strongly geometric and less formal type. It should be possible to push the principle of design so far to the limit that a type is created which, from the very start, extinguishes reminders of a dark past. The characters are composed of squares which are lined up straight or in a more or less slanted manner. The resulting corners similar to serifs were removed so that a sans serif type in the true sense without up and down strokes was created. The principle of ”breaking“ was applied according to the historical model. Even the form of the characters is based on the model from the Middle Ages. Only the characters which cannot be created with the principle described were modeled on today's forms. Faber Gotik includes three variations: - Faber Gotik Text — most similar to the historical model - Faber Gotik Gothic — pushes the applied principle of form the furthest - Faber Gotik Capitals —; a Gothic upper case font, contrary to tradition. 555 years after Gutenberg, interest in black-letter typefaces is nearly extinct. They are especially looked down upon in German-speaking countries because they are still associated with ”Nazi“ scripts. But yet, the very forms of blackletter, Gothic, Schwabacher and especially cursive have enormous potential with regard to the development of new advanced font forms.

Balgin brings back the nostalgic era of 90's. The 90’s were a magical time – a time of the Docs, Game Boys, and Cartoon. As everything that was once old is new again, the 90’s are making a come back. The basic of typeface are from geometric/basic shapes (Triangle, Square, Circle) form. Some character in Display font are modified, like 'R'K' stroke are more dynamic. and the tail of 'g' are more generic. Balgin are available in 3 Flavour Typefaces (Display - Normal - Text) and have 6 different weights (For Normal are available on 5 Widths). Available with Variable Fonts on Balgin Display & Balgin Normal

A few years ago I've discovered the work of one of the most prolific typeface designers of the Bruce type Foundry in NYC during late nineteenth century. Browsing Julius Herriet's work I found a very unique kind of ligatures in his patented "Old Style Ornamented" type design. Some letters were designed with a little top tail that allowed them to connect to each other. After that, I found that he also designed a single italic weight of the same font 7 years later. Since the beginning of the Opentype days I’ve been deeply obsessed with exploring different ways to build ligatures, so that lead me up to this point where I felt the need to create “Plethora”, this new font inspired by Herriet’s work. Extrapolating weights, adding variable technology and playing with additional interconnected letters and alternates. Definitely, Plethora means a large or excessive amount of something, and this font tries to bring back this abundance of details two centuries later. Available in 9 weights, from roman to italic, and also as variable format, “Plethora” supports plenty of latin languages and is a perfect choice for today’s design tides.

After exploring tessellations for several years, I decided to see how many ways I could tessellate puzzle pieces. I began with a square template and used the same asymmetrical shape for all four edges. By flips or rotation each edge could be fitted in four ways. Eventually I discovered that, given this way of forming tiles, there were 15 distinct shapes that tessellate and these shapes can take a total of 96 orientations. (A note in the November 2016 issue of Mathematical Gazette has the proof for the 15 shapes.) This typeface contains those 15 shapes and 96 orientations. A pdf note here shows some of the tilings possible using only one shape in a pattern. An unlimited number of patterns are possible if shapes are mixed. There are two members of the family, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns.)

Vingo is an understated, elegant, sans serif face. This font is among the first in a series of alphabets I am creating that are dignified and sophisticated. I wish these fonts had been available when I was designing wine labels. These fonts are rooted in "old world" tradition, but are more utilitarian. Some of the funky aspects are downplayed, some are enhanced and updated. Any job that requires understated sophistication is perfect for this face. The name comes from the French for wine, "Vin", and "Go" from gothic-wine gothic or Vingo.

Ruth Script is perfect for neon signs, we took as referents some of these signs found in the street, especially those hanging in bars, billiard halls, motels and night clubs, we also took into consideration the Photo-lettering One Line manual to solve ligatures and alternatives (We want to thank Ed Ronthaler for that treasure to study and learn). The scripts can be considered as a compendium of connections, aesthetic and functional alternatives, where all the possible word combination is a universe depending on the language and the user's creativity. We have developed a project that offers to our customers a bridge that connects the brush with the digital typography through a partial vowels and consonants control and ligatures with opentype programming. We know that the scripts make typography users, fall in love. That is why we have created a type font that achieves all the demands and requests for any project where our font can be applied. Ruth Script was designed with patience and love, with the purpose of recovering the work done by those people who have been working as letterer during decades and that have left us hundreds of guides, books and videos. A great legacy! We want to invite you to use Ruth Script in your projects and fall in love with ESTUDIO CALDERÓN's new daughter. ENJOY IT!

The engraver Jean Jannon ranks among the significant representatives of French typography of the first half of the 17th century. From 1610 he worked in the printing office of the Calvinist Academy in Sedan, where he was awarded the title "Imprimeur de son Excellence et de l'Academie Sédanoise". He began working on his own alphabet in 1615, so that he would not have to order type for his printing office from Paris, Holland and Germany, which at that time was rather difficult. The other reason was that not only the existing type faces, but also the respective punches were rapidly wearing out. Their restoration was extremely painstaking, not to mention the fact that the result would have been just a poor shadow of the original elegance. Thus a new type face came into existence, standing on a traditional basis, but with a life-giving sparkle from its creator. In 1621 Jannon published a Roman type face and italics, derived from the shapes of Garamond's type faces. As late as the start of the 20th century Jannon's type face was mistakenly called Garamond, because it looked like that type face at first sight. Jannon's Early Baroque Roman type face, however, differs from Garamond in contrast and in having grander forms. Jannon's italics rank among the most successful italics of all time – they are brilliantly cut and elegant.

The term starboard derives from the Old English steorbord, meaning the side on which the ship is steered. Before the steering wheel, boats were steered by an oar at the stern of the ship. Since most sailors were right handed, this is where you would find your steering oar! Starboard font is a rough, handmade, brushy kinda font. It was, of coarse, made with my favourite cheep brush and Chinese ink - resulting in a slightly eroded looking font. Starboard comes with all the trimmings, including double letter ligatures for the lower case.

Many years ago I created two upside-down typefaces, UpsidedownJJ and UpsidedownTOC. They were based on monospaced or typewriter fonts, and were rotated 180 degrees, which is the same as a vertical flip followed by a horizontal flip. Recently I was reminded that this way of creating an upside-down typeface is not the only way to create an upside-down typeface--a simple vertical flip creates a different one. That is what this typeface is, a simple vertical flip. The original typeface on which this one is based is JetJaneMono.

the rounded font is a slight condensed and fun rounded typeface that comes in three weights: light, regular & bold. all letters are designed in the same line thickness. the fun way that the characters flow makes the font a useful but also unique typeface to use. it works great as both body text and headers. especially when you use the different weights in the right way. as graphic designer sven pels often deletes the dots of both the i’s en j’s to make it unique but also just to break some rules… svenpels.com instagram.com/svenpels

Many years ago I created two upside-down typefaces, UpsidedownJJ and UpsidedownTOC. They were based on monospaced or typewriter fonts, and were rotated 180 degrees, which is the same as a vertical flip followed by a horizontal flip. Recently I was reminded that this way of creating an upside-down typeface is not the only way to create an upside-down typeface--a simple vertical flip creates a different one. That is what this typeface is, a simple vertical flip. The unflipped typeface from which VerticalFlipTOC is derived is TiredOfCourier.

Galle is a very distinctive and specific typeface. It has 356 glyphs that are coherent in their own way. We have two versions to use: regular and italic. It is a display font with very characteristic letters, each of which has been developed separately, but in such a way as to match the rest of the typeface. The inspiration taken to design the cut is Sri Lankan typography - a lot of squiggles and sharp edges, hence the name of one of the prettiest and atmospheric cities in Sri Lanka - Galle.

You remember the time when the Concorde was the fastest passenger plane on earth? When it was possible to travel from Paris to New York in 3 3/4 hours? Those were cool times. Times when cocktails tasted good and you didn’t think of an eventual headache afterwards. Times when you didn’t have to think how to dress because there was only one way. Straight from that time comes CA Magic Hour. A vintage font from a time from which we could learn a lot today. Optimistic and straight forward, it will speed up your designs.

“In some way I was Mr Mamoulian, and someone else was writing and drawing this stuff. He kept sending me these pages. I had to sign my name and pass them off as my own. I had no choice. He was holding my aged mother hostage, you see. I told him when the pages were due and he somehow got them to me. Sometimes he left them in secret locations. I don't remember them at all.” -- Brian Bolland Mr. Mamoulian has four weights with automatic alternating uppercase letters, Crossbar I Technology, and European, Vietnamese & Cyrillic language support.