Pelle Piano is the stage name for Per Ellstrom, a musician in Stockholm with an interest in irregular and informal lettering. ITC Coolman was inspired by lettering styles of the 1950s. “I have a passion for old '50s type lettering,” says Piano, “as seen on posters from B-movies and pocketbooks and cartoons.” Although ITC Coolman is not a script face, its caps work best with the lowercase, rather than together. The funky, bouncy look of Coolman cries out for beach movies.

Rebeck Black is a typeface that evokes the best of two worlds, the classic and refined lines, the high contrast and forceful movements of the 18th century together with fresh strokes and risky characters that combine perfectly to place this typeface in the modern and avant-garde times of the 21st century. Created to be different, generate power and visual impact, it is ideal for use in identities, headers and all types of graphic pieces that seek to enhance the message.

A sans-serif face in which the circular elements have become almost square, NewNerdish resembles a number of typefaces which have become associated with a modernistic, computer look. There is little or no variation in the weight of horizontals, diagonals, and verticals. It comes in two widths each with five weights and each weight has an oblique version, which has the same letter shapes as the upright version. The ShadowedInside style is designed to be used in a layer with the Shadowed style.

Talbot Type Keymer Radius is related to Talbot Type Keymer ; where Keymer is square-edged, Keymer Radius is subtly rounded for a softer look. Keymer Radius mixes geometric and humanist traits to achieve a modern, clean, elegant appearance. It is a legible and versatile text and display face available in six weights. Keymer Radius features an extended character set to include old style numerals, accented characters for Central European languages and bespoke characters in the italic for a more flowing look.

Toroka is a geometric sans serif type family with an extensive selection of styles. Functional and highly legible, it has a friendly vibe due to the lack of extending stems on "b", "d", "p", "q", "u", and "r". Its distinctive personality comes across through the rounded apexes of "V", "W", "v", and "w". Stylised "g" and "y" add sugar and spice. The additional stylistic set offers an eccentric display alternative to the uppercase. Opentype features include ligatures, tabular figures and fractions.

Accidents happen. Things go where they don't belong, get changed - remade. Something new crawls out of the murky depths. Ghixm is a retrospective of the horror comics and movie posters of the 1960s and the 1970s. It's fluid forms harken to watery graves and tentacled unnameable horrors. These twisted shapes are reminiscent of titles that will make your skin crawl. It’s already warped and twisted, so don't hesitate to abuse it. This face can take it and still deliver its chaotic message.

Sopi is a typography of ornaments, borders and combined frames. It was inspired by the design of limestone tile floors, located in different places in Buenos Aires. All characters have the same measure, which enables the possibility of any desired combination. In the case of edges or combined frames, the typography was programmed in a way that is possible to generate textures with 2 or more colors, attempting to rescue the colorful designs that were original thought in the limetone tile floor.

The source of inspiration for Klaver Monogram is a delightfully elegant initial letterset adorned with clover tipped flourishes from a vintage embroidery publication. Originally intended to adorn handkerchiefs and other linens, this digital revival opens it up to a whole new realm of possibilities. This is one of many monogram designs from the late 1800's to early 1900’s that is loaded with panache. Download and view the MFC Klaver Monogram Guidebook if you would like to learn a little more.

The inspiration source for MFC Billow Monogram is a beautiful letterset from the "Manuel de Broderies No. 179" by N. Alexandre & Cie. from the late 1800's. We've drawn out some flourishes and ornamental glyphs based on the original design in order to offer more versatility with this monogram. Experiment with the flourishes in different combinations. You may be surprised at what you can create! Download and view the MFC Billow Monogram Guidebook if you would like to learn a little more.

William Morris (1834-1896) was probably the most influential figure in the decorative arts and private press movements of the late 19th and early 20th century. In reaction to the increasing lack of quality that the industrial revolution brought on, Morris sought a return to the ideals of the medieval craftsman. Dissatisfied with the commercially available typefaces of the day, he undertook the design of the fonts for his books himself. The P22 Morris font set features new versions of Morris's famous type designs for his Kelmscott Press. The two main fonts include full international character sets for Western European languages. P22 created MORRIS GOLDEN with a rough edge to simulate the look of printing on handmade paper. There is a more "refined" recent version of Golden, but its sterile digitization does not approach the effect that Morris achieved in his Kelmscott books. You'll notice the handmade effect less in the smaller sizes but will find it quite decorative in the larger sizes. (Morris cut his Golden type in only one size for the Kelmscott Press, approximately equal to 14 points.) P22's version of MORRIS TROY is more smooth than Morris Golden and is true to the original Morris design. It is based on the Kelmscott Troy type (an 18 point font) and its smaller counterpart, the Chaucer type (a 12 point font). American Type Founders made an unauthorized version of Troy, "Satanick," 189?, contrary to Morris's wish that it not be made available commercially.(Legend has it that the naming of Satanick comes from William Morris telling the agent inquiring about making copies of his fonts available to go to hell) Several digital versions of Troy (and Satanick) have appeared over the years. The P22 version offers a much more accurate rendering than any previous version. Morris designed the original Troy font to be spaced very tightly; our version reflects and honors his intention. The MORRIS ORNAMENTS are based on those Morris designed and used in his Kelmscott Press books. Characters in the positions of the letters A to Z are decorative drop cap initials. Characters in the number key positions reproduce other Morris embellishments. (See the accompanying key chart.) As with all headline fonts and complex dingbats characters, this font is best used at larger point sizes (e.g., 48, 72, 120). Use in body text or at small point sizes on-screen may not achieve desired results. P22 is grateful to William S. Peterson, Steven O. Saxe and the Lightsey-Offutt Library who gave invaluable research assistance to this project.

The Vondelpark is the famous Amsterdam city park, 47 hectares stretching out from Leidseplein to the Amstelveenseweg. It was founded in 1864 when a group of well-to-do Amsterdam citizens got together and bought land at the (then) edge of the city centre in order to create a park ‘for riding and strolling’. Designed by architect J.D. Zocher, it opened officially in 1865. The park received its name two years later when a statue of Dutch writer Joost van den Vondel was placed in the park. In the 1960s and 1970s the Vondelpark became a symbol and epicenter of the hippie flower power era. The park was declared a state monument in 1996. Donald DBXL was intrigued by the handmade iron nameplate lettering on the park’s entrance gates, and decided to design VLNL Vondelpark in its glory. The somewhat clumsy iron letters were not revived as is but optimized to turn it into a useful typeface. The all-caps serif with a deliberate constructed feel, contains a Positional Open Type feature that places half circles on the vertical stems, at the beginning and end of a word, to enliven the rhythm.

King Tut is a restoration and expansion of the original Egyptian Expanded, a single bold face cut in 1850 by Miller & Richard, the famous Edinburgh founders. This aesthetic, though originally issued to help drive simple print advertising of those days, is perhaps the longest lasting genre of typeface. This aesthetic flourished in the later part of the 19th century, helped by the surge of similar faces from England (such as Figgins' Antique 6 and Expanded Antique), and became the defining index of the old American wild west that continues to this very day. King Tut serves up its impact through a balance between the wide, compact letterforms and elegant curvature that manages to come through even in confined areas. The family's weight variety allows for more options in counterspace use as well as precision in the amount of curve definition and contrast needed by the typographer. The lighter weights completely oppose that 19th century boldness and expose the alphabet's skeleton in a strive for simplicity that fits modern applications. With generous language support to boot, King Tut's diverse offerings make it an essential addition to today's designer repertoire.

Designs of characters that are almost forty years old can be already restored like a historical alphabet – by transferring them exactly into the computer with all their details. But, of course, it would not be Josef Tyfa, if he did not redesign the entire alphabet, and to such an extent that all that has remained from the original was practically the name. Tyfa published a sans-serif alphabet under the title Juvenis already in the second half of the past century. The type face had a large x-height of lower-case letters, a rather economizing design and one-sided serifs which were very daring for their time. In 1979 Tyfa returned to the idea of Juvenis, modified the letter “g” into a one-storey form, narrowed the design of the characters even further and added a bold and an inclined variant. This type face also shows the influence of Jaroslav Benda, evident in the open forms of the crotches of the diagonal strokes. Towards the end of 2001 the author presented a pile of tracing paper with dozens of variants of letter forms, but mainly with a new, more contemporary approach: the design is more open, the details softer, the figures and non-alphabetical characters in the entire set are more integral. The original intention to create a type face for printing children’s books thus became even more emphasized. Nevertheless, Juvenis with its new proportions far exceeds its original purpose. In the summer of 2002 we inserted all of this “into the machine” and designed new italics. The final computer form was completed in November 2002. All the twelve designs are divided into six variants of differing boldness with the corresponding italics. The darkness of the individual sizes does not increase linearly, but follows a curve which rises more steeply towards the boldest extreme. The human eye, on the contrary, perceives the darkening as a more fluent process, and the neighbouring designs are better graded. The x-height of lower-case letters is extraordinarily large, so that the printed type face in the size of nine points is perceived rather as “ten points” and at the same time the line spacing is not too dense. A further ingenious optical trick of Josef Tyfa is the figures, which are designed as moderately non-aligning ones. Thus an imaginary third horizontal is created in the proportional scheme of the entire type face family, which supports legibility and suitably supplements the original intention to create a children’s type face with elements of playfulness. The same applies to the overall soft expression of the alphabet. The serifs are varied; their balancing, however, is well-considered: the ascender of the lower-case “d” has no serif and the letter appears poor, while, for example, the letter “y”, or “x”, looks complicated. The only serif to be found in upper-case letters is in “J”, where it is used exclusively for the purpose of balancing the rounded descender. These anomalies, however, fit perfectly into the structure of any smoothly running text and shift Juvenis towards an original, contemporary expression. Tyfa also offers three alternative lower-case letters *. In the case of the letter “g” the designer follows the one-storey form he had contemplated in the eighties, while in “k” he returns to the Benda inspiration and in “u” adds a lower serif as a reminder of the calligraphic principle. It is above all the italics that are faithful to the tradition of handwritten lettering. The fairly complicated “k” is probably the strongest characteristic feature of Juvenis; all the diagonals in “z”, “v”, “w”, “y” are slightly flamboyant, and this also applies to the upper-case letters A, V, W, Y. Juvenis blends excellently with drawn illustrations, for it itself is modelled in a very creative way. Due to its unmistakable optical effect, however, it will find application not only in children’s literature, but also in orientation systems, on posters, in magazines and long short-stories.

Dinner is a family of novelty fonts in which the characters are formed from spoons, forks, and knives. Dinner-Regular was designed in 1990, one of the earliest fonts in the IngrimayneType collection. It contains a mixture of knives, forks, and spoons and the lower-case letters are smaller versions of the upper-case letters. In 2021 the family was expanded with Dinner-Knives in which all characters are formed by arranging knife shapes, Dinner-Spoons in which the characters are formed from spoon shapes, and Dinner-Forks in which the characters are formed from fork shapes. All three are caps-only but the characters on the lower-case keys are alternate versions of upper-case letters . Dinner is a decorative display family that needs to be used at a large size. The logical place to use it is for food-related items.

Radiate Sans is a Humanist - Geometric Sans Serif fonts, Simple geometric letters shapes, medium contrast character style, It was designed lately 2018. and published on April 2020. Radiate Sans is a neutral typeface, have stroke modulation (strokes that clearly vary in width along their line) or alternating thick and thin strokes. Radiate Sans intended as a display typeface that could be used for posters and advertisements, as well as for the text of documents that need to be clearly legible at small sizes or from a distance, such as book blurbs, timetables and price lists. The family include 5 font weights, with a bonus 4 Widths in the OpenType version. It supports ISO Adobe 2, Adobe CE, Latin Extended characters, Standard Greek, and Standard Cyrillic. OpenType features include small caps, old style figures, superscript and subscript, ordinals, proportional lining figures, and case forms.

Linotype Belle is a casual script face. Created in 1999 by the Swiss designer Isabelle Stutz, the letters in this design have a light, informal nature, and appear as if they were written out quickly, using a writing instrument similar to a ballpoint pen. Linotype Belle has two fonts to offer: Linotype Belle Plain and Linotype Belle Bonus. Linotype Belle Bonus contains more extravagant, swash-like capitals than Linotype Belle Plain's characters; when used together, these two fonts can create a varied, lively impression. Linotype Belle was a prizewinner in Linotype's Third International Type Design Contest. Additionally, the design is part of the innovative Take Type Library, and can be purchased as part of the Take Type 3.1 CD collection. The typeface works excellently when used to set magazine or newsletter headlines, and as text for greeting cards."

OHG is pleased to announce the release of Tynne 2.0, now with two new out-line, drop-shade fonts which work independently as attractive display faces in their own right or one layer of a two layer, chromatic typeface. In addition, kerning and letter spacing have been adjusted and improved to ensure all characters will line up correctly when layered. Tynne, Is a strong, wedge-serif, condensed display font. Deep �ink traps�, subtly varied forms and open counters bring to its even colour and pleasingly regular rhythm a bit of syncopation and sparkle making it ideal for packaging, elegant yet informal headlines and posters. OpenType features include over 70 standard and discretionary ligatures and digraphs, three sets of figures, alternate characters, small caps and swashes. We are proud to acknowledge the assistance and contributions of fellow type designer, James Arboghast.

Lately I have been experimenting with different foods. At home, we eat a lot of Asian food, but I thought it would be nice to broaden my culinary horizon a bit. So far I have (successfully) added Georgian beef and walnut soup, Tacos (after a suggestion by my friend Stuart), Surinam Roti and various vegetarian dishes to our menu. When I created this font, I had to think of Gumbo - a dish I have never made. Gumbo is a handmade display font that comes in a rotund regular and an obese bold (with Italics). Use it for your book covers, product packaging and sticky notes. Gumbo comes with cute ‘end of word’ ligatures - just type the glyph + space and presto: you have a little swash. As for the dish Gumbo, well, I will make that this weekend!

Ganges is a condensed sans serif typeface inspired by Central European advertising typography from late XIX century. The font has condensed proportions and original letter shapes. Ganges is designed mainly for editorial design, especially for display use, as well as short paragraphs of text. Its narrow proportion makes it very practical to use for posters and magazine covers. Characteristic letter forms fit great for branding, logo and packaging design. It is also a very interesting choice for websites and e-book headlines. Ganges family consist of 27 fonts - 9 weights, 9 italics and 9 obliques. It supports extended set of latin languages, as well as broad number of OpenType features, such as case sensitive forms, standard and dicretionary ligatures, stylistic alternates, contextual alternates, lining, oldstyle and tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

These initials set I collected from Early 15th century manuscript called Claudii Ptolemei Cosmographia, created by the famous Greek scholar Claudius Ptolemaeus in the middle of the 2nd century. The origins of this style called White Vine with interlaced patterns and vine should be found in Ottonian Renaissance manuscripts. The highest level of porthole craftsmanship points to the Florentine workshop, headed by Francesco d'Antonio del Chierico, as the most likely place of execution. --- *You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ * *Please note that the Canva & Corel doesn't support color fonts!* *Please download this test file with only A letter ( https://www.dropbox.com/s/u3novoj7mm2vrth/Ptolemei-Test.otf?dl=0 ) to check your app & system.* --- Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman. Thank you!

Rebrand is all about geometry, a typography that boosts confidence. However, contrary to pure, cold mathematics, this font seeks a more jovial and friendly face. The goal with Rebrand is to offer a Geometric Sans Serif font that can work in various instances, from symbols and titles, to text, and everything in between. It also creates a whole lot of personality, ideal for branding. There are two versions: Display, which is more fluid and dynamic with nine programmed weights for a wide array of intensity. This version also has various alternative characters and swashes. Text, which has the same attitude as Display, but is a little more serious with seven programmed weights to provide distinctive extremes and subtle variations among the mid-tones. Both cover basic Cyrillic and come in small caps. Both create one phenomenal typography: Rebrand.

From the abyss and the quarantine hell, drawn in absolute lonelyness, and finished during the darkest hours of confinement… "Guau" is born, the type that barks directly at your face! "Guau" is a high-contrast display font with as many weights and versions as there are types of puppies in this fantastic world. It is thought to bring up glances in middle and heavy boxing weights, although you can also take its compressed and italic styles just for a walk. "Guau" is a font with three axes (italic, weight and width) and 20 instances, and it also contains thousands of glyphs and Opentype features that means a "guaorld of posibilities". This name comes from the time when you could only go to the street to take a walk to your pooch. Definitely, "Guau!, your new best friend!".

All Ages is a true punk rock font. It has the same look and feel that you see wrapped around a light post telling you where the next show of your favorite band will be. All Ages will work with any of your headline, in your face, stylized design needs and it looks great BIG or small! For a customized look to your works, switch between uppercase and lowercase for a change of grunge to the letters, italics are also available. You can also use All Ages in layers if your background is a little too busy by using All Ages Letters on top of the All Ages Ripped Paper, you can even use All Ages Letters on it’s own for an alternate look. Each font includes a character set large enough to support you international punkers with multilingual characters.

Brandon Grotesque is a sans serif type family of six weights plus matching italics. It was designed by Hannes von Döhren in 2009/10. Influenced by the geometric-style sans serif faces that were popular during the 1920s and 30s, the fonts are based on geometric forms that have been optically corrected for better legibility. Brandon Grotesque has a functional look with a warm touch. While the thin and the black weights are great performers in display sizes the light, regular and medium weights are well suited to longer texts. The small x-height and the restrained forms lend it a distinctive elegance. Brandon Grotesque is equipped for complex, professional typography. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages. Brandon Grotesque won the TDC2 Award, 2011.

"Hi there, thank you for passing by. Colllab Studio here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Mister Arigato is a modern, unique calligraphy font inspired by traditional Japanese and Korean brush lettering. It gives you that little extra something you always been looking for. We do more than just type, we help you show how much you care in your most precious brand. This font is a great option for any project that involves sending letters as a decorative piece of artwork (attach it to a mug, or place on a greetings card), or for use for branding purposes(headline, logo, etc.). Though it is not double-width, the letters easily tailor to any word-spacing. A Million Thanks www.colllabstudio.com

MotionBats are a sort of movable type otherwise. It is a symbol font type family integrated by 9 styles. The idea behind designs is to give to typographic pictograms –static for definition– the dimension of motion. In pursue of this spirit, each font shows a complete motion sequence. MotionBats are inspired on the photographic work of Eadweard J. Muybridge [1830-1904] –a talented multi-faceted Englishman– who worked in USA by the second half of the 19th century. In those early times of photography, he started –almost by chance– taking a comprehensive and impressive photographic sequential series of human and animal locomotion. This way, he placed himself more than a decade ahead from the beginning of cinematography. This type design family points to pay a humble and certainly incomplete homage to such a pioneering and amazing Muybridge's work.

Mukbeng Script is a bold script layered with outlines and extrusions, Mukbeng is very inspired by the famous retro typographical design of the late 60s to 70s. Made in combination with hand letters, it comes with dramatic movements and it's great for subsequent creative projects that require a retro vibe or a modern twist. Ideal for logos, handwritten quotes, product packaging, header, poster, merchandise, social media & greeting cards. Features include: Alternative Styles, Swashes, Ligatures, Contextual and Style Sets. You can choose an alternative to substitution, Mukbeng has many variants per letter. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. There are additional ways to access alternates, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac).

I set out to design a contemporary font that is condensed with thick and thin strokes. The highly structured forms of this condensed font was made more interesting and softer by giving it a slightly calligraphic tone and by adding round corners. Atto's express purpose is to be both utilitarian, compact and technical but with a friendly face. The name "atto" was adopted since it refers to the measurement of "smallness" or detail. You will no doubt discover all the many pleasant nuances within Atto. Adopted in 1964, "atto" comes from the Danish "atten", meaning eighteen. Atto - (symbol a) a SI prefix to an unit and means that it is 10 to the power- 18 times this unit. Examples are one attosecond or one attometer/attometre. Atto is available in for Mac and Windows in Postscript, Truetype and Opentype.

Introducing Disforia Inersia! Your purchase includes Disforia Inersia Script, conjunctive handwritten script, and Print, handwritten, printed script typeface. Disforia Inersia created side by side to work together. All lowercase letters are placed to receive a connecting tail from Disforia Inersia. You can mix and match in the same word to your heart's content! Disforia Inersia was also created with the crafter in mind: there are no closed counters in either type, meaning they can easily be used for stencils and electronic cutters such as the Cricut line and the Silhouette. Disforia Inersia Package includes: - Nearly 300+ glyphs in Inertia Dysphoria font, designed to work together! - No closed counters - useful for stencils and vinyls! - More than 200 accented characters in each font. - Double letter staggered ligatures for a hand-drawn look! - PUA-encoded for easy character map access! Enjoy and thank you. Skinny Type

At first glance, the lettering style of Technopen JNL seems to emulate the computer-age fonts of the 1980s. In actuality, this font is derived from an alphabet sample found in an instructional booklet for the Esterbrook Drawlet Pens. The Drawlet line was Esterbrook's answer to the iconic Speedball pen points sold through their chief competitor, the Hunt Pen Manufacturing Company. So, what seems to be late 20th Century typography is actually from vintage source material. In fact, the entire contents of the instructional booklet were copyright 1929! A few minor changes were made to the original A-Z alphabet and additional characters were added. The name Technopen is a shortening of the term 'technical pen', which is both a nod to the techno age of the 80s and the technical instruments of the past utilized for drawing and lettering.

Bold, rounded and super cool. Those are the attributes of my latest font “Vinyle”, french for vinyl. In this epoque where all fields of Design are giving a lot of importance and attention to Typography and Lettering, I felt it was my duty to contribute with something that could really stand alone and ‘say something else’ that just words to be read. I've found that lately in the world, regarding a finished piece of design, the role of Typography (and of letters in general) went from being secondary, (like a minor player or a supporting actor) to the most important one. People are starting to understand the beauty of a well-done letter: they want their storefronts with unique scripts, they want to drink coffee surrounded by lettered blackboards, they want to buy books with astonishing covers with swashes ‘por doquier’. I'm more than happy to be alive in a present where even the most unimaginable friends of mine, (who couldn't spot differences between comic sans and helvetica before) are now conscious of the importance of a letter, or let’s say: Of the ‘voice’ of Typography. With Vinyle I tried to make a font with power. Following the nowadays trend of, let me say, “the vintage sans renaissance”. This time I put my brushes and nibs aside and experimented with something new. It wasn't easy, if you will pardon, for me to see swashes all over the place withouth the classic calligraphic ‘thick and thins’, but with after some weeks of work I started to love them. Like I already showed you in other creations (1) let me finish with the phrase: GEOMETRY IS SEXY! TIPS Vinyle has a lot of attitude, it shouts “here I am!” it really can ‘design an entire piece’ for you with just a word or two: It was designed with a 10 degree slant on purpose so the user may rotate it (like on the posters) that amount of degrees in order to see better results. Use Vinyle with the ‘fi’ standard ligatures activates for better kerning and ligatures! NOTES (1) See my font Selfie , the ‘little sister’ of Vinyle.

When Candy Script was officially released and in the hands of a few designers, I was in the middle of a three-week trip in North America. After returning to Buenos Aires, I found a few reactions to the font in my inbox. Alongside the congratulatory notes, flattering samples of the face in use, and the inevitable three or four “How do I use it?” emails, one interesting note asked me to consider an italic counterpart. 

I had experimented with a few different angles during the initial brainstorming of the concept but never really thought of Candy Script as an upright italic character set. A few trials confirmed to me that an italic Candy Script would be a bad idea. However, some of these trials showed conceptual promise of their own, so I decided to pursue them and see where they would go. Initially, it seemed a few changes to the Candy Script forms would work well at angles ranging from 18 to 24 degrees, but as the typeface evolved, I realized all the forms had to be modified considerably for a typeface of this style to work as both a digital font and a true emulation of real hand-lettering. Those were the pre-birth contractions of the idea for this font. I called it Sugar Pie because it has a sweet taste similar to Candy Script, mostly due to its round-to-sharp terminal concept. This in turn echoes the concept of the clean brush scripts found in the different film type processes of late 1960s and early 1970s.
 
While Candy Script’s main visual appeal counts on the loops, swashes, and stroke extensions working within a concept of casual form variation, Sugar Pie is artistically a straightforward packaging typeface. Its many ligatures and alternates are just as visually effective as Candy Script’s but in a subtler and less pronounced fashion. The alternates and ligatures in Sugar Pie offer many nice variations on the main character set. Use them to achieve the right degree of softness you desire for your design. Take a look of the How to use PDF file in our gallery section for inspiration.

TT Tunnels useful links: Specimen | Graphic presentation | Customization options TT Tunnels is a modular font family with narrow proportions and a large number of pronounced visual compensators. In the basic version of the typeface, all glyphs have simple chopped shapes, created according to the usual geometric principles. In the alternative version of TT Tunnels, which becomes available when you turn on OpenType feature stylistic alternates or stylistic set 1, the typeface comes to life and turns into a stylized ductal gothic grotesque, in which the design of glyph forms is created based on the pen movements. Despite the fact that TT Tunnels was created as a display typeface for use in short inscriptions and titles, it works very interestingly in the body text, adding a small touch of archaics. This is especially evident in the Bold and Black faces, when the rhythm and thickness of the strokes create a dense set, covering the paper with a solid, dense pattern. The density and style of such a set conceptually refers us to the old Gothic texture and the Old Slavonic script. In addition to a larger number of alternates for lowercase letters, the typeface features an alternate for number 2, an alternate slashed zero, many ligatures, and other useful OpenType features (ordn, frac, sinf, sups, numr, dnom, case, tnum, onum, pnum, liga, salt, ss01, zero). The TT Tunnels includes five faces: Thin, Light, Regular, Bold, Black.

ITC Tactile is a puzzle of subtle typographic contradictions. Capitals have traditional epigraphic proportions, but the lowercase has a uniform optical width. Light weights are stately and elegant, but bold designs are almost jolly. This paradoxical alphabet even combines two distinctively different serif designs. Designer Joe Stitzlein says, “I wanted to create a modern and dynamic serif face that draws its forms from antiquity. I also wanted to have as much fun as possible with the drawing and architecture of each letter. Hopefully I've created a very legible typeface that grabs the reader's eye in a nice, 'tactile' way.” The apparent inconsistencies of the design are the result of careful consideration. Of the seemingly odd serif design, Stitzlein explains, “The transitional serif is an entry point for the eye into the letterform, and the long slab is an exit, leading to the next letter.” The result is a typeface that's easy to read at text sizes but offers surprising details when enlarged to display sizes, setting ITC Tactile apart from more traditional designs. While this is his first commercial typeface design, Stitzlein has ample experience creating custom typefaces for corporate branding, including companies such as Silicon Graphics and Sempra Energy. His graphic design business has served a wide range of clients, including Apple Computer and the 2002 Salt Lake City Olympics. The ITC Tactile family is available in three weights, with complementary italic designs and a suite of small caps for each of the roman designs. Stitzlein drew the small caps to match the height of the lowercase x-height, which enables “bi-form” or “unicase” setting in display copy.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as "modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. The Bauer Bodoni was done by Heinrich Jost for Bauer Typefoundry in 1927. This version has finer details of the original Bodoni types. It works well for headlines, logos, advertising.

At VetteLetters we like food but we also appreciate our drinks. Yes, of the non-alcoholic kind as well. Like milk. Contrary to what Arnold Schwartzenegger once said, Milk is not just for babies. It contains a whole lot of stuff that is genuinely good for you. Like proteins, carbohydrates, minerals (calcium a.o.) and many vitamins. One time visiting The Hague, Donald DBXL spotted a tile tableau on a brick wall, advertising a dairy factory called ‘De Sierkan’. Yellow sans serif letters on a bright blue background, dating back to the late 19th century, immediately grabbed DBXL’s attention. Especially because the tableau showed both regular and bold letters with some lovely peculiarities here and there. De Sierkan appeared to have been a milk factory solely operating in The Hague from 1879 until 1961. A number of these wall adverts are still to be seen in The Hague streets today. Photos were taken for later reference. Later is now, the lettering has been digitized, missing characters added, and VLNL Melk sees the light of day. VLNL Melk is an all-caps geometric display sans serif family of three weights, Regular, Bold and Black. The basic shape of the letters is a rectangle with rounded corners, leaving a sturdy no-nonsense look and feel. It has a distinct historic aura, but with both feet in this digital day and age. It can equally well be used for the logo of a hipster coffee place, as the cover of a historic novel. Actually, VLNL Melk kan be applied in a wide range of designs like logos, posters, flyers, book covers and magazine headlines.

Bound to rules, unbound in the usage. Hyper geometric, and minimal contrast. Circulo V1 is based on a font project I originally started because of a client I had. I wanted to create a display and text font for their product design brand, which is all about reducing the amount of necessary materials and production steps. Before I started the course at tipo-g it was called -“REDUCE“ and was more or less finished. The concept was based on the name. How far can letter shapes be reduced to their core geometric concepts and still be identified as letters? But in a way, it lacked a unique approach and was just a generic geometric Sans Serif with a lack of finesse. There was already a glimpse of characteristics visible which would later define Circulo V1. ‍ The high focus on geometric shapes was not of the same severity, and the angle on the stems was less intense. Those, as I call them, fake serifs turned out to be a significant factor in legibility and the characteristic of the font. Besides those changes and improvements, I decided to implicate a new feature to the concept, a condensed style. I quickly realised that it is impossible to keep my perfect circles and half-circles in this style without breaking my rules for the font. This „problem“ turned out to be the most crucial feature of the condensed set. Circular-based Letters will ignore the rules and boundaries of the condensed style and stay as they are. This feature allows the user to create a unique rhythm in their texts, and if you use the variable font, you can decide how intense this rhythm will be. In this situation, the user can choose which letters are allowed to keep their shapes and which will be put in their condensed corset. All, some or none of them, you decide.

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations, such as quilting. Most of the shapes in TessieSpinners suggest a spinning motion. Most do not resemble real world objects. The TessieSpinners fonts contain shapes that can be used to construct tessellation patterns. It has two styles, an outline style and a filled or black style. The black style can be used to construct colored patterns. To see how patterns can be constructed, see the “Samples” file here. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, coloring books, and a book about tessellations.(Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. Make sure the leading is the same as font size or the rows will not line up.)