Introducing Leal serif typeface - regular and italic fonts Leal is long and retro typeface loaded with 2 fonts, alternate glyphs and multilingual support. It's a very versatile font that works great in large and small sizes. This font is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. FEATURES Uppercase, lowercase, numeral, punctuation & Symbol regular italic alternate glyphs Multilingual support No special software is required to type out the standard characters of the Typeface. Canva friendly How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

hello creatives Introducing the Rustel Pocket inspired by graffiti style with throw ups style which has a unique appearance with additional variations of extrude, line, regular and outline lines. accompanied by additional ornaments that you can customize your own style. can be applied like, t-shirt design, sticker, image style etc. See also a tutorial using this font here:https://www.youtube.com/watch?v=HCFBL3VMmd0 FEATURE; -Uppercase. -Support Foreign, Numbers and Punctuation. -Regular, extrude, line, outline and ornament -Works on PC. -Simple installation. -Accessible in Adobe Illustrator, Adobe Photoshop. Adobe InDesign, it even works in Microsoft Word. -Fully accessible without additional design software. Rustel Pocket is coded with Unicode PUA, which allows full access to all additional characters without having to design any special software. Mac users can use the Font book, and Windows users can use the Character map to view and copy any extra characters to paste into your favorite text editor/app. Thank you for visiting ;)

THE END IS NIGH! Judgment Day has come and this planet has been CONDEMNED! Do not conspire to hide what remains of your paltry world from my eyes! Know you not that NONE may thwart my will? Of what import are brief, nameless lives -- to DOOMSDAY?? Death is Certain! Apocalypse is UNAVOIDABLE. At last, my cosmic hunger will be sated, if only briefly! This planet shall SUSTAIN me until it has been drained of all elemental life! SO SPEAKS DOOMSDAY! But do not fret. Even if the Domesday Book has been closed on your planet... your utter destruction is being made available in Font form, I call it IF THIS BE DOOMSDAY, and I will deliver it to you via comicbookfonts.com in Regular, (Roach) Chew and Outline weights. Never let it be said that DOOMSDAY is without mercy. Features: Three weights (Regular, Chew & Outline) with small cap characters and Western & Central European international characters.

Introducing The new "Interind Diary" script font. A fashionable and super-chilled new handwriting font script with sexy stylish. Interind Diary font was created to look as close to a natural handwritten script as possible by including over 134 ligatures, and lowercase alternates.Comes with two styles of Regular and Italic. Mix and match lowercase regular with several lowercase alternatives to get your new ligature. Perfect for any awesome projects that need hand writing taste. With built in Opentype features, this script comes to life as if you were writing it yourself. It's highly recommended to use it in opentype capable software - there are plenty out there nowadays as technology catches up with design ... Other than Photoshop, Illustrator and Indesign, many standard simple programs now come with Opentype capabilities - even the most basic ones such as Apple's Text Edit, Pages, Keynote, iBooks Author, etc. Even Word has found ways to incorporate it. Thanks for checking out this font. I hope you enjoy it! AminMario

CA Texteron is a modern text font family to cover the most common typographical needs with a minimum of weights. It is aiming for a serious but unconventional look, which is achieved by combining round and edgy forms in the same font, often in the same glyph, and by using Humanist and modern form-principles at the same time. It merges classical type-design with an experimental spirit. CA Texteron combines elements of the dynamic renaissance principle with the static neo-classic style, which makes it hard to classify. The result is a post-modern hybridization. The Regular weight works best in text size, and with more letter-space also for footnotes. The low contrast makes it robust and legible even in very small sizes. Bold, Italic and Small Caps are intended for emphasis. Bold, Bold Italic and Heavy make good headlines, that reveal the unconventional details. The Italic is not just a slanted version of the Regular weight but has individual forms and typical italic characteristics.

Beckan is a retro inspired typeface, which leans towards the Art Nouveau style. The Beckan typeface has a high-contrast and a thin hairline, this gives the typeface a bold and modern retro look. The Beckan typeface comes in two styles, Regular and Oblique. The Beckan typeface can be paired with a minimal sans serif or light script font, this combination will give your next project a unique look. The Beckan typeface is very versatile and can cover a wide range of project such as: branding, mastheads, magazines, logos, facebook banners, Instagram posts, websites, blog posts, pull quotes, product packaging, advertisements and much more. If you are looking for something bold and retro for you next project, Beckan is the font for you. WHAT YOU GET: Beckan Regular Beckan Oblique BECKAN INCLUDES A FULL SET OF: Uppercase and lowercase letters. Numbers. Punctuation. Multilingual symbols. We hope you enjoy using the Beckan typeface.

Visiting the end of 2018, we launched "Controwell Victorian Typeface" which adheres to Serif and Script style. Controwell Regular has 2 layers that give a cool metal effect. Besides that, there are many alternative character choices that suit your taste. This charming Controwell Script is very well suited combined with Controwell Serif Regular. the elegant and unique impression looks very hard. just like the serif font, this script also has many alternative character choices, up to "SS10" and 600 glyphs. You create designs with modern Victorian themes or classically themed themes that are suitable for collecting Controwell Victorian Typeface, in addition to many choices of your character is also very easy to use. just choose and change some characters, the design that you design is ready to be printed or published on social media. This font is very suitable for logotype design, packaging design, beer design, vodka, whiskey label, poster design, victorian book cover and design.

Audrey is an elegant monolinear Script and Sans font family. Audrey is great for designing headlines, packaging or as a logotype online or offline. Audrey has three weights of Script and Sans and a set of Ornaments. The weights go following: Regular is twice and Bold is three times as wide as Thin so if you want to have an Ornament example with same stroke width as Script you can set the Script in 36pt Regular and Ornament 72pt Thin -and they’ll have exactly the same width. Audrey Script is packed with OpenTtype features: Keep Standard Ligatures on for smooth connections and try Swash, Stylistic or Titling Alternas for more showier letters or seek for even more alternates from the Glyph Palette. Script also has Lining numerals as default and Old Style numerals as an OpenType alternates. Audrey is a close relative to widely popular Cosmopolitan released earlier by Fenotype. Compared to Cosmopolitan Audrey has more geometric forms and bigger lowercase characters with larger x-height.

Newston is a minimalist, elegant serif font. It is beautiful and playful with 4 styles available. It is made with a medium contrast of the strokes that allow you to create more than a headline. The spacing is adjusted a bit tight that possible to fill empty space on your modern or typographic design. Newston also complete with some stylistic alternates that allow you to create the more beautiful design. Inspired by minimalist and decorative style, Newston has expanded to 4 styles : - Regular : Recommended for magazine cover, poster, flyer or website header. - Italic : Looks good to maximize the foreign language, verbal or motion effect. - Outline : Very good to combine with Regular to get some joyful effect. - Inline : The strong strokes and empty space, gives the art deco style. Good for a logo. Overall, Newston is flexible to apply in many styles such as minimalist, decorative, hipster, luxury, vintage and editorial. You can use this font for a t-shirt, corporate identity, magazine, banner, billboard, or storefront.

The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate A (Antiqua), Corporate S (Sans Serif), and Corporate E (Egyptian) is a design program of classical quality, perfectly in tune with each other. Weidemann says: “My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography!” Initially exclusively designed for DaimlerChrysler as a corporate font, the ASE trilogy may be now licensed and used without restriction. URW++ digitized the ASE for DaimlerChrysler and Prof. Weidemann and is the exclusive licensing agent for this outstanding and extremely popular typeface program. Meanwhile, URW++ enhanced the Corporate ASE family in regular, bold, italic, and bold italic by Greek, Cyrillic, and all additional Latin characters to cover Eastern Europe including the Baltic Rim, Romania and Turkey. Corporate ASE in regular, bold, italic, and bold italic is now available in the WGL 4 character complement.

As a beautiful yet eccentric unconnected script, Milroy Upright SG Regular can be a refreshing alternative to the formal upright scripts seen on so many anniversary and wedding announcements today. This nineteenth century classic was designed by Max Rosenow and Julius Schmol for Barnhart Brothers & Spindler in 1895. Milroy Upright was originally known as Oliphant. It was later renamed Advertisers Upright Script in 1925. This new version, Milroy Upright, contains many new alternative characters including a modified cap X and cap Z, a two-story lowercase g, and a matching set of oldstyle figures. Milroy Upright SG Regular is now available in the OpenType format. Some new characters have been added to this OpenType version including stylistic alternates, discretionary ligatures, and oldstye figures. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Introducing Syntage – a brand new serif with all the nostalgic vibes! I've started seeing classic, tightly-spaced serifs of the 80s & 90s making a comeback, and wanted to create the perfect one for you too! Syntage is a beautifully nostalgic upper and lowercase typeface and has 80+ Special Alternates that looks incredible in both large and small settings as a display and body text. I've been loving combining the Regular and Outline, whether all in word or in body text! What's Included? Syntage Main File 80+ Special Alternates Regular and Outline version Instructions (Access special characters in all apps, even in Cricut Design) Accessible in Adobe Illustrator, Adobe Photoshop, Microsoft Word even Canva! PUA Encoded Characters. Fully accessible without additional design software Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Thank you Dharmas Studio

Stencil fonts often evoke rigid and sterile images such as packing crates or military vehicles, but Super Duty is somewhere between serious and fun. Super Duty is designed with sharp mechanical angles which give the letterforms a square-jawed and ready-for-action feel. A rounder companion version is included that has the sharp edges smoothed out. Unlike most stencil fonts this one has a lowercase that matches the strength of the uppercase. The lowercase has been designed with an x-height equivalent to the cap height and barely protruding ascenders so that the user can interchange the upper and lower letterforms for a funky graphic effect. Super Duty is a robust and versatile stencil font family of 25 fonts — sharp and round variations with closed versions in 2 weights each. These are provided in 3 widths — regular, narrow and condensed. Super Duty includes a text version that has more regular proportions and letter forms for a well rounded display font system.

Type designer Hannes von Döhren created Klint. A sans serif typeface with a technical appearance and humanistic streak. The family includes five weights; each weight ships in three widths: condensed, regular, and extended. All of the 15 Klint variants have a companion Italic, rounding out family at 30 fonts. Klint's large x-height makes the design especially legible at small point sizes. In today's day and age, appliance manufacturers and/or companies in the mobile phone, computer hardware and software or Internet sectors are becoming ever more important. Klint fills the rising need for superfamilies with a technical feeling that are also legible in both text and display settings. Through conspicuous letters like R, K, k, or g, as well as the independent nature of its Italic, Klint exudes an ethos that separates it from the competition. Longer text passages in brochures, catalogs, or magazines would be well served by Klint's Light, Regular, and Medium weights. The heavier cuts are optimized for poster settings and headlines."

Uniform Rounded is a type family based on the 2014 Miller Type Foundry release, Uniform. This superfamily is comprised of three widths (regular, condensed, and extra condensed) each with six weights. The result is a fun and playful typeface that is extremely versatile and is a great asset for any project on any medium. Uniform Rounded is a multi-width geometric type family designed around the circle. The O of the Regular width is based on a circle, the O of the Condensed width is based on 1.5 circles stacked (with straight sides) and the O of the Extra Condensed width is based on two circles stacked with straight sides as well, and all other characters are derived from this initial concept. This unique idea creates a remarkably fresh type family that bridges the gap between circular geometric typefaces and condensed straight-sided typefaces. Uniform Rounded also includes many opentype features like Old Style Figures, Tabular Lining Figures, Alternate characters, Ligatures and more.

The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate A (Antiqua), Corporate S (Sans Serif), and Corporate E (Egyptian) is a design program of classical quality, perfectly in tune with each other. Weidemann says: “My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography!” Initially exclusively designed for DaimlerChrysler as a corporate font, the ASE trilogy may be now licensed and used without restriction. URW++ digitized the ASE for DaimlerChrysler and Prof. Weidemann and is the exclusive licensing agent for this outstanding and extremely popular typeface program. Meanwhile, URW++ enhanced the Corporate ASE family in regular, bold, italic, and bold italic by Greek, Cyrillic, and all additional Latin characters to cover Eastern Europe including the Baltic Rim, Romania and Turkey. Corporate ASE in regular, bold, italic, and bold italic is now available in the WGL 4 character complement.

Zalika is an exquisite italic calligraphy handwritten font that exudes a classic and timeless appeal. The font is inspired by the traditional italic style of calligraphy, bringing back the nostalgic memories of this beautiful writing art form. Zalika offers two options for a more versatile design: Regular and Rough. The Regular option is sleek and smooth, while the Rough option provides a more textured and hand-drawn appearance. This variety in options allows designers to choose the perfect look for their project. The font also features beautiful flourish alternates that add a touch of elegance and sophistication to any design. These alternate characters offer an array of choices for the perfect flourish and allow designers to personalize their creations with a touch of uniqueness. Overall, Zalika is an exceptional font that blends the classic beauty of italic calligraphy with a contemporary style. Its elegant curves and beautiful alternates make it perfect for invitations, wedding stationary, logos, and any project that demands a touch of sophistication and charm.

Bilderberg is a luxurious bold, serif, display typeface. It comes in 2 styles, Regular and Italic, and includes many alternates with swashes that can make your lettering / logotype become more interesting. The clean and neat of a serif combined with the swirl swashes makes this font very attractive. This font fits perfectly for logos and the other various formal forms such as invitations, labels, magazine headers, books, greeting/wedding cards, clothing, branding, product packaging, fashion, make up, quotes, stationery, novels, labels or any type of advertising purpose. Features : 2 styles (Regular and Italic) uppercase & lowercase numbers and punctuation multilingual ligatures stylistic alternates swashes PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. How to Access Alternate Characters: Open glyphs panel: -In Adobe Photoshop go to Window - glyphs -In Adobe Illustrator go to Type - glyphs Thanks & Happy designing

Fishwrapper is a three-member font family (Regular, Bold, and Italic) designed to replicate the look of authentic vintage newspaper typography. The fonts are rough and are meant to be used at newspaper sizes. All three fonts have a complete alternate alphabet built in: using the contextual alternates feature will automatically substitute alternate versions of most glyphs, so that identical characters do not appear side by side, thus helping to create the look of metal type. Fishwrapper Regular has a complete set of small caps built in. Each font features assorted rule lines and other decorative material, many accessible through the discretionary ligature OpenType feature (three em dashes in a row, for example, will become a rule line), as well as fractions and a full international character set. Used in conjunction with some of E-phemera's vintage headline fonts, the Fishwrapper family is intended as a complete vintage newspaper and job-printing type solution.

Lonely Heart Font Duo is a fancy font. which comes with a combination of modern and elegant fonts, namely Script and Sans style. You can combine them to create beautiful typography. This handmade style makes it perfect to use in all your design projects be it logos, labels, packaging designs, blog titles, posters, wedding designs, social media posts, Instagram designs, invitation cards, art quotes, home decor, book covers/titles , etc. Here's what's included: Lonely Heart Regular / Bold Script • Elegant and realistic Script font contains 108+ ligatures and substitutes, lowercase, uppercase, all punctuation & numbers. Regular / Thick Lonely Heart • Sans font with upper and lower case, all punctuation marks, numbers and Language support Language support • Lonely Heart supports the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian. I hope you enjoy this font. If you have any questions, feel free to message me :)

Hello Girlfriend Font Duo is a fancy font. which comes with a combination of modern and elegant fonts, namely Script and Sans style. You can combine them to create beautiful typography. This handmade style makes it perfect to use in all your design projects be it logos, labels, packaging designs, blog titles, posters, wedding designs, social media posts, Instagram designs, invitation cards, quote art, home decor, book covers/titles , etc. Here's what's included: Hello Regular Girlfriend / Bold Script • Elegant and realistic Script font contains 108+ ligatures and substitutes, lowercase, uppercase, all punctuation & numbers. Regular / Bold Hello Boyfriend • Sans font with upper and lower case, all punctuation marks, numbers and Language support Language support • Hello Girlfriend supports the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian. I hope you enjoy this font. If you have any questions, feel free to message me :)

The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate A (Antiqua), Corporte S (Sans Serif), and Corporate E (Egyptian) is a design program of classical quality, perfectly in tune with each other. Weidemann says: "My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography!" Initially exclusively designed for DaimlerChrysler as a corporate font, the ASE trilogy may be now licensed and used without restriction. URW++ digitized the ASE for DaimlerChrysler and Prof. Weidemann and is the exclusive licencing agent for this outstanding and extremely popular typeface program. Meanwhile, URW++ enhanced the Corporate ASE family in regular, bold, italic, and bold italic by Greek, Cyrillic, and all additional Latin characters to cover Eastern Europe including the Baltic Rim, Romania and Turkey. Corporate ASE in regular, bold, italic, and bold italic is now available in the WGL 4 character complement.

Brighten is the new family font composed of Brighten Regular and Regular Italic, Brighten Round and Round Italic. With the total number of 606 glyphs, Brighten is the perfect blend of elegant and casual. Brighten is equipped with plenty of OpenType features. Uppercase letters can alternate between at least two or three different forms and lowercase letters have leastways four choices more to avoid repetition. These effects include start and end forms of lowercase letters, which are automatically substituted in at beginnings or ends of words. To activate the optional glyphs,  you may click on Swash, Contextual, Standard Ligatures, Stylistic or Discretionary Ligatures buttons in any OpenType savvy program or manually choose the characters from Glyph Palette. Also, there’s some ornaments designed to support the font (access the ornaments through the Glyph Palette). The Brighten family font might be the choice to use on creating headlines, logos & posters for branding and packaging purposes.

Bandung is home to numerous examples of Dutch colonial architecture, most notably the tropical Art Deco architectural style. This typeface was adapted from the finest Art Deco landmarks and signage in Bandung, Indonesia and strongly added native elements of traditional Art Deco typefaces style. The main character is an example of a harmonious mixture between West and East architectural styles, repackaged into the Art Deco type design. With two different styles, it comes as regular and Deco styles, the regular style is constructed with all caps setting, with some different characters between uppercase and lowercase. The Deco style uses more stripes in the right shapes, it was naturally inspired with the most common art deco typefaces. The additional Opentype Features loaded in this typeface; some stylistic alternates, accessible catchwords in the discretionary ligatures, and the art deco ornaments, This typeface is highly usable with large scaling size and will fit with posters, movie titles, and signage designs.

We present "Sibre," a flexible and dependable serif family font that is ideal for any design project. This font family offers a wide range of possibilities for headers, subheaders, body text, captions, and displays. A total of 16 fonts are available, including 7 regular weights, 7 italics. 1 regular varible and 1 italic variable The font "Sibre" has a flexible appearance and a distinctive, quirky, and memorable name. It can be either feminine or masculine, glamorous or elegant, or anything in between, depending on your design. A variety of uses are considered in the design of Soulkind. It works perfectly for both contemporary digital designs and classic print media like books and newspapers. Furthermore, this font family is multilingual and supports a variety of languages in Latin. All in all, the Sibre font family is adaptable, authoritative, and created to make your content stand out. It doesn't matter if you're designing a website, a brand identity, or anything else—Soulkind is the best option.

This font was created while looking at the various shapes my handwriting consistently took, especially in the ways that letters would have breaks in them. Over the course of a few months I continually tweaked the letter forms and shapes, and lo and behold, I developed Deco Sans. This family currently only includes a thin weight, as I'm only one person, and very busy with college. I'm continuing work on a regular, bold, and possibly a future italic weight, but these may not be released for many months to come. As this is a very thin font, it should be used at sizes no smaller than around 16 or 18pt as it tends to get lost in whitespace, and looks best at large sizes. As such, this weight should be considered more of a display font than a text font, however, I predict a regular weight to be very readable and much more useable for the everyday.

Big River is an elegant sans serif and handwritten font duo with lots of extras. It includes: - A wide sans serif font in three weights (with caps and small caps); - A handwritten font with a regular and slant version, and bonus swashes to give your designs a more natural look. Each font includes: - A-Z, a-z, 0-9, accents, punctuation and symbols - Contextual alternates (script) - Ligatures (script) This font duo makes it so easy to achieve beautiful and eye-catching designs, and is perfect for both short and longer texts. It can be used for making postcards and notes, creating logotypes, social media posts, branding and packaging, etc. Please note: No special software is needed in order to access the extras, as they are in a different font file. You can simply access them directly in your font bar (a-z for terminals in regular, A-Z for terminals in italic, and 0-1 for squiggles).

OmegaPixel Font Description I created this font for the game Hyper Ninja Blast (but made it useful to all kinds of games!). While creating the game, I searched for pixel fonts, but could not find a suitable one. The fonts were generally ugly and lacking the basic variations (italic and bold). So I decided to create my own pixel font. Just as pixel art can be better than a high-resolution painting, so pixel fonts don’t need to be always worse than traditional fonts. In OmegaPixel I tried to achieve elegance, readability and flexibility within the limitations of a 6 pixel x-height. With 4 versions (regular, italic, bold and bold italic), and a neutral feel, OmegaPixel can be used in any genre of games. Considering the general lack of money among indie game devs, I’m giving the regular version for free! For inspiration, I often remebered Minion’s lowercase ‘a’, Galliard italic lowercase ‘g’, and the calligraphy of Chinese emperor Huizong.

Didonesque Script has the flair of a script typeface, yet retains the rigid structure and incline of its cousins in the Didonesque family. This makes for an interesting approach – the flamboyancy of this script is restrained which resonates a distinctly reserved and formal tone. This typeface is perfect for formal occasions, with its main intent for use in short runs of text, headlines, branding and logo applications. Open Type features are utilized to good effect – positional forms, contextual alternates, ligatures, stylistic alternates, and old style figures all add value to Didonesque Script. There are four weights, from delicate to voluptuous (Regular, Medium, Bold, and Black), which are replicated in “Display” versions – these are designed for use at larger point sizes. Key features: • 4 weights in two styles – Regular and Display • Positional Forms (when activated) ensure the correct glyphs appear in context as you type • Full European character set (Latin only) • 550+ glyphs per font.

Ever since I first designed Ellida in 2005, that elaborate script in the tradition of the 18th-century English calligrapher George Bickham and the 19th-century American calligrapher Platt Rogers Spencer, I wanted to add a very high contrast cut to the family. I finally did so. But the result looks so much different to Ellida that I had to give it another name, hence "Eloise". Eloise should actually be written with a 'i' that has double dots, but that would be difficult for international use. Eloise is a beautiful first name not only for French girls. Pronounce: Ay-low-eese. If I would have had a daughter, I would have called her "Eloise" (with double dots!). But instead I have two phantastic sons, so I never got the chance to use it. Actually one of my sons discovered it on his little boys sand shovel, it was called Eloise. Your decorative designer with a heart for sand shovels Gert Wiescher

RoyalBavarian was comissioned by King Ludwig the First of Bavaria about 1834. He was probably the greatest king Bavaria ever had, but he fell in disgrace for a short affair with the infamous Lola Montez and subsequently had to resign. He died in 1868, peaceful and happy in Nice on the French Riviera. I happened on an original etching of his type-guidelines for official writers of those days about 20 years ago. I always thought it was a very nice Fraktur (Blackletter), not a sturdy militaristic one as most of them are. Being me, I started with first tests immediately and then just forgot the font on my computer. When I was sorting out old stuff a couple of months ago I happened on the etchings once again and kept on working intermittently on the letters. The Plain cut is pretty much like the king wanted it. The Fancy cut is more to my liking and very decorative. Yours in a royal mood, Gert Wiescher.

The flower children of Canada Type are at it again. This time we went above and beyond the call of duty and right into the land of reconstruction in order to make this font. When we saw a few letters from an early 1970s film type called Jefferson Aeroplane, we had the sudden urge to bring their beauty to digital life. But since further research revealed no more letters or information, we just had to "wing" the rest of this Aeroplane. Now this Genie is out of the lava lamp, and it's nothing short of groovy. A few symbols and alternates come within the font, so make sure to check out the very full character set. We love this font so much that we couldn't help but play with it for a week. Some of the Wes Wilson-inspired results are in this page's gallery, so check them out for a flashback. Keep on trucking!

Tatty is a sans serif, monoline font that is distinguished by the gentle, rounded, backward curves on the ascenders. I created it because I had a picture in my mind of a font that I wanted to use when designing images and logos for clients' websites but I could never find one that was just exactly right. Many years ago I worked for a sign-writing company. My job was to copy and enlarge letter sets from printed copy and then cut masks for airbrushing. One morning I arrived at my desk to find that the airbrush artist had written on a rough, rubbed out, scribbled on drawing of the letter ‘a’ - “make a letter happy, make it beautiful”. That was the brief I set myself in the design of Tatty - to make every letter happy and beautiful. The result is a flowing, elegant yet simple type which I believe works particularly well for poetry.

Lust Sans is the penultimate exploration of producing a high-contrast sans wholly influenced by its bracketed ancestor. The aspect of this endeavor I enjoyed the most was finding sneaky ways to infuse warmth and whimsy into the letterforms when you least expect it. The result, however, is subtle and uniquely balances against Lust and Lust Didone without becoming cold and overbearing. To accomplish this, Lust Sans has 6 weights. What I found during development was, based on any setting where Lust or Lust Didone were in the same layout, the amount of contrast shown with Lust Sans needed to be adjusted. Expanding the weight offering, produces opportunities for Lust Sans to modulate the rhythm of the layout comfortably while keeping contrast—this is even more obvious with the Italics. I love those. You will too. If you don’t, you do not have a soul. Not sorry. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

A Blocky face with a slight hint of angularity. The Omnilots are a free addition to the set.

Fun angular letters was the idea behind this font. Very simple! Ayasha is an OpenType/TTF Unicode font.

The displayfont Shiver is characterized by its strong shaped letters and the mix of angular and round shapes.

Saline is a angular and bumpy brush script. It includes set of nautical ornaments as an OpenType feature.

The story of Scripps College Old Style is a heart-warming and inspiring chronicle about a young librarian, a handful of students, a wealthy grandmother, a dedicated educator -- and two eminent American type designers. The story begins in 1938, when Dorothy Drake, the newly hired librarian at Scripps College, a small women's college in southern California, became an impromptu dinner companion of the American type designer Fred Goudy. By the 1990s, the original fonts that Goudy had created for Scripps College in the 1940s had become prized -- but they were seldom-used antiques. Scripps needed digital versions of the metal fonts. This goal posed two immediate challenges: finding a designer familiar with letterpress printing who was skilled at creating digital fonts, and locating the money to commission the designer's services. The first challenge was the easiest to conquer. Sumner Stone was my first and only choice," recalls Kitty Maryatt, the current curator of the Scripps College Press. "I knew he had letterpress experience, was an accomplished calligrapher, and that his typeface designs were simply exquisite. The choice was easy."The second challenge was more difficult. It took the dedication, hard work and tenacity of Maryatt to bring the beautiful Goudy designs into the twenty-first century. While Stone was eager to begin work on the project, the college had no more money for new typeface designs in the 1990s than it did in the1930s. Years of lobbying, cajoling and letter writing were necessary to obtain the college's approval for the design project. Once she had the necessary funding, the design brief posed yet a third challenge. Goudy had provided two sizes of type to the Press: 14 point and 16 point. Which would serve as the foundation for Stone's work? In addition, the Goudy fonts were quite worn. Should Stone use printed samples as his design master, or base his work on the original Goudy renderings? The 14-point master drawings were the ultimate choice, with the stipulation that the finished fonts would provide both a seamless transition from the worn metal versions and a faithful representation of the original Goudy designs. Once the budget and design brief were established, the process of converting the original Goudy drawings into digital fonts took just a little over two months. Stone delivered finished products to Scripps in the fall of 1997. The first official use of the fonts was to set an announcement for a lecture by Stone at Scripps in February of 1998. But the story is not quite finished. Maryatt was so pleased with the new digital fonts, she wanted to share them with the graphic design community. At Stone's suggestion, she contacted Monotype Imaging with the hope that the company would add the new designs to its library. An easy decision! Now Monotype Imaging is part of the story. We are proud to announce the release of Scripps College Old Style as a Monotype Classic font. The once exclusive font of metal type is now available in digital form for designers around the world. "