The Bree font family is a spry sans serif by Veronika Burian and José Scaglione that delivers a spirited look and feel for branding and headline usage. As an upright italic, Bree shows a pleasant mix of rather unobtrusive capitals with more vivid lowercase letters, giving text a lively appearance. Bree is clearly influenced by handwriting. As such, some of its most characteristic features are the single-story ‘a’, the cursive ‘e’, the outstroke curves of ‘v’ and ‘w’, the flourished ‘Q’, and the fluid shapes of ‘g’, ‘y’, and ‘z’. Alternates of these letters are available when a more neutral look is desired. Bree has a touch of cheekiness, a wide stance for each character, and an extra-large x-height. All this adds up to a big personality, so even when set in small text there is no skimming past the words Bree voices. In 2019, the Bree font family got a huge update. A few shapes were updated or added (the ‘k’ and German capital ‘ß’), two entirely new weights were added (Book and Book Italic), and spacing was perfected. More than that, Vietnamese support was added to Bree Latin, and the Bree Greek and Bree Cyrillic scripts were designed from scratch to parallel the Latin’s tone. Additionally, Bree was designed in variable font format for those who want complete control over the font’s appearance while simultaneously saving digital weight in the form of kilobytes and megabytes. Bree is in the perfect position for the next digital revolution. The complete Bree font family, along with our entire catalogue, has been optimised for today’s varied screen uses. Bree has been chosen for such wide-ranging uses as Breast Cancer Awareness Month in the US, the branding for the country of Peru, and numerous layouts including mobile apps, magazines, newspapers, and books. Awards – Tipos Latinos exhibition 2008 – Several best-of-the-year typeface lists of 2008 MyFonts Top 10 Fonts of 2008 Smashing Magazine: 60 Brilliant Typefaces For Corporate Design https://www.smashingmagazine.com/2008/03/60-brilliant-typefaces-for-corporate-design/ Die besten Schriften 2008 http://www.fontwerk.com/619/die-besten-schriften-2008/ – Selected for Typographica’s Best Typefaces of 2008 – Won Bronze for Original Typeface in the 2009 European Design Awards

A rounded slab in 4 styles In our age, since the arrival of microcomputing, the majority of professional letters have been composed in quality typefaces. Typewriters & the typestyles they used have become antiques. A letter set in Times or Helvetica & printed with a laser printer at 600 dpi or more are of such quality that one can no longer distinguish it with a document produced by offset printing. But letters composed in this way appear overly institutional when a bit of informality is needed. Le Monde Courrier, designed by Jean François Porchez, attempts to re-establish a style halfway between writing and printing. Informal neo-tech style This rounded slab serif returns the informal character of “typewritten” fonts to letters and suit well all bad conditions, from inkjet printed memos to webfonts use. With a unique typographic colour, it integrate itself with the rest of the Le Monde family with effective contrast. The verticals metrics and proportions of Le Monde Courrier are calibrated to match perfectly others Typofonderie families. Bukva:raz 2001 Type Directors Club .44 1998 European Design Awards 1998

The Lamia font is inspired by the work of the most famous calligrapher of the Basque Country, Jose Francisco de Iturzaeta Eizaguirre (Getaria1788-Madrid 1853). His writing method was compulsory in Spanish schools since 1835. His "unpolished Spanish font" tried to be more effective than the more commercial English version by avoiding embellishments and excessive rear tearing. More akin with the liberal values imported by the French, his offerings sought uniformity, speed and efficiency to ensure that those in the less-favored echelons of society had an effective communication tool. From his "general collection of characters of European Letters" published in Madrid in 1833, we have chosen the "lower case pancilla reformed" represented in one of the prints. We have tried to reinterpret it by keeping its essence but also ensuring that it is viable for potential contemporary uses which, thanks to its good readability and effectiveness in longer texts, basically means as a decorative or display font. The upper case was generated using the lower case as a reference.

Initially commissioned in the summer of 2009 for a popular North American ice cream parlor chain we cannot name, Tuba started with a reconceptualization of a somewhat flawed '72 alphabet idea by Swiss graphic designer Erwin Poell. During the back-and-forth of the custom project, other ideas seeped into the design, mostly from other Canada Type fonts, like Fab, Jonah, Jojo and Teaspoon. The end result was what the client called a "sugar circuit trigger alphabet". This now is the retail version of that project. Tuba's main style is a straight-forward mix of 60s/70s art nouveau ideas and late-70s/early-80s tube aesthetic. The Highlight and Outline styles are almost necessary spinoffs for this kind of typeface. And the all-caps Black style is a nod to the fat font fad of the past couple of years. All styles contain many alternates – so many that each style is almost two fonts in one. Make sure to check out the character sets for a few nice and useful surprises. Life's too short. Seek sweetness. Get gooey.

CoolKids was inspired by the song “Signs of Life” by Arcade Fire. Since the lyrics talk about some cool kids we wondered what a typeface with the name cool kids would look like. We immediately knew it had to be laid back yet bold and to stand out from the crowd. After designing the bold script we decided to include a light, regular and medium weight to offer you more options for your designs. It comes with initial and final alternates, that show up automatically, to make it feel more natural and similar to handwriting. Every character was carefully drawn and connections are real smooth. This casual font-family speaks most Latin languages, both in their basic and alternate forms. CoolKids is great for creating logos, packaging, posters and much more. More important than to create a font is to use it… so now it’s up to you to create something awesome with it. Feel free to share your designs with us via email to hi@seventype.com We would love to see and share them with the world!

Storefront is what the prolific and talented American sign painters of the 1920s and 1930s would have created if they had access to the advanced lettering and type technologies we have today. Rooted in an incomplete Alf Becker alphabet sample, Storefront is my usual overdose on alternates and swashes, my eternal attempt at giving typesetting that ever-elusive handmade impression. Though the main shapes, especially the majuscules, are almost a standard recitation of the natural evolution of nineteenth century scripts, the additional variants available within the font provide a leap in time to what sign makers and packagers are doing today. I can honestly say that Storefront’s influences are probably less historic and more in line with my recent travels and frequent supermarket visits. It’s difficult to avoid current visual culture when you're constantly bombarded with it. Not that I try. I certainly welcome the overflow. I'm probably addicted to it by now. With a very cool aesthetic, plenty of alternates and swashes, extended Latin language support, Storefront is over a thousand glyphs for your branding, packaging, and sign making pleasure.

Synthica is the advanced version of a geometrically constructed typeface – designed for a thesis project in summer 2010 in Pforzheim. In the context of electronic music and the profound analysis of its parameters, this typeface is primarly based on a strict modular grid. Additionally, the ascender, descender and the x height had slightly been increased in order to even out a visual difference in size between the glyphs. The name „Synthica“ dervives from a basic principle in electronic sound synthesis. Sinus, triangle and square are some of the basic waveforms in the synthesizers’ oscillator section and were thus used as geometric modules for the grid. The modularity and geometry also derive from different structures of electronic music. The strong emphasis on diagonal lines creates a rhythmic typeface that connotates electronic music patterns with highly recognisable glyphs. The contrast between digital and analog is another basic idea of this typeface: while Synthica Outline has a more synthetic and fragile character, the filled version Synthica Black serves as the analog counterpart.

Varietta is the result of my fascination with photographing the type designs of some marquees in Spanish markets. In them you can see many letter designs with reversed contrast and in different widths, probably based on the possibilities of photocomposition. At the same time I was working on the expansion of the Hastile typeface designed by Alessandro Butti for the Nebiolo foundry in Italy in the late 1930s, of which I had not seen any digitization. As I am not a fan of perfect revivals, I thought it could be interesting to connect Spain and Italy in a single typeface. The first step was to expand Butti's design to 27 styles, ranging from thin condensed to black expanded. To look for the Spanish connection and its characteristic inverse contrast I took advantage of the current technology that allows variable typefaces with many axes. From this, three scenarios of horizontal contrast were incorporated (top, bottom and mixed) which allows infinite possibilities of use. The final result is a collection of 108 static typefaces or a single variable file.

The Mule is a very special mix – it has a donkey father and horse mother, and they often inherit the best qualities of both. "The mule is an example of hybrid vigor, Charles Darwin wrote: The mule always appears to me a most surprising animal. That a hybrid should possess more reason, memory, obstinacy, social affection, powers of muscular endurance, and length of life, than either of its parents, seems to indicate that art has here outdone nature." They are typically very strong for their size compared to horses and are able to cope with bad weather better than donkeys. Mules rarely become ill and their behavior is Intelligent and sensitive. In the right home, they can make great companions for other equines, and wonderful pets. However, if they are unhandled or not correctly trained, mules have the potential to be dangerous. The inner shapes of Mule Cargo are almost identical between the Regular and the Heavy weight. This shared genom make them very powerful pair and a useful design tool for display purposes.

Introducing Fiasco Script, a bouncy modern calligraphy font. Fiasco is a clean cursive font with a feminine aesthetic, making it a perfect choice for designing feminine logos & branding, cute paper products like wedding invitation suites, or for displaying headlines on your website. Fiasco can also be used for other print design like magazines and flyers or printed marketing materials. This font can also be used for digital marketing materials and social media items! Fiasco Script’s clean edge makes it a great candidate for craft projects on your Cricut or Silhouette machine; it cuts beautifully! Fiasco Script includes: - full upper + lowercase characters - numbers + punctuation - 2 ligatures — ox, tt - PUA-encoding Extensive Language Support: Western European, Central European, South Eastern European, South American, Oceanian, Vietnamese, Esperanto Fiasco Script can be used with graphic design programs such as Illustrator or Photoshop, word processing programs like Pages or Word, Design Space for Cricut, Silhouette, Procreate, Canva Pro, Glowforge, GoodNotes, & more. This font is an installable for desktop & laptop machines, as well as iPads or iPhones. See below for links to help with installation.

Welcome fashionistas, we have designed a type family based on fashion and current trends. Trendy, the new font of our studio follows the same design line that represents us, processes with brush lettering, variety of characters, OpenType programming and a special touch that reflects a boho chic style. The soul of Trendy is inspired in the logotype of one of the most influential type foundries around the world. Because of its great contribution in graphic design we have decided to pay tribute by expressing our gratitude for being an icon in the design world, the most recognized type designers of the last years have been part of that type foundry and for being source of inspiration for new designers. Trendy represents a fashion house, a place that breathes fashion, there are inside 5 determining variables for designing time: Regular, Bold, Black, Display & Stencil. Discover this new way to see the glamour world all include in a type family. To know more about our new project, Trendy, visit our web site www.estudiocalderon.co and our portafolio in Behance.

Astrum is a very decorative script font using elegant caligraphic handwritten letters that are all mutually interconnected, creating a unique look & feel of a personalized human handwritting. Its clean and prefined lines makes Astrum very appealing and modern, although being very classical in its core essence. The idea for the creation of this font had originally came up from the need to create a beautiful design for Weddings, wedding occasions, etc., but none of the existing fonts were satisfactory - so I decided to create a new and unique typeface to fill this need. Letters and other characters are recognizeable by prefined ornaments, incorporated in a very subtle way. Whitespace between capital letters, lower-case letters, numbers and other characters are done in a way to minimize the need for kerning. The font Astrum, besides being a celebration of class and exclusivity, is a very luxurious and elegant handwritten font perfectly suited for Wedding cards. The character set for this font contains all western, central-european latin and cyrillic characters.

Introducing Mullingar, our latest submission to the display typeface’s world library. Heavily inspired by the letters that are used in old/classic advertisements and signpainting culture, with a little magic touch of modern twist to keep this family relevant. Mullingar letterforms were built from bold and blocky base, unique serif combinations, clean plus smooth curves, and sharp edges. Available in six styles (Regular, Bold, Light, plus Slanted in each version), that guaranteed to give you joy in designing. Mullingar family is a reminiscent of retro sign painting, featuring a rustic architecture that makes it quite at home in a wide variety of design themes. Its blocky characters are best used in bold signage, headlines, advertising, logo designs, product packaging, merchandise, apparel, posters, album artwork, book covers, titling, etc. This typeface also provides additional versatility through OpenType feature, offering discretionary ligatures, standard ligatures, and stylistic alternates. It extends multilingual support to Basic Latin, Western European, Euro, and Pan African Latin languages for design projects intended for an international audience.

The design of Futura seems to be timeless. This typeface family which had been developed in 1926 by Paul Renner for the Bauer Type Foundry in the style of constructivism and as part of the Bauhaus movement, experienced, however, in the course of the past 90 years, repeated time-appropriate revivals which guaranteed its on-going popularity. The version of the Futura EF Pro contains the original character constructions which Dennis Megaw described as the “first designs of Futura” in 1938 in “20th century sans serif types, Typography no. 7” (See: Dr. Christopher Burke: Paul Renner, Princeton Architectural Press, New York 1998). What makes it exceptional is the extension into three weights: “Text”, “Headline” and “Index” which came about as part of a degree dissertation at the Hochschule für Bildende Künste (HFBK) in Hamburg. In this context, the accompanying documentation “Die Kritik der reinen Futura” (“The Critique of the Pure Futura”) by Katharina Strauer was published by the Materialverlag, Hamburg, in 2003. Some copies are still available at Elsner+Flake.

The design of Futura seems to be timeless. This typeface family which had been developed in 1926 by Paul Renner for the Bauer Type Foundry in the style of constructivism and as part of the Bauhaus movement, experienced, however, in the course of the past 90 years, repeated time-appropriate revivals which guaranteed its on-going popularity. The version of the Futura EF Pro contains the original character constructions which Dennis Megaw described as the “first designs of Futura” in 1938 in “20th century sans serif types, Typography no. 7” (See: Dr. Christopher Burke: Paul Renner, Princeton Architectural Press, New York 1998). What makes it exceptional is the extension into three weights: “Text”, “Headline” and “Index” which came about as part of a degree dissertation at the Hochschule für Bildende Künste (HFBK) in Hamburg. In this context, the accompanying documentation “Die Kritik der reinen Futura” (“The Critique of the Pure Futura”) by Katharina Strauer was published by the Materialverlag, Hamburg, in 2003. Some copies are still available at Elsner+Flake.

ITC Magnifico Daytime and ITC Magnifico Nighttime are inspired by nineteenth-century decorated types and letterings. “Although they are designed as display typefaces, their use is not limited to large headings. Usually three-dimensional types are employed in gigantic headings in large posters, but I thought it would be interesting if such decorative types were used as well in small sizes, say at 12 point,” says designer Akira Kobayashi. “There were a few examples of small three-dimensional types used in cards printed in the nineteenth-century. I studied their letterforms carefully and became more and more interested in those small three-dimensional types. The outlines of ITC Magnifico are robust enough to endure use at small sizes. Sometimes the angle or the shape of the 'shadow' had to be slightly modified or even illogical, because the letterforms ought to look as simple as possible. The resulting types are fairly easy to read at small sizes, and I hope that at large sizes those occasional oddities will appear charming.”

Ravensara Stencil - elegant high contrast classic serif. Ravensara family was born from the idea of taking the Didone concept to weight extremes. In light and medium weights Ravensara transmits a very elegant and high fashion style attitude, but stays readable in small sizes and can even be used as a text font. That makes it an ideal solution for projects, that needs an injection of contemporary sophistication. Heavy weights perfectly complement light and medium ones and also works great by their own in large sizes. It is a part of the Ravensara superfamily, united by the same anatomy, which currently also includes Ravensara Sans and Ravensara Serif. Ravensara Stencil is available in 9 weights, including Thin, Light, Regular, Medium, SemiBold, Bold, ExtraBold, Black and ExtaBlack. Ravensara font family, combining its classic origins and contemporary elegance, is a perfect choice for bold headlines, oversize typography, fashion logos, branding, identity, website design, album art, posters, advertising, etc. Ravensara Stencil extends multilingual support to Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Pan African Latin and Afrikaans.

Sign Helpers JNL is a collection of silhouette images carefully redrawn from two distinct sources. Prior to their bankruptcy in 1984, the Holes-Webway Company of St. Cloud, MN produced thousands of their "Webway" sign kits that were utilized by merchants, libraries and schools throughout the country. At one point they included in their sales catalog a selection of die-cut images for embellishing sign work. In the late 50s and throughout the 60s, the Joseph Struhl Company (now known as Magic Master Industries) produced cling vinyl sign kits for business, and a home movie titling set for do-it-yourself film makers. This set also featured die-cut embellishments. A generous selection of designs from both kits have been faithfully re-drawn in digital form to pay tribute to two innovative companies. Other fonts based on products from these companies are Sign Kit JNL (Webway® Sign Kit), Cling Vinyl JNL, and Sign Maker JNL (Magic Master® Sign Kits). Trademarked names are used purely for reference purposes.

Mr. Jenkins is designed to fill the void between the crazy, wacky and reckless comic style fonts, and the standard boring but very readable sans-serif typefaces. It makes for a distinctive bold headline, but is also quite legible at small sizes. It’s just off kilter enough to not take itself too seriously. A deceptively care-free font, each character was carefully drawn. The spacing and kerning of each letter and letter combination were painstakingly considered. Particular attention was paid to maintaining consistent optical weights and a spontaneous appearance. Mr. Jenkins is inspired heavily by humanist sans-serif faces such as Myriad and Lucida Sans, with its open apertures, and low contrast but almost calligraphic line weights. The lowercase a is single story in the italic face, but two story in the regular face. It contains uncommon features amongst many “quirky” fonts, including a full set of latin accented characters, lining and proportional figures, math symbols, standard fractions, foreign currency marks, contextual alternates, and even a few ligatures.

I generally refer to our typefaces as ‘graphic’ rather than typographic. By that I mean their starting points are usually ways of constructing shapes and systems of shapes. As with other Alias typefaces, Sabre has stone and wood cut letterforms as a starting point. What is interesting about lettercutting is the connection between shape and material. These beautifully crafted letterforms have a particular sharpness which reflects, of course, how they were made. The idea of constructing letters from a kit of parts we first explored in early fonts Elephant and Factory. These are different in that they were very much grid-based, with a geometric structure. For Sabre I also had Fred Smeijers’ stencil construction drawings in mind. These show how a set of components can be the basis for a crafted, elegant typeface. Sabre is quite a loose interpretation of this idea. Sabre’s graphic shape means it works well at large sizes, with a dramatic, angular impact. Its aim is to be typographic enough to function for blocks of small-size text too.

The first handwritten font from CheapProFonts - and what a beauty it is! The original font had no diacritics at all, so all have been designed to fit. This friendly looking font is ready to scribble some notes or something. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

The Strapwork is a symbolic font with the ornaments from the 16th century Mannerism era. These type of ornaments are called Strapwork and are combined with the Moreske ornament. Together they create a rich and refine style. As a prototype for this font I took the tables of ornament examples by etcher Balthasar Bos (1554). The font contains high quality vector graphics with a special attention paid to details. This collection consists of many friezes (borders). There are more than ten basic motifs and a great number of combinations. The ribbon elements are easily laid out by typing the combination of letters. The four typefaces help to combine ornaments in various tones and colors. By overlaying plants elements with ribbon elements you can get a multicolor richness and combinations variety. The font comes with a detail documentation and examples in PDF format. The Strapwork ornaments will ideally suit your needs in graphic design, textile industry or various decorations. The Strapwork font can be easily used not only in traditional approach but also in grunge stylistics, which will enrich your compositions.

Full Tolls is the younger brother of original Full Sans, Full Neue and Full Slab. Full Tools started with Social Media Icons. In the following days coming new icons. For example "Full Tools - Communication" and "Full Tools - Emojis" and mode. To take up less space and simplifying icons on the web and phone apps. All icons bigger 110% from another Full Brothers. Full Tools is the perfect font for web use. You can enjoy using it. EMOJI ICONS - Amazed - Angry - Beard - Crying - Dead - Dissapointed - Embarrassed - Evil - Friendly - Happyness - Happy - Hilarious - In-love - Indifferent - Kiss - Laughing - Lovely - Muted - Nerd - Quiet - Sad - Scaret - Smile - Stress - Sunglasses - Suprised - Suspect - Thief - Tongue - Wink SOCIAL MEDIA ICONS - Amazon, - Android, - Apple, - Bechance, - Bing, - Box, - Buffer, - Creative Market, - Crome, - Delicious, - Deviantart, - Dribbble, - Dropbox, - Etsy, - Facebook, - Facebook Like, - Facebook Unlike, - Flckr, - Firefox, - Foursquare, - Google+, - Grafiport, - Hi5, - Howcast, - Html5, - Instagram, - Klikstarter, - Linkedin, - Messenger, - Myspace, - Myfonts, - Opera, - Path, - Paypal, - Periscope, - Pinterest, - Plaxo, - Quora, - Reddit, - Rss, - Shutterstock, - Skype, - Snapchat, - Spotify, - Stumbleupon, - Twitter, - Trello, - Tumblr, - Vimeo, - Vine, - WhatsApp, - Wikipedia, - Wordpress, - Yelp, - Youtube You can enjoy using it.

Flexion developed out of design philosophy and ambigramatic artwork of John Langdon. Based on the contents in John’s book Wordplay, author Dan Brown hired John to create ambigrams for his forthcoming novel Angels & Demons. Mr. Brown was so impressed with his work he even named the main character Robert Langdon after John. After the success of Angels & Demons, Dan Brown wrote The Da Vinci Code. When the movie adaptation of that book was in the works, Dan suggested that John create titles for the movie based on ambigrams. John contacted Hal Taylor to create a font based on the lettering treatment to be used for the credits at the end of the movie. Unfortunately, it was decided that the film was running long and the original title concept was scrapped. By this time, Hal was well into developing a full type family, including small caps, alternate characters, lining and ranging figures. John was impressed with the way the design was turning out and decided that it had enough merit to be released as Flexion.

Steel Grrrder is an industrial-style joining script with a stencil effect, available in six weights ranging from Light to Black. Great for all kinds of display purposes including posters, film titles, book covers, magazines, advertising, signage, packaging, logos and tanks, this is a script with a sharp personality and a steely presence. However, if you’re searching for a “nice” script - sorry, bud - you’re looking in the wrong place. Steel Grrrder Script doesn’t entice the reader with voluptuous curves, flowing swashes or frisky letterforms, instead its sharp chiselled features compel the reader to pay attention. Characters muscle their way along like robotic bulldogs in steel-toe cap boots. Steel Grrrder Script is a veritable slab fest, best categorised as a constructivist joining script. Forged from carbon steel and wrapped in a layer of Graphene, this is a robust display typeface family able to withstand even the most demanding typographical situations. The Steel Grrrrder extended family also includes a six-weight sans-serif with corresponding italics and two display fonts, Groove & Nutjob - all designed to work with each other.

Gorgeous Girl is our newest script font created with sweet and sweet hand strokes, with subtle touches and dramatic curves making this font unique. This bold calligraphy font is designed with a relaxed but elegant background, while still paying attention to the beauty of each letter, there are alternate options for lowercase letters, so that it automatically beautifies the visual appearance in your design project. besides that, this font also offers harmoniously beautiful abstract typography for your various design projects. This font is also perfect for wedding invitations, quote designs, for social media business designs, advertisements, trademarks, food and beverage promotion banners, text, posters, signatures, and any design that requires handwriting. This font is equipped with uppercase, lowercase, numbers, punctuation marks, swhases and several variations on each character including multi-language. ================================================== This font is best suited for open type friendly applications. How to get alternative glyphs from open type fonts: http://adobe.ly/1m1fn4Y PUA Character Code - Fully accessible without additional design software. we hope you enjoy this font. Feel free to send whatever message you want to convey.

This is a free abridged edition of the full-featured Gutenberg B and Gutenberg C fonts. Although (as the name suggests) it was originally conceived as the first release in the B42-type series, it actually represents the colophon to this series. In addition to having a narrower scope, the font differs from its full-featured predecesors in both letter and word spacing, as well as in glyph design, using exclusively straight lines for every glyph and providing a significantly rough appearance at medium to large point sizes. The font includes the usual standard characters for typesetting modern texts, as well as a few special characters, alternates and ligatures that can be used for typesetting nearly as in Johann Gutenberg’s 42-line Bible and later incunabula. Please note that the use of this free font is subject to the same terms and conditions as those for Alter Littera’s pay fonts. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Gutenberg A” Font Page.

Uni Neue is the whole new redesigned version (remake) of Uni Sans – one of the most recognizable and signature font families of Fontfabric type foundry. From major changes like proportions, widths and thickness (weights) to the smaller details, this new family enables us to feel and understand the font at a completely new level. Uni Neue is а modern sans serif with a distinctive character and geometric feel. The rounded corners give the typeface a friendly look, yet it retains a professional quality suitable for branding even the most serious corporate identities. The attention to detail paid during its development means that this typeface offers a vast range of design possibilities – it helps users create eye-catching designs and brands that really stand out. It is perfect for TV, screen, editorial and publishing, logos, branding, advertising and packaging. It supports a wide range of languages, including Extended Latin, Cyrillic and Greek. The family has seven weights, ranging from Thin to Black, with corresponding italics. The font was manually hinted to ensure great web and desktop performance.

Sometimes a sans serif just needs a sister. Meet Mamirolle! A geometric wedge-serif companion to Mimolette! (OR is Mimolette the sans serif companion to Mamirolle.... hmmmmm....) Mamirolle, like her sister, is great for text and display alike—she's super-readable AND super-legible, and her different weights lend themselves to creating clear contrast in your textual hierarchy! And she's got some nifty features, too! Mamirolle has a two-story a and g in the upright versions, but if you want a one-story a and g, just turn on Stylistic Set 01! Her italic is a true italic, not just an oblique. Want more playful cursive alternatives in the italic? Activate Stylistic Set 02, and you've got them in the A, E, K, Q, R, and k. She's got true small caps in all styles! She's got true fractions in all styles, as well as oldstyle (small cap) and lining numerals, in both tabular and proportional widths. Best of all, perhaps, Mamirolle was made with love, as always, by yer pals in the Ampersand Forest.

The Dalecarlian runes, or dalrunes, was a late version of the runic script that was in use in the Swedish province of Dalarna until the 20th century.The province has consequently been called the "last stronghold of the Germanic script. When Carl Linnaeus visited Älvdalen in Dalarna in 1734, he made the following note in his diary: The peasants in the community here, apart from using rune staves, still today write their names and ownership marks with runic letters, as is seen on walls, corner stones, bowls, etc. Which one does not know to be still continued anywhere else in Sweden. The Dalecarlian runes were derived from the medieval runes, but the runic letters were combined with Latin ones, and Latin letters would progressively replace the runes. At the end of the 16th century, the Dalecarlian runic inventory was almost exclusively runic, but during the following centuries more and more individual runes were replaced with Latin characters. In its last stage almost every rune had been replaced with a Latin letter, or with special versions that were influenced by Latin characters.

Cartier was Canada’s first roman text typeface, created in 1967 to celebrate Canada’s centennial. Its designer, Carl Dair, was one of the country’s most celebrated graphic design pioneers, and a fine designer indeed — but he was not a trained type designer. He had spent a year at the Enschedé type foundry and printing works in the Netherlands, but that probably wasn’t enough to fully grasp all that was required to make an effective text face. It is also possible that Dair simply compromised his own design by not allowing any of the much needed alterations to be made to his working drawings when they were handed over to Linotype for production. Cartier, though a strikingly original oldstyle, never became the influential allround text face it might have been. A display typeface derived from it, Raleigh, was more successful. Realizing that Dair’s design was sound in concept, if not in execution, Rod McDonald began working on a new digital version in 1997. The final family is convincing proof that Cartier could have been the functional text face that Dair originally wanted.

“Fanfare is such a fun typeface,” says Toshi Omagari, who revived the design for The Wolpe Collection. “It was my happiest discovery when I was digging through the Monotype archive. I came across it and had to check the designer’s name.” No wonder: Fanfare is modern, light and playful – not what you’d expect from an 80-year old design. From the original, very heavy weight design, Omagari started by creating a black weight, followed by four lighter weights for Wolpe Fanfare, preserving the character of the letterforms all the way down to a thin version. “I wanted to do more than digitize the original weight,” he says. “It’s surprisingly modern, and its skeleton, its basic structure, is so beautiful.” The new design packs more into a small space than most typefaces. It’s a natural for publication and advertising design. With displays capable of revealing fine details such as Fanfare’s subtly slanted baseline, its lovely forms will easily translate to mobile devices. With an extended European character set that includes Greek and Cyrillic language support, Wolpe Fanfare can speak in many languages.

Get to know the natural and neat font "Cogsworth"! This beautiful neat retro font with imperfect ink edges and a little careless shading is inspired by nature. Eco-friendly fashion takes into account the health of consumers, the health of the planet. The "Cogsworth" font is perfectly combined with any stylized graphics, watercolors, and also looks great on its own as part of a minimalist design. Play with letters to get different effects. Great for branding, wedding invitation design, packaging design, quotes, label design and more. Font Features A-Z; a-z character set; 1 language (English); numbers and punctuation marks, symbols. A font containing uppercase and lowercase letters, numbers, and a wide range of punctuation marks. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required, and to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop Made with love ♡ Thanks for checking it out, and feel free to drop me a message if you had any queries! ~ Anastasia

I present to you the universal everyday font 'Kit Cloudkicker'!! This font is very versatile and can be used in various styles of projects where a fast relaxed handwritten font is required. Filled with fun and energetic brush strokes, this font will undoubtedly add a touch of playfulness to your text - perfect for greeting cards, branding, merchandise, invitations and handmade quotes! The 'Kit Cloudkicker' font is so easy to use and create completely unique, hand-made words every time. It looks so great!! Font Features A-Z; a-z character set; 1 language (English); numbers and punctuation marks, symbols. A font containing uppercase and lowercase letters, numbers, and a wide range of punctuation marks. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required, and to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop Made with love and magic ♡ Thanks for checking it out, and feel free to drop me a message if you had any queries! ~ Anastasia

One of the most unusual sets of antique stencils spotted for sale online comprises a set of twenty-four classic logos of early 20th Century automobile companies. For whatever purpose that is now lost to time, these stencils represented the logos of many of America's finest auto manufacturers; most now just historical memories. The logos were painstakingly redrawn, maintaining the distinctive look of the hand made cutting, although it was an exacting process - some of the images were taken at an angle, and a bit of artistic license had to be used as a compensatory factor. It is to be noted that any and all of the logos presented in this font are the intellectual property of the companies, successors or assignees that may still hold the rights to these symbols. No endorsements by such corporate entities are either expressed or implied. Additionally, it is advised that any use of these logos be restricted to historical or hobby purposes, and they should not be used in a way that would construe any authorized reproduction of the logos in a commercial fashion.

Ermis Pro – handwritten, multilingual, natural Ermis Pro is a cross between a perfectly finished, comprehensive, classically cut old face type and handwriting. It combines the slightly irregular contours you see in very small letter sizes caused by the flow of ink on paper with the elegant look and feel of a serif font. This makes Ermis Pro the perfect choice for stylish printed materials with a personal touch, doubtlessly winning fans in the worlds of fiction and fantasy alike. Ermis Pro is robust and easy to read in both display and body copy. With its comprehensive character set, it is suitable for a wide range of typographical uses. Besides the standard Latin, the character set includes the Greek and Cyrillic alphabets as well as extended Latin with pan-African letters and the complete International Phonetic Alphabet (IPA). Ermis Pro also comes with numerous OpenType features such as discretionary ligatures, small capitals and nine number variants. The typeface features upright and italic fonts in three weights: Light, Regular and Bold.

The Quarantinus font was created during the 2020 covid 19 lock-down. Tranquility being all around, the JOEBOB graphics studio almost felt like a monastery, and as a result my style of writing and my choice of pen had to fit. All this writing was turned into an authentic handwritten script font with over 150 ligatures, which make it look very credible and spontaneous. The font is especially suitable for personalized 'handwritten' notes, cards and messages. It can be used on T-shirts and on shop-windows. It has an 'instant logo' quality, it can be used for tattoo-designs and it screams home-made everything. And in case you are a writer you now have an option to print your work in a way that seems as if you wrote it yourself. Please note that even though the font comes with a complete set of Western characters, accents and special signs, the Cyrillic and Greek characters that are in the font do not make a complete set.

Have you ever been drawing out the letters for a font, then you start making some multi-letter ligatures? Then you think up some more to make, and you make those too? And you keep making them, until you have over a hundred of them? No? Just me? Boisterous Fun is a font that started out simple -- a nice handwriting style with a single stroke width. But add in the ligatures, plus a dozen single-letter alternates and my usual crowd of accented characters for language support, and this baby has grown to over 600 characters total. It's a great casual font for branding or packaging, but it's also smoothed so it's easy for cutting. Boisterous Fun includes: - The usual A-Z, a-z, 0-9, and lots of punctuation; - Over 300 extended Latin characters for language support; - 140 alternates and ligatures for variety, all PUA-encoded for easy use! I had a ton of fun making it, and I hope you have a ton of fun using it!

Ballet Mechanique is a custom designed font for musician Jeroen Borrenbergs, aka Ballet Mechanique. For his upcoming record releases Jeroen asked me to create a special font for him. As co-founder and graphic designer at Stoere Binken Design he creates his own artwork and therefor had very specific wishes. The font should be warm, soft and have soul. He gave me some sketches for his logo that I should use as a starting point. The result is a very narrow, kind of techno, monocased font called "Ballet Mechanique" (what else). After having served his purpose, Jeroen Borrenbergs allowed his font to be sold publicly. Jeroen Borrenberg’s debut work, in 1996, received hugely praising reviews. Muzik Magazine made Evolutionary Entities techno single of the month, Laurent Garnier and Mister C constantly played it in their sets and Morgan Geist just said “I won’t do a review here - let me just encourage all of y’all to listen to and/or pick up the new Eevolute 12″. Beautiful stuff - complex, melodic, soaked in just enough reverb to take it to another room. Check or regret.”