Sequel Sans is a new chapter in the book of neogrotesque typefaces. Its core idea and its name were conceived in collaboration with the max bill georges vantongerloo foundation. The main inspiration for its design were the sans-serif typefaces used by Max Bill, the larger-than-life Swiss architect, artist, and designer. Honoring these roots, I designed Sequel Sans to be a clean and adaptable font family that is built upon a comprehensive system of styles. 8 weights, each with a corresponding italic, and a matching set of Variable Fonts are available in 4 optical sizes. These range from standard (for text sizes) to Subhead to Headline to Display—larger optical sizes come with tighter spacing and a number of gently adjusted glyph shapes. Like the great neogrotesques found in mid-century Swiss Style designs, Sequel Sans is a vessel that you can fill with any kind of content. It will amplify your message while retaining its own modernist character.

Before ink jet and laser printers; before copy machines, the main way to make multiples of anything not provided by printing press was by a mimeograph machine or spirit duplicator. The mimeograph utilized a porous drum which inked the backside of a waxed stencil sheet. Unlike traditional stencils which have cut out areas that are directly inked or painted, a mimeo stencil has the area to be printed scratched away by removing the wax coating with a stylus. The resulting image allows the ink from the drum to seep through the sheet and transfer to the blank paper. Based on a plastic lettering guide once manufactured by the A.B. Dick Company of Chicago, Mimeograph Template JNL is available in regular and oblique versions. Albert Blake Dick, the company’s founder, coined the term ‘mimeography’. The font’s character shapes follow the routed letters of the template, complete with rounded terminals. An earlier font release [designed with flat terminals and some alternate characters] is available as Interoffice Memo JNL.

The pattern for this delightful little font was originally released as Bernhard Heavy Antique Cursive by the Bauersche Geißerei of Frankfurt am Main and designed, of course, by Lucien Bernhard. Dippy, trippy, under the radar and over the top. The Postscript and Truetype versions contain a complete Latin language character set (Unicode 1252); in addition, the Opentype version supports Unicode 1250 (Central European) languages as well.

This is an American face designed by Lucian Bernhard for ATF in 1929. An extra light face with tall ascenders and stylized bars that extend off to the left. The lower-case sits on the baseline and the much-taller-than-normal capitals have an imaginary baseline that sits about two-thirds of the distance from the real baseline to the bottom of the EM.

There are many fonts inspired by Lucian Bernhard. I have always admired his 1906 award-winning poster: ‘Priester’— believed to be the birth of the ‘Sachplakat’ (or Object Poster). I have interpreted the hand lettered “Priester” logo into a formal typeface and only hope I have done it justice. Usage recommendations: Captions, fliers, packaging, cards, posters, ads, book jackets, manuals, bulletins, magazines, greetings, announcements.

Praxis Next Variable Italic is a single font file that features an italic design with two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances The Weight axis has a range from Light to Ultra. The Width axis provides a range of condensed values. This Italic font is provided as an option to customers who do not need Roman (uprights), and want to keep file sizes to a minimum.

Introducing a comic style label font named Caffeination. This font has a wide languages support with west european and cyrillic characters (check out all available characters on previews). The font family has six styles: Regular, Shadow, Shadow FX, Rough, Rough Shadow FX and Rough Shadow. Each of these fonts have same metric and kerning. This font will look good on any comic or vintage styled designs like a poster, T-shirt, label, logo, etc.

What intrigued me about Buslingthorpe was the virtuoso challenge it presented, of designing a typeface that would, despite a ridiculously tiny x-height, still possess a coherent harmony betwen upper and lower case, and read confortably. At the same time, beyond pure plastic formality, I was aware that there are strong connotations of historicism in this noble style, with overtones of regal magnificence, on account of the extravagant leading and generous point size required for adequate visibility—in traditional letterpress printing such proportions, with so few characters per square inch, were pricey and devoured resources. There are two iconic early 20th century designs in the genre: Koch Antiqua (Rudolf Koch, Klingspor Foundry, 1922) and Lucian (Lucian Bernhard, Bauer Foundry, 1925). Both these have x-heights smaller than fifty percent of ascender height, which nominally defines the category. So I made these my benchmarks, and determined to outdo them in dramatic fashion. —Nick Shinn, Orangeville, March 2021

I have always had a keen interest in forging; I used to be a silversmith, and I love working with metal. Some time ago I forged my first axe (a skeggøx or bearded axe), sharpened it and fitted it with a handmade ash handle. It isn’t perfect, but it is my first ever forged axe and I’m pretty proud of it. All of this went through my head when I started drawing the glyphs for this font. And to be honest, I couldn’t find a more suitable name for it! Bladesmith is a handmade font, forged in fire (haha). It was actually made with an old sharpie. It is a rough and ready font, quite suited for headlines, book covers and posters.

Welcome Amica Pro, a workhorse sans designed to give your branding a friendly, approachable look. What is it that makes a typeface friendly? Eclectotype undertook extensive research* in this and the results are in! To cut a long story short, friendliness in sans serif fonts can be summed up in two words – short and fat. Basically, think Danny DeVito in letter form. The shortness in Amica Pro is achieved (somewhat counterintuitively) by pushing up the x-height. This, coupled with short ascenders and descenders, gives the text a squat appearance. For the fatness, that's easy in the bolder weights, but how to carry this through to the lights? Here, the fatness equates to roundness, so the letterforms, even if the stroke weight is light, have a rotund appearance from the wideness and roundness of the circular glyphs. When thinking about friendliness, we think about inclusiveness. To this end, Amica Pro supports a super wide range of latin-based languages, as it uses Underware's Latin Plus character set, as well as extra support for Vietnamese. Amica Pro is best used for branding, logos, infographics etc. It will give your UI a friendlier feel, but that doesn't mean it's not serious. There are many useful typographic features, including alternates, numerous figure styles, automatic fractions and case-sensitive forms. The italics are carefully optically corrected "sloped romans" and as such they are the same width as their upright equivalent, so changing your copy to italics will not mess around with the spacing. *I looked at a few fonts and drew some lazy conclusions.

Throughout the history of typography there have been countless attempts to simplify the alphabet. In the early 20th century, modernist designers experimented with reducing the alphabet to basic geometric shapes. Prozac pushes this utopian experiment further by reducing the roman alphabet to just six shapes. These shapes are then flipped or rotated to make up the 26 letters of the alphabet. Prozac is available without prescription in lite and max versions.

Fat and sassy, this ultrabold brush font is based on the works of lettering legend Mike Stevens as seen in his book, Mastering Layout. A natural choice for can't-miss headlines, this typeface also works surprising well for short blocks of body copy. Both the OpenType and Truetype versions of this font contain the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Suchow was developed from a hand lettered storybook title by Willy Pogany. It's designed to give the feel of the Far East, with character shapes reminiscent of oriental brush lettering. The look of the characters is typical of lettering often used around the turn of the century for oriental-themed advertising and decoration, but not seen very often in contemporary use. The full version includes an expanded character set.

NorB Cobalt is a fat handwritten text font and can use this font with any word processing program for text and display use, print and web projects, apps and ePub, comic books, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations and any casual lettering purpose… or even just for fun! NorB Cobalt comes with 8 weights, each with their matching italics and in a Light, Normal and Expanded version.

In 1903, the typeface family Alternate Gothic was developed for ATF (American Type Foundry) by Morris Fuller Benton. It was Benton’s intent to solve many diverse layout problems with the development of a narrow Sans with different width values. The Alternate Gothic enjoys great popularity to this day. Therefore, Elsner+Flake re-worked the typeface family, added all European fixed accents and complemented it with an Antique version.

When the Adventures of Max Faraday began in the pages of Wildstorm Comics' DIVINE RIGHT in the mid-'90s, this chapter title font materialized, eventually reappearing on the covers of WOLVERINE. Delicately crafted by Mister Fontastic himself, John Roshell claims this font was the product of Divine Inspiration. When told he'd been looking at the work of too many French Poster Artists, he dismissed such allegations as Mucha do about nothing.

Ephemera Shoemakers is a bold font with spurred serif & medium contrasted, vintage inspiration with letters in all caps. Traditionally this type of decorative font that emerged in Italy, France & England in the nineteenth century were used in large headlines and posters that were closely related to circus shows, carnival or environments of the Far West American. Perfect for signs, posters, handbills and other large format advertising. Ephemera Shoemakers Pdf Specimens

PiS Lietz Parilon invites you to the austrian countryside for an amazing ski-tour on snowy mountains back then when skilifts were sparse and mustaches were far from ironic. Use this heavy fraktur for retro tourism posters, your classic beer or schnaps brand or anything that needs a good swig of tradition! Heat up the Jagatee and enjoy the earthy taste of PiS Lietz Parilon, it will warm your heart!

Here’s a not-often-seen variation of Milton Glaser’s 1968 creation Baby Teeth, distributed by Photo-Lettering Inc. as Baby Teeth Baroque. Actually, the sinuous swirls suggest, rather, an Art Nouveau influence, which is why this version has its name. Well, that, and the original design didn’t need any fixing. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Galangal, or Laos, is a root belonging to the ginger family, which is used in Indonesian cuisine. Since this font has the same design characteristics as Kurkuma, I thought naming it after a root was quite appropriate. Galangal is pretty unique, with thin and fat areas, bizarre glyphs and rough edges. Upper and lower case are fully interchangeable and the typeface comes with a full range of diacritics.

In 1903, the typeface family Alternate Gothic was developed for ATF (American Type Foundry) by Morris Fuller Benton. It was Benton’s intent to solve many diverse layout problems with the development of a narrow Sans with different width values. The Alternate Gothic enjoys great popularity to this day. Therefore, Elsner+Flake re-worked the typeface family, added all European fixed accents and complemented it with an Antique version.

Boldoni is like a caricature: it brings with itself exaggerated elements of the modern typefaces, that has as main names Giambattista Bodoni and François-Ambroise Didot. Boldoni takes to the limit its width and serifs, causing a ultra fat type feeling, and its styles causes a monochromatic effect that remember the colors Black, Gray and White. Boldoni is good for titles, initials, drop caps, lettering, posters and vertical writing.

Kaufmann font was designed in 1936 for the American Type Founders by Max R. Kaufmann, a letterer, typographer, and one-time art director for McCalls magazine. Kaufmann is a connecting script typeface with a smooth, slightly whimsical look. Its monoweight is unusual in a script type but allows for a nice texture on the page when it is combined with sans serif text type. The bold Kaufmann is fine display type.

Sheet music for the 1915 song "Is There Still Room for Me Neath the Old Apple Tree" had the title hand-lettered in a condensed, square sans serif. Although far from the more decorative lettering styles of the Art Nouveau period, this type of simple understatement was also a popular choice for the illustrators of the day. It is presented digitally as Nouveau Square JNL in both regular and oblique versions.

CA Cula Superfat is a distinctive fatty typeface, mainly intended for display purposes. You will find out that it looks best in extremely large sizes, or in very small ones. Whatever you do, avoid the ordinary and expectable. It’s not only beautifully fat, it’s also useful. A central European character set, loads of ligatures, oldstyle and lining figures make it a versatile companion in the daily struggle for outstanding typography.

Debright is a fat handwritten display font. With low bold contrast stroke, fun character. To give you an extra creative work. Debright font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Debright font. Cheers, Maulana Creative

Someday, a long time from now, in a galaxy not so very far away, you'll find yourself Suddenly transported to the nether-realms of Elsewhere, bathed in the light of the mystic moons of Meanwhile... While you're waiting for that day, check out this font by John "JG" Roshell. It may not provide you with the same transcendental experience, but JG assures us that it really is the next best thing.

The Enagol Math family consists of 4 weight plus True italics. It is a typeface with rounded Slab-Serif of Semi-Condensed proportions. I have composed all the proportions of the character based on a study of mathematical proportions related to the golden sequences of Perrin, Lucas and Fibonacci. From an initial matrix of golden proportions applied in the letters 'H' for capital letters and 'n' for lowercase letters, calculated for the versions of the extremes of the Light and Bold type, below I do the whole calculation of proportions using my formula of three axes and by interpolation I generate the intermediate versions Regular and Medium. For the Italic versions I have drawn a complete set of lowercase letters that give these fonts an aspect close to the Italic writing. In these versions I have also applied many optical corrections to balance the deformations created in many curves by the mere inclination of the letters, which in the case of this type is 11°.

Berlin Sans is based on a brilliant alphabet from the late ’20s, originally released by Bauer with the name Negro, the very first sans that Lucian Bernhard ever designed. Assisted by Matthew Butterick, David Berlow expanded this single font into a series of four weights, all complete with expert character sets, plus a dingbat font. Imaginative & little-known, it promises enticing opportunities to the adventurous typographer; FB 1994

Bernhard Modern was designed in 1937 by Lucian Bernhard for ATF. It is his personal version of the small x-height engravers’ old styles popular at the time. A perennial best-seller, Bernhard Modern remains popular in a wide variety of design and typesetting uses more that 60 years after its initial release. Bitstream’s version offers a wide array of typographer sets, including alternates, extensions, small caps and italic swashes.

The Belucian series offers a distinguished text design supported by dynamic headline structure. In need of a distinctive display style, Smart magazine asked Font Bureau in 1990 to revise the work of Lucian Bernhard from 1925. David Berlow prepared Belucian Demi, now accompanied by Kelly Ehrgott-Milligan’s 1994 Demi Italic, added Book and Book Italic for text, and designed Ultra for dynamic impact in headlines; FB 1990–94

Rosengarten is a condensed, bold typeface inspired by the work of Lucien Bernhard and the Plakatstil mouvement. With bold, rounded serifs, this typeface was created for use in headlines and larger point sizes. A complimentary sans serif style was integrated as a secondary weight with accompanying italics to allow a combination of styles to be set in layouts. This typeface includes an extended Latin and Cyrillic language support.

Homeward Bound is a fat, grungy slab serif font - all handmade and inspired by a well known 1934 font. Together with sidekick Homeward Bound II, this baby will lighten up your day, bring you your newspaper and do your dishes to boot. Well, that may not be an accurate description of Homeward Bound’s abilities, but I am sure it will make your work stand out, giving it that ‘handmade eroded vintage’ look.

Ranger Rays Rocketeers SRF was originally a freeware font on Jeff Levine's old site, but needed a lot of reworking and cleanup to be user-friendly. Jeff did all of the fixes and provided this charming retro-style font of space-age dingbats to the Stella Roberts Fonts project. The net profits from my font sales help defer medical expenses for my siblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.