This font consists of 26 design elements derived and adapated from various architectural works of Charles and Henry Greene who created hundreds of designs for houses, furniture and decorative arts in their own unique interpretation of the "Arts & Crafts" style in the early years of the 20th Century, mostly in Pasadena, California. Many of the picture elements are designed to form distinctive borders, and the variety of designs contained in this font encourages their use in many creative ways.

This typeface is a monoline geometric script, meaning it has some qualities of scripts but is based on geometric shapes like ovals, circles, rectangles, etc. It is decorative and versatile and works well for projects that need to look both elegant or a little whimsical. There are 26 ligatures and 28 alternate glyphs that allow some of the letterforms to curl to the left or the right. Addie has been designed for use as a display typeface.

Cindie 2 is an update of the optical type Cindie Mono. It retains the monospace-stacking system of the original, but some letters have been redrawn. It also now includes a lowercase and Cindie 2 has a script accompaniment (which isn’t mono and should be used with Contextual Alternates turned on!). Good for posters, branding and headlines, Cindie 2 has 26 monospaced widths which will fit any job. Cindie 2 also comes as a Variable Font.

Soma is inspired by the Soma cube and the work of MC Escher. The font uses geometric patterns to create “impossible” glyphs. Some can be easily imagined; others bend the mind. Many alternate versions of glyphs have been provided for additional design possibilities. This is my 2nd most popular font at Dafont with over 50,000 downloads. The original set was 26 basic characters (A-Z), repeated for uppercase and lowercase. Now the set is almost 300 glyphs.

Font 'myoungwon' is a 'colorfont' that contains a color(Gradient) other than the existing one of a single color font. You can use it on Photoshop(since CC 2017), illustrator(since CC 2018), InDesign(since cc 2019), QuarkXpress(since 2018), Pixelmator(since macOS 10.14 Mojave), Sketch(since macOS 10.14 Mojave), Affinity Designer(since macOS 10.14 Mojave), Paint.NET(windows only), Microsoft edge(since 38 on windows 10), Safari(since 12, macOS 10.14 & iOS 12), Firefox(since 26), and so on.

Dinghy is a shore thing. Like three fonts in one, Dinghy sports a friendly, bold lower-case, a salty, strong upper-case, and in all-caps with discretionary ligatures turned on, Dinghy is tightly interlocking. Turn some ligatures on, others off, to craft the look you want - whatever floats your boat. Dinghybats contains 26 original Amy Dietrich seaside illustrations from curious ocean animals to dune grasses to, well, dinghies.... So enjoy making waves with Dinghy family!

Bakerie is a family of 42 fonts designed to be a hard-working, genuine handmade set of scripts useful in a variety of settings. The lighter weights evoke a signature quality and elegance, while the heavier weights are bolder and more playful. Choose from either a rough edge or smooth edge to fit the need. Multiple stylistic alternates, standard and discretionary ligatures, and swashes allow you to customize your typography for an even more authentic, handwritten look.

This typeface was originally designed in 1930 by W.A. Dwiggins as the cover for the book American Alphabets by Paul Hollister. Only the 26 letters of the alphabet were included on the cover, so the rest of the numbers, punctuation, symbols, and accented characters have been crafted in a matching style. This strongly geometric Art Deco lettering style has been lovingly revived and is now available as an OpenType font. Over 3,300 kerning pairs are included.

Socialite JNL takes its cue from the Art Deco style of the 1930s with its clean, angular lines and stylized letter shapes.

What happens when you write small characters with a huge marker? The answer is MarkerMoe; very irregular handwriting that's only just readable.

Cybersky is a sharp, angular, futuristic font in a retro style. Perfect for sci-fi themes, night street race and space adventures!

An unusual angular vertical script. In late Victorian times it was seen mostly in advertising work, seldom in social stationery and announcements.

A loosely-written, slightly irregular but very legible handwriting style. Useful for the personal touch on menus, advertisements, greeting cards, flyers etc.

Zomsenso is an angular, semi-modular typeface that supports OpenType alternates. The angular part means that the entire* font uses only angular segments and shapes. The alternate glyph shapes are under Stylistic Set 01. This font includes Seven Segment display (U+E000 to U+E07F) and arbitrary fractions (U+E1nd, n=numerator; d=denominator) that are mapped to the Private Use Area, so users can easily insert them via Unicode input. You can combine these fractions with the superscript and subscript numerals to create more fractions. This font can be used for essays, signs, logos, posters, commercial projects, videos, and many more. *except the circles in the Geometric Shapes block, which are still round

Cyclic is a stylish and modern slab serif in three practical, highly legible weights. The name ‘cyclic’ suits this typeface in several ways. Firstly because I wanted to create an ‘all-round’ typeface (pun intended) that could adapt to most applications, but also, as the dictionary definition explains - “occurring in circles, regularly repeated”. The basis for a lot of the characters did begin with a circle or sections of one; the equally distributed, rounded forms of this font are complemented however by the vertical strokes, and further counter-balanced by angular slab serifs on the remaining glyphs. Curved alternates with a celtic vibe are also included in the fonts and feature on the default slots in the separate Cyclic Uncial set. In summary, the whole Cyclic type family comprises a combined palette of circles and straight lines; something the cubist movement would have been proud of!

Cyclic is a stylish and modern slab serif in three practical, highly legible weights. The name ‘cyclic’ suits this typeface in several ways. Firstly because I wanted to create an ‘all-round’ typeface (pun intended) that could adapt to most applications, but also, as the dictionary definition explains - “occurring in circles, regularly repeated”. The basis for a lot of the characters did begin with a circle or sections of one; the equally distributed, rounded forms of this font are complemented however by the vertical strokes, and further counter-balanced by angular slab serifs on the remaining glyphs. Curved alternates with a celtic vibe are also included in the fonts and feature on the default slots in the separate Cyclic Uncial set. In summary, the whole Cyclic type family comprises a combined palette of circles and straight lines; something the cubist movement would have been proud of!

Fortima is a 12 style angular sans serif that utilises subtle modular shapes, designed by Stew Deane. The result is a font with character that adapts to a variety of sectors and brands, and is suitable for anything from advertising and branding to web and screen. The angular shapes help create a unique aesthetic that are instantly recognisable and have impact and character in large or small sizes.

As designers, we seek perfection and originality. The more we step back and look at our work, the more changes we tend to find necessary. Drastic modifications are inevitable. The same is true of Grayfel. Grayfel began as an exercise at insigne to explore the crowded space of neutral sans. While the world of sans serifs is admittedly crowded, I still managed to find something new and different. The final Grayfel consists of 42 full-featured OpenType fonts containing three widths: Regular, Condensed, and Extended. Every width consists of 14 fonts--seven weights with matching italics, making it a good companion for setting clear text and headlines for print and screen. OpenType features are also available. There’s figure choices, such as proportional and old style figures. Additionally, Greyfel includes sophisticated typographic attributes: ligatures, fractions, alternate characters, small caps, superscripts and subscripts. Its extended character set supports Central, Western and Eastern European languages. Optical compensations also mean the outcome of this family is a hybrid of humanistic proportions. It’s a well-finished design with optimized kerning gives it a friendly look. If you like sans serifs within the tradition of Futura, Helvetica, Avant Garde and Avenir, then you’ll love Greyfel, too. Grayfel works well in a variety of applications. Subtly neutral yet fun, it’s suitable for headlines of all sizes as well as for text. Put it to the task for marketing, packaging, editorial work, branding and even on-screen projects. Try it out: it’s not just fun and playful; it’s Grayfel.

Inheriting the beauty and style of old type classics from this genre, Jeles is blended with very elegant modern approach featuring soft corners, round slab serifs and tasty ball terminals. Jeles is designed mostly for display use and it is highly recommended to get the whole family if you want to get the best result. It is designed in two styles Condensed and Normal. The Condensed version is developed in two weights each coming with corresponding italics. While the Normal styles are three ranging from Regular, Bold and Black. The total of 7 separate fonts inside the family are quite enough if you look for diversity and flexibility at one place. You could use the uprights for more serious and strong headlines while the Italics work perfectly for more fresh and live subheads. Of course editorial design is only one of the many directions where Jeles family could be used successfully as we all know typefaces with so visible contrast between thin and thick and combined with classic elegance, could be easily used in every design of cosmetic industry, fashion, food, jewelry, etc. Try to design a stylish boutique shop signboard and you will surely discover its beauty and potential. Easy-to-read, it is good for print design, revealing its authentic letterpress-like character as well as perfect for screen use note that the thin strokes and serifs are not that thin to vanish on a low resolution monitor. Professionally designed, they are solid enough yet very elegant and even gentle making Jeles a desired family design of attractive web banners, web sites, apps and e-books.

Evanston Alehouse is the first font in a larger collection of typefaces inspired by years leading up to the American prohibition. For the past two years I was living in Evanston, IL, a suburb of Chicago. After learning it was one of the birthplaces of the prohibition movement, I set out to learn more about it, and decided to develop a type collection that captures the dynamic era in our nation’s history. In the century that prefaced the ratification of the 18th amendment, saloons, taverns and alehouses boomed as the American working class enjoyed beer and discovered whiskey and gin. At the same time, the Temperance League was forming and gaining strength. By the turn of the century, these temperance societies were common in the culture of the country, with individual towns and states already on the move to abolish alcohol consumption. However, it was undeniable that by this time in history, America loved to drink. This font is inspired by the signage seen outside such drinking establishments. Back to the modern era, Evanston Alehouse is a 25 font family that includes 3 weights, 4 widths and 3 heights. It has special features that add depth to the font, with discretionary ligatures and stylistic alternatives. It also includes a complementary set of ornaments, including line breaks, frames, borders, and laurels. Here’s a snapshot of what you get with Evanston Alehouse: 2 Styles/Postions: Sharp (regular) and Round 3 Weights: Light, Medium and Black 4 Widths: 1826 (condensed), 1858 (narrow), 1893 (wide) and 1919 (expanded) 3 Heights: Capitals, lowercase and small caps 2 Alternatives: Discretionary Ligatures and Stylistic Alternatives 1 Ornament font with over 100 graphic extras

Robson is a fluid, condensed, uppercase font made up of eight weights, as well as a variable, that will provide instant visual impact to your projects. The font is made up of 486 glyphs which features extensive language support & stylistic alternates to give your designs the versatility they require. The font has a retro edge to it by using rounded structures on the A, M, N, W and Y glyphs that are reminiscent of posters and promos from the 70s and 80s. The ultra tight thin weight is made to be used at super sizes to bring a focal point to your designs. Robson is meant to be seen big (well, he's a bit of a show-off) Robson is perfect for your digital, print or branding projects. Or, for a poster on your fridge that says "You rock".

Olivera has Stylistic standard, Stylistic Initial, Stylistic Teminal and ligatures and includes uppercase and lowercase letters, numbers and punctuation marks. Multilingual Support OpenType smart programs such as Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. A total of 462 Glyphs: Ligatures: Ju Ct ff Cl all gh of ck tt ut nt ak ll pp il rt it ot st at rr om mm ar ss as or ox ow on tt ut ut Ct st at ot rt it Cl Swashes access: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z 7 alternative sets access: a b c d e f g h i j k l m n o p q r s t u v w x y z

Besley Clarendon ML is our version of the Clarendon registered by Robert Besley and the Fann Street Foundry in 1845. Besley Clarendon ML represents a significant change from the slab-serif Antiques & Egyptians that had become so popular in the prior three decades. Like Caslon’s Ionic of 1844, it brackets the serifs and strongly differentiates between the thick and thin strokes. Besley Clarendon is also what today is considered a condensed face, as a comparison to the various contemporary Clarendons will show. Robert Besley’s Clarendon was so popular that many foundries quickly copied it, a fact that caused him to complain vigorously. The reason it was so widely copied is simple ó it was extremely useful. It provided the attention-getting boldness to highlight a word or phrase, yet at the same time was compact and easier to read than the fat faces and antiques of the period. It wasn't until sixty years later that the concept of a typeface family of different weights was developed with DeVinne and Cheltenham. Until then, Clarendon served as everyone’s all-purpose bold face. It can be used for ads, flyers, headers or even short text. Don't leave home without it. Besley Clarendon ML includes the following features: 1. Glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 353 glyphs. 158 kerning pairs. 2. OpenType GSUB layout features: pnum, salt, liga, dlig, hist and ornm. 3. Inclusion of tabular (std) and proportional (opt) numbers. 4. Kreska-accented letters.

Released on the occasion of the 2012 London Olympics, Olympukes 2012 was a new set of pictograms telling the ‘real’ story of the Olympics and extending the unofficial project that began in 2004. The occasion of the London games provided an opportunity to revisit the complex contradictions of the modern Olympics and to acknowledge the geopolitical shifts of the intervening eight years. The 2012 games arrived at a time of great economic and political uncertainty for the nation and Europe. Greece – the host of the 2004 games – was now located at Ground Zero of a disintegrating Eurozone and the United Kingdom was two years into a programme of austerity enacted by the coalition government of Conservatives and Liberal Democrats. Given that the previous London Olympics had been held in 1948, in a climate of recovery and austerity after a devastating World War (1948’s Olympiad was dubbed the ‘Austerity Games’) there was a sick irony to the 2012 games' arrival. The suppression of human rights in order to deliver the perfect games for PRoC’s Beijing games shocked no-one and yet, in London, the security measures seemed grossly excessive. Then again, in a country with an estimated 1.8 million cctv cameras, perhaps we shouldn’t have been so surprised. Another aspect of the Olympics that returned for 2012 was the unfettered commercialism – if you think the Games are about pure sport, about noble human endeavour, think again. Please note that Barnbrook Fonts is in no way affiliated with, or has received any endorsement from, the International Olympic Committee, the organising committees of the Olympic Games, or any national Olympic committee.

Vette Letters are thrilled to add maverick designer Dirk Uhlenbrock to the family, with the release of VLNL Bromfiets. Bromfiets (the Dutch word for moped) is a ‘holiday child’, the basic idea coming from a stop at a road junction in the Dutch coastal province of Zeeland. The Dutch signage, the black and white rings of traffic light poles, the symbols for brom- and snorfiets have always appealed to Dirk. While on vacation in Zeeland the first scribbles and digital drafts were created, always in mind that the typeface had to be striking, clear and friendly. The end result is more than that, a strong and instantly recognisable font with a matching dingbat weight full of icons and arrows. Stencil fonts have always interested Dirk, the informal character and the possible universal use as a paint- or spray-stencil on a wide variety of surfaces makes this type of font so interesting for me. The technically necessary dissolution of closed font contours always ensures a special aesthetic: What’HAT and HOW MUCH has to be removed or left, in order to make words easy to read and to avoid a fractal impression. Dirk Uhlenbrock has been working as graphic designer and illustrator in his hometown Essen, Germany for over 30 years. Always interested in typedesign he got in contact with Fontographer in 1996 and started to create and distribute loads of free fonts through his online platforms ‘Eyesaw’ and ‘Fontomas’. A bunch of these type experiments have been extented on request to complete fonts. Still located in Essen in 2009 Dirk started his second owner-based business erste liga büro für gestaltung - ersteliga.de