Orgon Plan is the square-cut sister of the Orgon. It represents the crispy counterpart to the sucsessfull Orgon family and was published in 2020. Orgon Plan consists of 20 styles and is well equipped for advanced typography. It comes in OpenType format with extended language support. All weights contain small caps, ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows.

I was cleaning out my pencil box and found an old marker pen. I wanted to throw it away, because it was leaking all over my stuff, but decided I could use it one more time. The result is Full Blast font: a ‘brush’ font (made with that leaking old marker pen). Use if for your fireworks packaging, fiery pepper sauce bottles and whoopee cushions (and just about anything else as well). Comes with an explosive amount of diacritics.

Florensans is an all caps display sans serif typeface in elegant & modern style with ligatures, special alternative glyphs and old style figures. The Florensans family contains three weights: Light, Regular and Medium. Florensans is ideal for headlines, headers, logos, labels, packaging, postcards, presentations, magazines, invitations, etc. Features: 3 Weights - Light, Regular and Medium Basic latin alphabet A-Z 64 Ligatures & Alternates 56 Accented characters Numbers, Punctuation, Currency, Symbols, Math symbols & Diacritics Old style figures Enjoy Florensans!

An elegant duo of fonts and floral illustration extras - designed to work together in harmony, to produce a plethora of beautiful, sophisticated & feminine designs. The luxurious modern calligraphy script works perfectly together with the delicate hand-drawn florals - ideal for elegant branding projects, greeting cards, packaging, social media, logo design and of course, wedding invitations. Also included is Serenity Serif, a rustic serif font, with a touch of imperfection as you'd find in old printed press inks - to contrast with and therefore compliment the more refined luxurious contemporary flow of the script font . Serenity Script includes handy OpenType features that makes the font look more natural - it includes a universal beginning swash for lowercase letters , a full set of lowercase letters with ending swashes, a beginning swash that can be added via OpenType Ligatures by typing either { } or ( ), and a full set of alternate lowercase letters , as well as 70 beautifully crafted ligatures . A more slanted, and heavier version of the script is also included for you. OpenType capable software is required to access these features - The most popular of which is and Photoshop CC, any version of Illustrator, Indesign, Word (new versions).  The Serif font comes in 4 versions: Regular, Bold, Heavy and Italic - when used together with different tracking settings and weights, they produce beautiful looking type designs to compliment the Script.

Refrankt is a multifunctional sans-serif type family with 18 styles, ranging from Thin to Black with matching italic styles. The key visual feature of Refrankt is its wider characters and expanded proportions, which accentuate the character of the type family and extend its application. Refrankt works well as a display font but can also be used comfortably in headings and larger bodies of text. Refrankt offers a clean and thoughtful take on the functional grotesque sans-serif style and can be used in a wide variety of projects, from UI/UX design to packaging and branding. It can also be employed as a font for logos and word marks. Whether you're looking for bold, sturdy letterforms or dynamic flexibility, Refrankt readily adapts to any task. Refrankt would look at home in projects related to technology, athletics, industrial design and many more. The functionality of Refrankt is defined by its multilingual support (200+ languages) and its extensive OpenType features, such as Case-Sensitive Punctuation and Stylistic Alternates, among many others. In addition to a standard set of figures, Refrankt includes tabular figures, old-style figures, superiors, inferiors, and fractions. The entire character set comprises over 800 glyphs. Free trials available on our website: https://groteskly.xyz/ Refrankt Features: • 18 Fonts (9 Upright & 9 Italic) • Variable Font • 800+ characters/font • 200+ languages supported • Extensive OpenType Features • Versatile and Multifunctional

Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their corresponding Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. For international communication, the W1G versions offer the appropriate character set. They contain Latin, Greek and Cyrillic characters and thus support all languages and writing systems that are in official use in Western, Eastern and Central Europe. Century Gothic Variable is features two axes: Weight and Italic. The Weight axis has preset instances from Light to Black. The Italic axis is a switch between upright and italic. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.

Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their corresponding Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. For international communication, the W1G versions offer the appropriate character set. They contain Latin, Greek and Cyrillic characters and thus support all languages and writing systems that are in official use in Western, Eastern and Central Europe. Century Gothic Variable is features two axes: Weight and Italic. The Weight axis has preset instances from Light to Black. The Italic axis is a switch between upright and italic. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.

Axial Cut is a sans serif typeface (Latin Extended-A), a contemporary and rounded evolution of geometric fonts for screen, but this time the letters are built on an axial axis that results in trapezoidal counter-shapes, joints with reduced antlers and rounded corners that correct optical effects in small sizes to make the typography more legible, and at the same time, in large sizes it shows its original shapes. The Axial Cut typeface family is made up of four weights: Light, Regular, Medium and Bold, each with 785 characters. I have taken particular care with the metrics and dimensions of each letter or sign, with a very careful and precise kerning configuration to achieve the For maximum readability, these are fonts with slightly higher ascenders than capitals and short descenders to make it more compact. The editing possibilities and unique designs with these complex typefaces are very wide, the fonts have a complete set of uppercase letters and a lowercase set with alternative characters as well as lowercase letters and numbers in different positions (lowercase, denominators, numerals, and uppercase) that They also work as automatic fractions, they also incorporate small capital letters and three sets of alternative numbers (Normal, Old style numbers, Square numbers), etc. Discover other alternative signs, characters and Open Type functions in the PDF: Specimen & The Cheat Sheet.

Pellegrino Artusi was a celebrated Italian food writer, who is credited with the creation of one of the most influential cookbooks in the history of Italian cuisine. Taking inspiration from his legacy, Francesco Canovaro decided to work on a typographic homage to the delicacy and finesse of Italian traditional cuisine. Aptly named Artusi, the typeface is an enchanting combination of traditional Italian style, contemporary refinement and a playful touch of innovation. It is a transitional serif typeface with both text and display versions, developed on a wide range of seven weights and including a huge range of alternates, OpenType features and ligatures. Each weight of Artusi works like a different course in a balanced meal. Lighter weights are our starters, with their high contrast between thicks and thins, delicate curves, balanced proportions and subtle spiky serifs. The main course are naturally the regular and bold weights, where traditional Italian old style is enriched with a peppery kick of modern details. For dessert, the heavy weights offer luscious curves, opulent calligraphic swashes and eye-catching details, suitable for packaging and logos. When it comes to typography, let Pellegrino Artusi’s legacy inspire you. From packaging to web pages, Artusi typeface will bring a feeling of tradition, craft and quality to any project. Because, as Pellegrino would say, “To make a great impression, you have to choose the finest ingredients”... Buon Appetito!

Varygraphie is a modern Art Deco sans-serif family. This expressive typeface is provided as a variable font, and was designed by Mans Greback between 2019 and 2023. It gives any project a modernist appearance, as a reinvention of the hundred-year-old style of design, adapted and adjusted to fit in present-time purposes and technology. The Varygraphie family contains 12 high-quality styles: Thin, Light, Regular, Medium, Bold and Black, and each weight as Italic. Mix the weights to see how they balance perfectly against each other. Or use the variable font and set any weight between Thin and Black: Only one font file, but the file contains multiple styles. Use the sliders in Illustrator, Photoshop or InDesign to manually set any weight and width. This gives you not only the predefined styles, but instead more than a thousand ways to customize the type to the exact look your project requires. More info about variable fonts: https://mansgreback.com/variable-fonts The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive language support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you’ll ever need, including all punctuation and numbers.

»COSMA« is an old greek word that stands for »beauty« and »order«, I thought it a very befitting name for my new font-family. My »Cosma« has that special high-contrast Renaissance beauty but is very orderly in appearance. »Cosma« is a classical beauty with modern touches that make it unique. You will love this font. It is a great everyday workhorse with seven weights from UltraLight to Bold and all the necessary weights in between. Great for body copy and headlines! With 964 Glyphs it is a truly European font designed for all Central European and Latin using countries. »Cosma« has a set of Cyrillic that is also good for Serbia, Macedonia and Ukraine. Sorry, no Greek! But it has oldstyle- and lining-, tabular- and tabular-oldstyle-figures, many alternative letters and ligatures. On top I designed two sets of alternative, decorated caps each in normal and oblique. »Cosma« comes in Normal, Italic and Oblique, sometimes you just don’t want to use Oblique instead of Italic that would be too playful for the occasion. »Cosma« doesn’t come cheap, but I start off with an 80 % reduction, so that is a good chance to get all 49 cuts for a phantastic price. Oh, I almost forgot, If you buy the whole family, you get the variable fonts to go with it for free, that’s a good investment into the future. Enjoy!

A lovely decorative Victorian period font taken directly from samples printed on an old press right from the metal type in the collection of typophile Steve Saxe.

This font was inspired by lettering found on old stock certificate on the 19th century and comes with two guilloche borders, which makes national currency very useful.

This is a condensed version of an old classic, Thorne Shaded. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Novela is a chisel flat pen style written with overtones of Uncial, from century old scribes. Very suitable for greeting cards, headlines, packaging and many other applications.

A funky balloon type in three variants, Highlight, Shadow and plain old Vanilla. Guaranteed to bring a sense of playful fun to packaging, comic magazines, and merchandise.

Altra is a family based on a tracing of an old clip art font. I liked the gentle calligraphic look. Consider it a sans serif with style.

Baldwins was inspired by the beauty lettering of ephemera prints. Ideal for product names, packages, labels, old fashioned signs and everything with specific characteristics of past times.

Kircher is a typography inspired by old building facade letterings. It is a vintage style geometric sans serif typography great for logos, banners, posters and graphic artists.

Schelter & Giesecke's grotesk font family, widely used for their marketing and in-house prints, now revived and extended with a Cyrillic character set and old-style numerals.

Oven Plate JNL solidifies the outline lettering of Stove Plate JNL; based on the logo for Red Star Oil Stoves and found on an old letterpress cut.

Old style handwriting, inspired by 1800-1900's letters. Contains hundreds of alternate glyphs; each lower case letter has four variations, accessible through contextual and standard alternates.

Lettre D'amour is an Oldstyle Handwriting Font. It comes in 11 Styles and two Angles with many OpenType Features. Alternate Caps, Alternate Ends and old style Numbers.

The Navigator family is inspired by the early explorers, the early sailors with their old-style tattoos and the cowboys in the old west. I mashed up these to styles to create the Navigator display family. It has a vintage feel with a more modern day approach. Use the regular styles to give your artwork a more clean look and feel or the rough styles to take on the more vintage old-style. This family is great for display use on posters, packaging, editorial and logos. It is created with the designer in mind to have some fun and mix up some great looking Upper / Lower case combinations. The Navigator hand font is an informal, rounded sans-serif that works perfectly with the Navigator display fonts to create beautiful logo and type lockups.

This beautiful old design was originated at the Connor Foundry, New York, about 1888. Ideal for the small "in between" lines in modern versions of Victorian job printing.

Exodus is one of my favorite fonts so far inspired by old manuscripts and sci fi movies. Its a decorative display font. See the whole presentation here: Behance.net

This happy font family derives its geometric shapes from old Hebrew typefaces with added a modern twist. Suitable for any point size with a variety of 4 weights.

Don’t go for the fonts with all that fancy flare. You want something classy and timeless. A font that tips the hat to the old school hand letterers.

Austin Plain is derived from the union between Melts Script and Deftone Stylus, the result is a friendly typeface that mixes old American styles with modern design concepts.

This style was actually inspired by some old stock certificates Tom had collected. It’s a very versatile font and allows for some horizontal stretching. Fits almost any space.

Grand Pix is a font family designed for the limitations of the old days low resolution monochromatic screens. Even with few pixels, it brings together legibility and personality.

"Oase desert" is an old-style serif font, perfect for traditional themes, headlines, etc. Features: Uppercase, Lowercase Punctuation & Number, Support in Mac and Windows OS Multilingual Support ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÐÑÒÓÔÕÖØÙÚÛÜÝ

This was a patented design, so we know who designed it and when. August Will was a type cutter who sold his work to a number of foundries. We worked over this design to open up the space between the strokes to accompdate smaller sizes.

Moldr Thai, a sans-serif with modular grid structure with Thai script, inspired from handmade letter to industrial machine mold, Moldr come with 9 weights in complete family, Support many language with standard Adobe Lain 4 glyphs, world-ready and mark2mark support, especially Thai script.

Zodor JNL is modeled from the packaging for injection-molded plastic letters used as a teaching toy for youngsters in the early 1960s. The hand-drawn alphabet on the sides of the package was quirky enough to merit being made into a digital font.

DIN Stencil Pro on Behance. DIN Stencil Pro: Specimen Manual PDF. Despite the fact that over the years several designers have manually created stencil lettering based on DIN for various projects, there had never been a professional digital stencil version of a DIN-based typeface until 2010 when the original DIN Stencil was first released. The Pro version was released in 2014 and adds multiscript support for Cyrillic and Greek. DIN Stencil Pro was based on its original counterpart DIN Text Pro and was particularly designed to address contemporary projects, by incorporating elements and weights which are akin to industries such as fashion, music, video, architecture, sports and communications. Traditionally, stencils have been used extensively for military equipment, goods packaging, transportation, shop signs, seed sacks and prison uniforms. In the old days, stencilled markings of ownership were printed on personal possessions, while stencilled signatures on shirts were typical of 19th century stencilling. Two companies dominated the market in the mid-twentieth century: the Marsh Stencil Machine Company in the United States and the Sächsische Metall Schablonen Fabrik in Germany. Ever since the late 1930s, it was the German Sächsische Metall Schablonen Fabrik which used heavily the new DIN 1451 standard font (introduced in 1936), attempting to overthrow the reign of the Didot-style modern roman which was at the time the most common stencil letter in Germany. These letters were manufactured mainly as individual zinc stencils which could be ordered in sizes between 10 and 100mm. The DIN Stencil family manages to preserve several traditional stencil features, but introduces additional modernities which enhance its pleasing characteristics which make it an ideal choice for a large number of contemporary projects. Furthermore, the spacing attributes of the glyphs were redefined and legibility was improved by revising the shape of the letterforms. The DIN Stencil Pro family is an enhanced version of the popular DIN Stencil. It consists of 8 diverse weights from the elegant Hairline to the muscular Black and supports Latin, Cyrillic, Greek, Eastern European, Turkish and Baltic. The new version 3.0 includes several additions such the recently unicode encoded character of the German uppercase Eszett (ẞ), the Russian currency symbol for Rouble (₽), Ukrainian Hryvnia (₴), Azeri and Kazakh letterforms.

Ciseaux Matisse was inspired by the exhibition Drawing With Scissors, which I visited at the Kunsthalle Schirn in my hometown of Frankfurt am Main in 2003 and the book Jazz published in 1947 by Henri Matisse. Admittedly, before that time I wasn’t a fan of Matisse’s work, neither his late nor the early work. That definitely changed after the exhibition. While his motifs have been overused on postcards and mouspads, in front of the originals you forget those tiny pictures. Some of the works were massive—larger than 24ft. By cutting directly into the color Matisse created shapes with strong dynamics. Years later, in 2007, I used that inspiration to cut an exclusive font for a newspaper that I designed at that time (see Gallery Pictures). Later I developed that font into the four styles featured here. The cut-out style is a paper cutout; boxed is the paper background. Both linear and boxed linear have no curved outlines, so they are more aggressive. As drawing with scissors implies, all characters are cut by hand. With only uppercase letters, this font is designed for editorial use: headlines, slogans in ads, or musical usage in posters and flyers that need the little touch of the jazz scissors. In special cases the lowercase letters contain alternate shapes to the uppercase forms.