After 13 months of hard work, Iza W and Intellecta Design are proud to announce Penabico. This is a free interpretation of the copperplate script styles to be found in the Universal Penman . London, 1741 , the monumental publication of engraved work by George Bickham (along with collaborators Joseph Champion, Wellington Clark, Nathaniel Dove, Gabriel Brooks, William Leckey and many others). This enhanced OpenType version is a complete solution for producing documents and artworks which need this kind of calligraphic script: 100s of stylistic alternates for each letter (upper- and lowercase), accessed with the glyph palette; 250 ornaments and fleurons (mostly in the copperplate roundhand renaissance style) encoded in the dingbats range and accessed with the glyph palette (plus a special set with over 50 of these ornaments accessed with the ornaments feature); an extensive set of ligatures (100s of stylistic and contextual alternates plus discretionary ligatures) providing letterform variations that make your designs really special, resembling real handwriting on the page; complete, intricate, ready-made calligraphic words; abbreviations (in many languages). The principal font contains the complete Latin alphabet, including Central European, Vietnamese, Baltic and Turkish with all diacritic signs, punctuation marks (including interrobang ). The German ‘ß’ (germandbls, eszett, sharp s) even has over six different alternate forms. And we don't forget to add the unconventional germandbls uppercase. In non-OpenType-savvy applications it works well as an English commercial script style font. Because of its high number of alternate letters and combinations (over 1500 glyphs), we suggest the use of the glyph palette to find ideal solutions to specific designs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. However, we still recommend exploring what this font has to offer using the glyphs palette. Two last things — we have placed some of the ornaments, catch-words and other material in supplementary fonts, for easier access in non-OpenType-savvy programs. They are: Penabico Words (see the pdf user guide in “Gallery”), Penabico Abbreviations (free font), and Penabico Extras (free font). And, when buying Penabico you get the 'Penabico EPS Bonus Set", a gift pack containing various highly intrincated frames in EPS format, easy and ready to work with your preferred vector design software like Corel or Illustrator (see the pdf in the Gallery). Know too our other superscript font : Van den Velde Script at http://new.myfonts.com/fonts/intellecta/van-den-velde-script/

Inspired by lettering styles of the 1930s, Seagrass BF is jazzy and jumping as a Lindy Hop. As such it captures I believe, something of the spirit of that age, yet somehow retains a fresh, contemporary feel. Headlines, logos, packaging, signage and branding are just a few of many usages. Seagrass BF contains Stylistic Alternates and Stylistic Sets for uppercase letters Y and Z, as well as ampersand (&). Other OpenType features include Standard Ligatures and Contextual Alternates. These features should at all times be employed to optimize the appeal of your word settings. So whenever your visual communication demands an energetic, vibrant voice please consider Seagrass BF.

If you need a typeface suitable for the most elegant and hard work, you will fall in love with Schotis family, your true Scotch Roman style workhorse. Schotis Text is designed for perfect reading on running texts, leaving the setting of big sizes for Schotis Display. Each optical size family has seven weights plus matching italics, with 1100 glyphs per font. With a very extended character set for Latin based languages including Vietnamese, Schotis shows all its potential with OpenType-savvy applications. Every font includes small caps, ligatures, old-style, lining, proportional and tabular figures, superscript, subscript, numerators, denominators, and fractions. Schotis family is based in Scotch Roman style but designed from scratch, with a more contemporary and not nostalgic look. The Scotch Romans were one of the most used letters during the 19th and early 20th century, but they don’t have their own place in the main typographical classifications. They appeared at the beginning of the 19th century with Pica No. 2 in the catalog of William Miller (1813) and assumed the British route towards high contrast and vertical axis modern Romans. In opposition to the continental route of Fournier, Didot, and Bodoni, the English way opted for a wider, more legible letter also resistant to bad printing conditions.

Decima Mono Pro is an upgrade of the well received Decima Mono typeface, released back in 2009 and quite successful ever since. This is a modern monospaced condensed sans serif family with classic geometric design, built in three weights and six styles. The letterforms in roman style are techno (engineered) in appearance, while italics remind one of elegant handwriting balanced with Roman geometry.\ The typeface is released in OpenType format with extended support for most Latin languages, as well as Greek and Cyrillic.

While searching through microfilm of an old, 1932 newspaper, I stumbled on the word "Poultry" written with trapezoidal letters. I did not recall seeing lettering like this and it inspired me to design a typeface that could produce a similar result. Poultry Sign has two widths each with three weights giving the family six styles. It is monoline, monospaced, and all caps. The letters on the lower-case keys reverse the trapezoid of those on the upper-case keys. The designer's expectation is that the most common use for this typeface will alternate upper-case and lower-case keys, and to make this effect easy, included in the font is a contextual alternatives (calt) OpenType feature that automatically produces this result if your word processor supports this feature. To get text with all letters with big bottoms or all letters with with big tops, this feature must be turned off. The spacing of the letters is identical within each width so the styles can be layered to produce bi-colored or tri-colored letters. There is a second set of numbers that can be accessed with an OpenType stylistic alternative. Also accessible with OpenType stylistic alternatives are variations of letters T, N, L, Y, and V.

Vemoly Display - Modern Sans - Unique Loopy Sans Vemoly Display is a minimalist sans that is perfect for your upcoming aesthetic project. This font provides a combination of basic sans serif and loopy style. You can make fun by mixing and matching the upper and lowercase to get a unique, simple, and charming typographic design. Vemoly Display is a perfect choice for logo, social media, branding, poster, flyer, magazine, websites, fashion, mobile apps, decoration, wedding, and many more! Features : Uppercase : Basic Sans Lowercase : Display Numbers & punctuations Symbols Stylistic alternates Multilingual support Thank you and enjoy your Vemoly Display!

Amaro is the Italian word for bitter (amaro) herbal drinks like Ramazotti, Averna and a trillion lesser known ones. These liquors were the literal base for this elaborate set of four fonts. Each has different uppercase letters and some of the lowercase letters vary as well. Amaro-A, B, and C can be mixed freely. The Amaro-D has underlining swashes in two different lengths, the uppercase has the shorter underlines and the lowercase the longer ones. I throw these in for free and the entire set is very reasonably priced. Enjoy and cheers to you!

Disalina is a typeface adjusted to your needs. You are looking for geometrical shapes, stylized ligatures or lettering reminiscent of Art Nouveau? Three stylistic sets that are included in every weight will make your project more creative. The Disalina family was inspired by the lettering and posters of late 1800s and the beginning of the 1900s. It merges beautiful vintage design and modern graphic thinking. The whole family consists of 7 weights – you will find different opentype features such as ligatures, stylistic sets, arrows, swashes and more. Disalina is a true friend – no more different fonts to mix & match different styles.

Taro Why do designers make more and more geometric fonts? There are already many geometric sans in the world. Because It is a natural flow of design. It is true that we like geometric type instinctively. Taro was designed to archive a good balance between the following three things geometrically. 1. To be Natural, Flowing, Organic. 2. To be Neutral, Unbiased, Universal. 3. To be legible, distinguishable, readable. Consists of eight weights and their matching italics. Supporting almost all latin languages. All-caps text for one line or a few is as wonderful as normal mixed-case typesetting.

I found this type specimen on the statue of Jan Hus in Prague’s Old Town Square. The statue was designed in 1903 by Ladislav Saloun, and its writing is the cutest Nouveau font I've ever seen. Filling in the blanks, I realized the need for a standard lower case because the caps are so wild. The result is a very type-able and dynamic Nouveau. I encourage you to mix up your upper and lower cases for curious results. Use the lower case for running type. Go to http://facebook.com/frostfoundry to share this and see more!

Ersatz has its vibrant roots in the Mediterranean climate of Spain. Tired of the functional monoline sanserif fonts used throughout Europe from road signage to corporate identity, Richard Dawson and Dave Farey, British type designers who crave color and sunlight, created a style that is refreshing and lively. The basic constructions are simple and attractive, mixing lower case shapes into the capitals - and unique letterforms into the lower case. There's a raunchy feel to Ersatz, soft curves and back kicks, if you listen very carefully you can hear the sharp guitars and the soft tambourine of the Flamenco.

While helping produce a trade magazine years ago, I admired the hand-lettering of the art director -- a woman named Marydale -- and suggested she let me model a font after her penmanship. She agreed and drew out the alphabet, and I launched an old copy of Fontographer and (to shorten a long story) ended up developing my very first digital typeface. Which has since, astonishingly, become famous worldwide. So now the real Marydale gets the mixed blessing of seeing her handwriting (and name) plastered all over the planet. Full release has regular, bold, and black weights.

Identitype is very pleased to present Varent Grotesk, a sans serif family designed by Hendra Maulia and Aulia Rahman who was inspired by modern sans serif. The weights of the family itself contain 18 styles plus italic, ranging from Thin to Black. Ideally, it works to capture in a graphic way the universe related to technology, sci-fi, industry, and similar topics. It is a mixed family because of the construction of certain letters (as in “a”, “e”, “h”, “k”, “A”, “B”, and more). Another important line in the creative concept of this typeface is the function of its ink traps, which, in addition to fulfilling their primary function, serve to gain gestuality in its use. This font is capable of covering complex design needs by enabling association with specific themes, which makes it highly competitive in its graphic line.

The origin of this font was a frieze in the RAF Chapel in Westminster Abbey which Michael Harvey was commissioned to design and create. It was comprised of the names of the top brass in wartime Bomber Command, namely Dowding, Harris, Newall, Tedder, Portal and Douglas. The Brief was to cut the letters in bronze and gild them. Instead, they were cut in perspex and gilded. To sit comfortably within the long and narrow vertical space available beneath the chapel’s stained glass window, extended letterforms were used with many vertical serifs omitted and with lengthened horizontal serifs. Some twenty years later, the missing upper-case letters were drawn together with the lowercase letters and Frieze, the font, was born. Subsequently, additional weights and styles were added to create a font family of six styles.

Bordonaro Script - Bordonaro Spur’s partner - is an interpretation of the “English Roundhand” style with a strong influence by the logos of American basketball and baseball teams. It is designed from simple shapes ideal to be used in long titles and fits perfectly into the branding design. Psss...Check out the NEW Bordonaro Script with Rounded corners , same version but soft! Bordonaro has a complete set of special and original characters: Stylistic Ligatures, Discretionary Ligatures, Swashes, Contextual Alternates, Titling, ss01,ss02, ss03 & apostrophes' ligatures that work as complements to enrich the text composition. Bordonaro Script and Bordonaro Spur are two typographic styles that were designed under the same characteristic features with the idea of combining them to obtain better results, for that reason, we recommend merging them in a creative way and you will realize everything you can design with them. The banners designs are based on old brands of beer labels, coffee packaging, sports logos and in some cases we use Copperplate Gothic but only as a complementary font in order to harmonize the layout of the elements in each banner.

Kettering 105 is inspired by the classic, geometric slab-serifs such as Lubalin, but has shallower ascenders and descenders for a more compact look. It's a versatile, modern slab-serif, highly legible as a text font and with a clean, elegant look as a display font at larger sizes. It includes old style non-aligning (lower case) numbers, both proportional and tabular, as well as accented characters for Central European languages. The Kettering 105 family comprises of six weights and is closely related to Kettering 205, its more intensely Deco flavoured cousin.

Shareb font was initially designed with a different style compared to other Arabic typefaces. It was released as a free display typeface and went popular. Therefore, we decided to take it to the next level. Accordingly, we worked on the Arabic letters again, enhancing and fixing them. We also added new features like stylistic sets, ligatures, and a complete Latin set of letters so that the font can be used in the most needed languages. Now, we have a more professional, refined, and larger display typeface that can be used in more great projects.

The Poole Chiselcut faces are a useful companion to the regular Poole fonts. In the Standard weight, the diamond shapes inside each character, work toward an elegant, sophisticated look. In the Mid and Heavy weights the chisel cut makes the alphabets look Victorian. In particular, the Heavy weight look is that of a circus letter. Of course the 2 color options for this group are endless. Used in concert with the rest of the Poole Family, or as stand alone fonts, the Poole Chiselcut set is a useful addition to your library.

Voila! This is it . . Classical Romance Decorative Serif Family Classic serif with 125 stylistic alternates for a uniquely vintage, yet modern feel. Each letterform has a slightly rough exterior that works beautifully to enhance Classical Romance’s soft, conventional details. This versatile display typeface has enough character for logos and branding, as well as headlines, apparel, alcohol labels, poster, online magazine, automotive, and much more. Keep it classic, or get decorative with ornate alternates for both uppercase and lowercase glyphs! This Classical Romance font was handwritten under the inspiration of traditional calligraphy and the wonderful magical vibe of Bali Island. Classical Romance brings more lovely old day vibes with 12 weights to matchmaking with your own style and it has Multilingual support (Western European characters) and works with the following languages: English, Danish, Dutch, Estonian, Faroese, Filipino, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish. Immerse more your arts in the classic feel with Classical Romance, and be classy! A guide to accessing all alternatives can be read at: http://adobe.ly/1m1fn4Y Features: A-Z Character Set a-z Characters set Numerals & Punctuations (OpenType Standard) Multilingual Thank you and have a nice day

Introducing a vintage look layered label font named "Wanted Denim". This font was inspired by classic slab serif fonts from denim labels and logos. Typeface includes six styles (including effect styles), for sample look at 3rd preview. This font will good viewed on any retro design like poster, t-shirt, label, logo etc.

Introducing vintage label font named Fishman. This font has a multilungual characters support (check out all available characters on previews). The font family has six styles: Regular, Shadow, Light, Shadow FX, Light FX, Aged. This font will look good on any vintage styled designs like a poster, T-shirt, label, logo, etc.

Framer Sans is sans-serif condensed type-family, created by June 23 Foundry. It is a geometric, lightly robust, simple and clean font, with a low contrast width. Framer Sans perfectly conforms to the ever-increasing demand for a diverse set of weights and additional support for non-Latin languages. The type system consists of 7 weights that for the clarity and users convenience is labelled with numbers from 100 to 700 (100 for “Thin”, 200 - “Ultra-Light”, and so on till 700 for “Bold”). It supports full Latin (European) character set, as well as Turkish, Vietnamese, Greek (basic) and Cyrillic languages. Framer Sans includes alternate characters, ligatures, symbols and 253 country codes that perfectly expand the design’s capabilities. Numerals contain six figure sets and Roman numbers. The variety of choices is expanded with additional stylistic sets for lowercases "a" and "g", as well as 3 stylistic sets for Latin uppercases with crossbars and letter “Q”.

Get stylish with Distinct Style, a fashionable and contemporary pair of signature & sans fonts designed to perfectly compliment one another. With a fast-flowing script font and a two-weight modern sans serif, the Distinct Style duo offers typographic harmony for your professional design projects, including; logos, branding, magazines, blog posts, social media, advertisements & product designs. Distinct Style includes 4 font files, designed to work as perfect companions or simply as strong standalone typefaces; 1. Distinct Style Script • A classy fast-flowing signature font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Distinct Style Script Alt • This is a second version of Distinct Style Script, with a completely new set of upper & lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. 3. Distinct Style Sans Light • A stylish, modern sans-serif font containing uppercase only characters, numerals and a large range of punctuation. Creates a perfect pairing contrast with the Disticnt Style Script fonts. 3. Distinct Style Sans Bold • A bolder version of the Distinct Style Sans font. Add some contrast to your text by pairing this with the Sans Light version, or use at smaller sizes. Distinct Style Script contains 64 Ligatures, accessible by turning on 'Discretionary Ligatures' with any software supporting OpenType features. Fonts include multilingual support for; English, French, Italian, Spanish, Portuguese, German, Swedish, Norweigen, Danish, Dutch, Finnish, Indonesian, Filipino, Malay.

A revival of old hand painted sign in Old Jaffa, from the mid of 20th century.

ATC Timberline, is an ultra wide-set sans-serif typeface. With its sharp points and extended curves, ATC Timberline feels just at home in mid-century modern as it does in forward-looking modern settings. Contains 370+ glyphs, full alphabet, ligatures, numberals, accents and punctuation. File type included in download is .otf. ATC Timberline was released in 2016.

Introducing Rose Avenue, an extra bold serif font with soft, charming rounded edges and curves. Rose Avenue brings chunky retro typography to the modern era, and includes 70 additional special characters with additional flair and flourishes - providing you with a variety of captivating custom text arrangements. Whether it's a fancy retro-inspired logo, or engaging bold header text - Rose Avenue is able to deliver. Accessing Alternate Characters • Many letters of this font have multiple alternate versions (see final image). In order to access each one, simply make sure 'Standard Ligatures' are enabled, and follow your letter with a number. For example, typing 'A1, A2, A3, A4, A5' will generate the 5 alternate versions shown for capital A. Accessing Ligatures • There are 10 lowercase ligatures (double letters) included. In order to access these, simply make sure 'Standard Ligatures' are enabled, and the ligatures will automatically generate as you type. All special characters can also be accessed via a Glyphs panel. Language Support • Rose Avenue 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

Hermitage is a modern, elegant serif font that includes six typefaces regular, outline, oblique, outline oblique, rough and rough oblique. This font has a light weight and looks amazing in logos, branding, arranging wedding invitations, business cards, packaging, cosmetics, also works perfectly with text, it is very readable and recognizable, book cover, magazine headers, or simply as a stylish text overlay to any background image. This font includes alternates for Uppercase and Lowercase, with them you can make your project more elegant and unique and the slanted style will add dynamics to your design. Use a rough style on the craft paper, it will look great on it and create an atmosphere of handwriting. This font is easy to use has OpenType features.

The minimal character of this typeface with its direct reference to Bauhaus, manages to keep the balance between strict geometric structure and elegance. It strays from monotonous repetitions and works equally well with Latin and Greek, while it really hits home with Cyrillic. Now, in its 3rd major upgrade comes equipped with all that’s needed for an international career. In total 602 characters offer support for all European languages in six different variations. Finally, five special OpenType features offer typographic solutions which includes a stylistic alternate set for Greek and Cyrillic.

The six typefaces of the Kyhota group all have an “Old West” look to them. KyhotaOne has very thick slab serifs compared to KyhotaTwo. KyhotaBarbed is more condensed than either and has little barbs on the verticals, something that was a feature of a number of nineteenth century typefaces in this style. KyhotaFezdaz is condensed, without barbs, and with the slab serifs replaced with a flare serif. KyhotaBigBottom and KyhotaBigTop play with the weighting of the serifs, with one (either top or bottom) very thin and the other very thick.

Mentolope, a casual handwritten script font, embodies an effortless blend of informality and charm, offering a versatile typographic experience. Its fluid strokes and gentle curves give each character a relaxed and organic appearance, reminiscent of handwritten notes shared between friends. Whether used for personal projects, invitations, or informal branding, Mentolope adds a touch of warmth and authenticity to any design. The font’s natural flow and approachable style create a laid-back atmosphere, making it perfect for conveying a sense of friendliness and approachability. With Mentolope, every word becomes a handwritten expression, bringing a personal and welcoming touch to your creative endeavors. Mentolope is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

Style and Grace personified - say Child Momsky. This typeface has two main styles, Regular and Italic, that are designed to work elegantly in unison and apart. The serif has a boldy different ' f', which sets it apart from regular serifs.....as Child Momsky likes to stand out from the rest. A regular 'f' is included in its alternates, and a extra font style with a regular f is included for projects that require a more staid elegance. The Italic style is dreamy, sultry and light-footed - a perfect partner for the more serious serif. Use them together or apart for stylish, stand-out type designs and projects. For those of you who do not have access to Opentype Software, such as Canva Users, a separately available 'extra letters' font set will be available for purchase soon. Language Supported : Danish, English, French, German, German (Switzerland), Italian, Low German, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Portuguese, Swedish, Swiss German. Enjoy

URW Form by Volker Schnebel is the quintessence of a modern sans. Originally inspired by the timeless classic Futura, URW Form is a mix of classic and modern geometric typefaces, yet still incorporates the fundamental rules of design and looks and functions like a contemporary sans. In addition to its strong identity, URW Form has all the quality characteristics we come to expect from a Schnebel typeface. Available in 80 styles and four widths, there is also a much sought-after semi-condensed extension to broaden its creative spectrum. Weights range from the filigree Thin to the forceful Poster, making it a truly versatile sans serif typeface.

Apothicaire is a new font designed by Ale Paul and the Sudtipos team that is inspired in, but not limited to, an antique style casted by a German type foundry during the late XIX century. With the addition of a contemporary design approach, Apothicaire comes in three widths —from condensed to expanded— and five weights —from light to extra bold—, offering a wide range of combinations to explore. As a bonus the font family is also available in a single variable format. An elegant small caps set, a variety of ball terminals and delicate swashes, as well as the possibility to choose from many alternates are also included in the OpenType features. Apothicaire supports a wide range of Latin alphabet-based languages.

The kiddy and rough cha­rac­ter and the huge capital height with the tiny x-height (plus the cute giraffe character dingbats), gives the type­face a high reco­gni­tion value and uniqueness. Application Area The warm, child-like, bold and striking handmade font “Giraf­fen­hals” would look good at logos, dis­play size for poster, flyer, comics and gra­phic novel let­te­ring, head­lines in maga­zi­nes or web­sites, packa­ging, music covers or webbanner etc. Technical Specifications ■ Font Name: Giraffenhals ■ Font Weights: Regu­lar-Condensed + Bold-Condensed + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 443 gly­phs ■ Lan­guage Sup­port: Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portugese, Romanian, Slovak, Slovenian, Spanisch, Swedish, Turkish, Zulu ■ Spe­cials: Alter­na­tive let­ters, sty­listic sets, auto­ma­tic con­text­ual alter­nates via Open­Type Fea­ture. Euro, kerning pairs, stan­dard & deco­ra­tive liga­tures, Ver­sal Eszett (Ger­man Capi­tal Sharp S), extras like Ding­bats & Sym­bols, arrows, hearts, emojis/smileys, stars, fur­ther num­bers, lines & shapes ■ Design Date: 2011–2017 ■ Type Desi­gner: Manuel Vier­gutz ■ License: Desk­top license, Web license, App license, eBook license, Ser­ver license

The Metalista font was created as a sign of undying admiration for the persistence of heavy metal culture. The angled font of almost fixed width proportions combines capitals with small letters for more variety and better definition of individual letters. Stressing the horizontal strokes subdued the historical Gothic character and emphasized a more modern signature, which is far different from the majority of current attempts at a modern adaptation of Fraktur fonts. We offer Metalista in three styles, or rather widths to be exact: Speed is inspired by the whiplash pace of 70s and 80s speed metal, and can tell and perform a lot even in a very small space; uncompromising Death balances on the fine line between expression and readability; and Metalista Black is the universal go-to, whether as megalomaniacal titles sprawled across the entire LP cover or as tiny texts for glam rock CD booklets.

Inspired by the punk and metal scene in the ’80s, this one-of-a-kind brush typeface is suitable for apparel, YouTube thumbnails, movies, album cover and so much more. Features : Basic Latin A-Z, a-z, numbers, symbols, and punctuations Sub Train is supporting 66 Languages: from Afrikaans Albanian Catalan Danish to Dutch English Spanish Swedish Zulu. Accented Characters : ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØŒŠÙÚÛÜŸÝŽàáâãäåæçèéêëìíîïñòóôõöøœšùúûüýÿžß Thank you

The Art Deco hand lettered opening credits for the 1936 French drama “La Belle Équipe” [English title: “They Were Five”] provided the inspiration for Foreign Film JNL, which is available in both regular and oblique versions. According to Wikipedia, the film “…tells the story of five unemployed workers who win the jackpot in the national lottery but their solidarity then proves fragile.”

Is This the End has three different ornamental endpieces ready to use in end chapters, final pages in books, magazines and several artistic representations. Each endpiece may be used in different languages like German, Bulgarian, Croatian, Danish, Spanish, Finnish, French, Dutch, Italian, Norwegian, Polish, English and Portuguese. Intellecta Design researched these endpieces from the very rare Richard Gans type catalogue from 1882.

Leroy is a font family of 5 members designed from geometrizing Roman and Gothic skeletons. Its purpose is to provide optimal reading of titles and paragraphs with strong mechanical flavor. Because of this, its variables are designed to sort information in media such as labels, signs and industrial atmosphere packaging related with the Soviet Union’s fonts in 1920. This idea matured white horizontal lines superimposed on alphabets drawn with an ancient architectural team known as “Leroy K & E Controlled Lettering System”. Then that evolved into a family concept unifying its proportion to the same X height for its members, resulting in a versatile type system. Therefore, Regular and Bold variables have low contrast between thick and thin strokes. Its upstream and downstream are extremely short, generating a suitable interline that clogs the vertical area. Its overall width equal to its X height, supports its tight spacing that compacts the horizontal area. Therefore, the variant with black caliber has plenty of contrast between thick and thin strokes. The light variable has a “blind” effect radiating light halos, ideal to propose hierarchies and combinations with orthogonal projection. In that sense, Leroy’s modular character reminds constructivist ideology merged with typographical variants suitable for graphic design with geometric look. To achieve this, I studied the softening of forms and counter blocks into a typographical system specially designed for composing useful information to attract attention. In that sense, the dingbats were obtained through a careful process of research and testings done with drawings that provided full and empty visual strategies that with the passage of time helped to forge the major decisions of a metamorphosis from industrial tools, birds and humans from pictogram mixing various genres.

The two great technical constraints a type designer can tackle are low resolution, which limits detail and dictates proportions between negative and positive shapes, and uniform width, which restricts each letter to a fixed horizontal space. Wrestle with both at once, and each letter becomes a black-and-white chessboard that challenges every design decision. Sometimes battling these constraints gets in the way of a good idea, but other times, tinkering with fewer options can make the job irresistibly easy and lead straight to a grid addiction. Gridlite, an experiment with a modular negative space, is the side effect of such an addiction. It’s simplified, monospaced, and variable: foreground and background alike are ready to be animated, typed, scaled up, scaled down, rounded, or otherwise deformed. Gridlite is primarily a variable font with axes that control the size of the elements, their shape, and the background (one for the rectangular field and one for the compact envelope around the letters). The fonts cover Cyrillic, Greek, and Latin scripts. Small caps are included, for no apparent reason ... and there is a monospaced elephant, too.