KgStuttgart1930 -- Kunstgewerbeschule Stuttgart 1930 -- is based on a printed sample of a font designed in 1930 at the Stuttgart School of Applied Arts. Found in the book ABZ, more alphabets and other signs by J. Rothenstein and M. Goodings. I recreated the grid and kept some awkward letters of this bauhaus-era inspired design. I created the missing glyphs and added alternate versions of already existing ones.

Ramkoers means ‘Collision Course’ in Dutch. I made this font with a bit of salvaged plastic and thick black paint. I carved a wedge out of the plastic and used it as a spatula to apply the paint to the paper. Ramkoers is a bit of a rough & ready grunge font with some jagged edges and wobbly stems. Comes with an abundance of diacritics.

Hazzard is a script that is inspired by a retro style and combination with hand lettering style. I have made with personality in every single curve. I hope this can inspire your work with its very bouncy baseline. It also includes a super handy set of bonus swashes. Hazzard is ideal for logos, handwritten quotes, product packaging, header, poster, merchandise, social media & greeting cards.

Framboisier means ‘Rasberry Bush’ in French. Even though it’s early spring, I already spotted raspberries at the greengrocers, so I figured a nice raspberry-related name would suit this font just fine. Framboisier is a hand painted script font. It’s a little messy, a little shaky, but legible and cute as well. Comes with all the diacritics and a whole bunch of alternate glyphs.

NuevoLitho is my first successful font design. It was designed for use in the heads and subheads of my first book, “Printing in a Digital World” back in 1994. It’s a very loosened play on Lithos, Carol Twombly’s fashionable font of the period. However, I added a complete lowercase set, several special characters, and all the other fun stuff I do with my fonts.

I made Cut Along by stealing some red cardboard from my kids (red, because they didn’t have any black…) and cutting out the glyphs one by one with a pair of scissors. I then pasted the shapes onto white paper, scanned them and turned them into a font. Cut Along is a very nice font for ads, book covers, packaging and children’s books. Enjoy!

This font is influenced by Walbaum. However, I did not just trace the design, but sort of had the image in my head while I drew the letters. This font is balanced by not being entirely Walbaum, but still basically is. I've named it "NoraPen." Nora comes from the name of the main character in Ibsen's "A Doll's House," and Pen means a cage for livestock.

Adis Ababa is a font based on an ancient Ge'ez script. The Ge'ez alphabet is the written language of the ancient ancestors of the Ethiopian and Eritrean nation. It is not a Latin or Greek based alphabet and I have striven in this font to present a readable Latin alphabet that visually reminds me of some of the examples of the writing that I have seen.

I keep chickens for eggs and meat, but the ones that have names cannot be eaten. ;-) As I was busy working on this font, the chickens were sitting in the window, looking at me and hoping they'd get a treat! Pecking Order is a cartoon and kids font. It comes with a wholesome, homemade goodness and extensive language support, including Sami, Greek and Vietnamese.

PORTSMOOTH - signature font- it is great for branding, packaging, card, logo, tote bag design, cup drink design, banner, and anything project with an elegant touch but still looks crafty. I created 38 ligatures to make this font look so natural. This font is perfectly combined with swash Features: - Uppercase - Lowercase - Numeral - Multilingual - 38 Ligatures - swash - PUA encoded I hope you love it... regards, Abo Daniel Studio

I seem to be in my astronomical phase right now. I recently released several fonts with names relating to space! Don’t worry, it is just a phase and this too will pass… Gravity Well is a handmade brush font, ideally suited for product packaging or book covers. Gravity Well comes with all the diacritics you can ask for and a set of double letter ligatures to boot!

Brain Squeeze is a nice, fat, messy brush font. I made it with one of my late father in law’s prized Chinese brushes and my Chinese ink. If you look through my library, you will notice that I make a lot of fonts using these tools! Brain Squeeze will squeeze your Cabeza for some extra creativity, so what are you waiting for? Use it and have fun!

Pisang Manis means ‘sweet banana’ in Bahasa Indonesia. I don’t think this particular combination is used in everyday life, but it sounds nice. Pisang Manis is based on an older font of mine, called Pisang, which I created in 2013. It looks similar, but it is a different font altogether. Pisang Manis is a ‘Tall & Thin’ display font, ideally used for product packaging, websites and book covers.

Mission Accomplished is a fast and furious kind of font. I started jotting down letters with a marker pen as fast as I could to see what would come out. Well, this font came out. Mission Accomplished can be used virtually anywhere, but single origin coffee bean packaging and artisan marmalade labels come to mind. Comes with a bunch of cute discretionary ligatures as well!

BiteChalk Still with a chalk concepts, This is good for projects like a menuboards it's specially designed cafe or restaurant ,background photoboots wedding, t-shirt, posters, etc and a touch of vector pack theme dessert, that allows you to mix and match pairs of ornaments to fit your design . Above the description of this font, I hope you're satisfied with what I have created. Thank You

“My goal in creating the Cardamon family,” says Brigitte Schuster of her first design, “was to make an unobtrusive serif typeface which, at the same time, has a determined and straightforward demeanor.” “I wanted to design a typeface with sharp edges and corners,” explains Schuster. “I was influenced by the angularities in Vojtěch Preissig‘s “Antiqua” and “Cursive” in addition to Oldřich Menhart‘s “Menhart” typeface.”

HungryChalk Still with a chalk concepts, This is good for projects like a menuboards it's specially designed cafe or restaurant ,background photoboots wedding, t-shirt, posters,etc and a touch of vector pack theme dessert, that allows you to mix and match pairs of ornaments to fit your design . Above the description of this font, I hope you're satisfied with what I have created. Thank You

Celestina is the lively spirit, just like drops of ink on a piece of paper or clouds in the sky. The same spirit is maintained by the rounded letters of the script and by the characters' small whorls. Celestina has come to life as a result of a peculiar game in which I tried to bring together the letters with different tempers with help of calligraphic instruments. I wanted to create a very light and playful font which would look like a quick inscription on a piece of paper, but would also be easy to read in a text array. As I was working on the font, my cat Celestina has been very interested in the brush painting process, and I had no other option but to name the font after her! Celestina works perfect for both Moomins stories and personal blogs, as well as for the design of hand-made things, and even just then when you want to put yourself into a good mood!

Fluted pillars… As for the name of "Cyceon", it is a "juice-drink" that they made in ancient Greece...! In this font the straight lines are not vertical but inclined like something from the Doric columns!!! There are two versions of letters. In the first version, it is of a normal character, while in the second version I have mixed some capitals with lower case letters. I have given them the acronym Msc "miscellaneous". I tried in this way to give another version of the small capitals and I think they show a different view from the purely small capitals… And in this family, the “Strap”/“Strap Msc”/“StrapIt”/ and “Strap MscIt” with “Solid”/“Solid Msc”/“SolidIt”/ and “Solid MscIt” engage in the same way like… “Layered font families” as the previous series. This series is composed and includes twenty-four fonts with 642-658 glyphs each, with true italics and supports Latin, Greek and Cyrillic.

There is an interesting story about this vintage professional Mercedes typewriter I’ve used to make this font. My grandfather, who was a Yugoslavian partisan during the WWII captured it from a Wehrmacht command building during an attack, and he kept it in a perfect shape for so many years. After I inherited it, I wanted to share it’s uniqueness (as well as it’s story). I’ve intentionally kept it in it’s original condition - I haven’t replaced the ribbon that was some 34 years old (or more) before sampling the font, and it turned out really nice. One more important thing - I have used ONLY it’s original set of characters (Latin with some Balkan-based letters). With it’s untouched originality and uniqueness it fits to our modern culture perfectly. There are no compromises here - there are no popular @,#,$ and other characters you would expect in a font. You will get EXACTLY what’s on this genuine “Mercedes” typewriter with so much soul.

WAVE is characterized by curved lines and intricate details. Each character was individually made in Illustrator and Type Tool using my original illustrations. Wave is a decorative font best used for titles or short bursts of texts in large point settings. The typeface is based on the uppercase letterforms, but I have also created lowercase letters, numbers, and glyphs. The motion lines used in the making of Wave mirror an art deco-style. Inspired by an illustration of a large wave, I was fascinated that by using only lines and solid colors we as artists can depict the translucency and ever-changing movement of waves. I began by delicately sketching out all of the letters using graph paper and micron pens. My work always begins with traditional media. I'm an illustrator, freelance artist, and graphic designer from Chicago, IL. I studied at Texas Christian University, and received my Bachelors of Arts in Graphic Design from Columbia College Chicago. Visit www.jennyddesigns.com for more! :)

Here's what I said about the original Ginza: Sometimes you get an idea stuck in your head and the only way to get rid of that demon is to put something down on paper. A year later the doodles became a skeleton, and then the skeleton had a body, then the body had a name, then the name got a personality. What was left was a clean set of fonts that encompass a very simple skeleton with a lot of visual appeal. And now with Ginza Narrow: Once Ginza was released, I immediately wanted to commit the time to create a narrower version—if for nothing else but to add additional versatility to the skeleton, but my schedule just would not allow it until a client recently asked me to. There was no need to ask twice as I had already started and then shelved the initial builds. I also had the opportunity to expand the localization of the fonts by adding Cyrillic.

As a practicing graphic designer there have been numerous occasions when I have needed a font that didn’t exist. More often than not the style I was looking for was described as an extra-condensed sans-serif with a contemporary look that was available in a variety of weights. Small caps would be useful, so would a range of numeral styles. And matching italics too, of course. The proportions would consider viewing on hand-held devices, cell phones, remote controllers. And not forgetting that the font would be used in situations which required stacking the lines close. So the overshoots needed to be eliminated – the exaggeration of extremities that are intended to avoid round characters appearing smaller than their more squarish counterparts, often colliding when linespacing is tight. As I refined the design, I tested it on several works-in-progress providing a valuable testing ground and proving popular with my clients.

I have just returned from a trip to Malaysia, Java and Bali with my family: my wife had some family business there, so we turned it into a holiday. The last time I visited these places was 26 years ago and I knew things would have changed, but I wasn’t prepared for the ugly truth. Malaysia’s interior has been converted into one big oil palm plantation, Java is choked in plastic and Bali is one endless string of concrete hotels, restaurants and cheap tattoo parlours. Plastic Fantastic is not an ode to the many uses of plastic. It is a wake up call: we really need to stop using disposable plastic! You can start by implementing the Plastic Fantastic font family in your durable water bottle designs, the compostable bag holding your organic potato crisps or that big ole sign advertising your local food truck event. Or whatever it is you want to create. ;-)

When I was in high school, I would wreck my notebooks with multiple layers of graffiti tags, which would start in the margins, and then creep in to cover the entire page. I developed a sensibility towards a very fast, expressive use of my hand, which later easily and naturally translated into brush. I used this style typographically on several projects throughout the years, and even turned it into a signature illustration style. Recently, by repeating letters hundreds of times each with brush on paper, this ad-hoc brush style became Streetbrush. The style is characterized by a unique blend of urban grafitti meets Asian calligraphy. The font is best used for large titling or signage, as it is extremely detailed and really captures the feeling of a brush pulling ink across a textured surface. That said, the font will also work well for body copy, and includes most basic symbols. The font has some ligatures, mainly for legibility.

Armature Neue is an extension and clarification of the original Armature family released in 1997. We made the distribution of weights more even, and added italics extra light and black weights. Originally consisting of four fonts, Armature Neue has twelve: six weights with accompanying italics. Although conceived as a display face, a number of alternate characters are included that can be used to regularize the type for text setting. Armature is one result of my interest in typefaces that are constructed, rather than drawn. Although it is basically a monoline design, there are subtle details throughout that compensate for a monoline’s evenness. As with all fontBoy fonts, there are dingbats hidden away in the dark recesses of the keyboard. When I first started designing this face in 1992, I called it Dino-I thought I would name all my fonts after famous pets-so the dingbats for Armature are dinosaurs. Designed by Bob Aufuldish with editing and production by Psy/Ops.

Beware: Here be Dragons! It Be Dangeroues to Venture Yonder! This warning, inscribed on a rock at the entrance of a cave in an inaccessible mountain in the far north of Scotland, provided the inspiration for the font DragonFyre. While I have not seen the actual rock myself, I have based the font on an accurate drawing of the original inscription. DragonFyre speaks of lands beyond our ken, of wistful faerie kingdoms, of dark happenings and white magic. Use it at your peril, for its very use will conjure up worlds long forgotten, places of faeries, elves and hobgoblins, of ogres and giants. Those who read texts written in this font may well have their lives strangely changed. I have included a complete character set of 242 characters; upper and lower case; as well as all accented and special characters. All characters have been carefully letterspaced and kerned. For maximum dramatic impact I suggest you use combinations of both upper- and lower-case characters.

Proper was based on handwritten characters (of my own) that I scanned and then digitally touched up. I kept the digital editing to a minimum so as to preserve the freshness of the original. I did, however, want to convey a sense of propriety and regularity and so my original handwriting was done with quite a lot of control. I kept the size of the lower case characters quite large and this makes the font very readable, even at quite small point sizes. Proper may be used when you need clean, legible text, with a natural look, e.g.: -- magazines aimed at the natural health market -- "natural look" fashion pages -- "natural look" decor pages -- natural food products -- natural beauty products -- children's books -- packaging for children's toys, games etc. -- educational material -- comics Proper contains a full character set with all upper and lower case characters, numerals, symbols, accented characters and it has been carefully spaced and kerned.

When I released Halogen, I asked ‘Who doesn't want or need an expansive contemporary extended sans that has a sense of style and swagger… what if it had a lowercase, small caps and various numeral options… how could you say no?’ Go, click on the Halogen link and read on, if you're interested. Halogen was well-received, so I decided to take it further with Halogen Slab (the name kinda tips you off as to what kind of typeface it is, don't ya think?). As always, I prefer not to take short cuts and provide an anemic offering of glyphs — a modern typeface offered today must provide more than just the basics and this one does — lowercase, smallcaps, old style numerals, tabular forms, stylistic and titling alternates, fractions, case-sensitive features, and even an alternate uppercase ordinal set is included. Now go make cool print and digital things with it, and share them with me.

Many years ago I studied American Sign Language in an effort to better communicate with some friends of mine within the deaf community. I found ASL to be a beautifully expressive language from a vibrant and active culture. Out of that attempt came this stylized depiction of the manual alphabet used in finger-spelling. Until recently it had only existed in analog form, born of pen and ink on paper. So now I'm glad to say it’s turned digital. Typing a period (.) will reveal the sign for “I Love You” (a combination of the letters I, L and Y), which fits nicely within the shape of a heart. Holding down the shift key while again typing period (greater symbol) will reveal the heart in its filled-in form, which can serve as an underlay. Use these in an application that supports layering in order to create different color combinations. There’s a stylistic alternate letter “S” and an “OO” ligature which can be accessed in OpenType-savvy apps.

Groucho is a very high-contrast script. It remined me of Groucho's moustache so I thought it was a good name.

This is a new font that I describe as a casual faux antique letterform. Great for many decorative and fun projects.

The Ihre-Götlin Runic inscription is one of the other runic inscriptions in America. I couldn't find much data on it.

I present it to you as a hollow-style transparent design of the Anglo-Saxon Runic inscription. Use it with pleasure.

Storyboard is expressive, rough, partly connected and full of painterly, brushed energy like the sketches of a storyboard. It's bold and kind of edgy, but can be friendly too. There are tons of ligatures you can turn on or off depending on the look you're after. So what's your story?

Article to appear on the font family page: According to the Catholic faith, a well known náhuatl story called "Nican Mopohua" (translated as "Here it's narrate") about the Marianas apparitions on the Tepeyac's hill, to the north of the actual Mexico City. After four apparitions, La Virgen de Guadalupe (LVG) told Juan Diego (JD) that he must introduce himself to the first Bishop of Mexico. JD took in his "ayate" some roses (that aren't natives to Mexico's barren territories) and when he dropped them in front of the bishop, the image of LVG appeared in front of him with indigenous features. I’ve worked a lot in this font that appears to came out of nowhere, just like the image of LVG itself, the fact is that I started first sketching some flowers, because I wanted to do something related to this mexican story, so, taking some features from this flowers I started sketching some letters, for example “r” and “i” and the counter forms for some letters like “a” and “o” (that I didn’t use by the way) and the punctuation marks, all inspired by this leaf forms. Lighter weight coming soon! Hope you like it. Any comments: rodrigonabo@gmail.com