Tenacious Brush is an expressive font, provocative, free spirited and wild hearted. It's an all-caps face, with 4 alternates for each letter and 2 for each numeral — some letters also have stylistic choices. For that spontaneous hand-painted feel, you know. Turn on the contextual alternates feature to automatically cycle all these variety of glyphs. Or... pick your choices manually, which is quite a playful task now in some applications like Adobe Illustrator and Photoshop — just select a glyph and you see its alternates. The font brings yet some useful ornaments to give an extra buzz here and there. And let's not forget to mention the extended language coverage. And there are even fractions available! And ordinals! Definitely not just a rad face. This is a cool brush font with a contemporary tone, offering endless design possibilities: logos, poster art, branding, bold imagery, packaging, t-shirts, apparel and much more... With loads of attitude included. Step into it!

Jalliya is a realistic signature font Vol. 2 that has its own uniqueness and characteristics from a signature font, because it is handwritten manually, so it has the impression of a true signature. This font is carefully crafted with a modern touch. This font looks elegant, luxurious, natural with a beautiful signature touch. Jalliya would perfect for photography, watermark, social media posts, advertisements, logos & branding, invitation, product designs, label, stationery, wedding designs, product packaging, special events or anything that need signature taste. Your download will include 4 font files; ~ Jalliya One, Two, Three, Four, Five, Six and Seven A hand-made, all characters signature font which has a complete set of A-z characters. Includes a range of multilingual support, punctuation, ligature & alternate. ~ Jalliya Tail 1 & 2 A bonus set of 104 Uppercase & Lowercase with tail. Simply select this font and type any A-Z & a-z character to create one of the bonus elements.

Inspired by the Appalachian culture of the Southeastern United States, the finely tuned forms of Dulcian strike a clear, empowering chord with your audience. This energetic and fresh sans serif flows fast and smooth with its simple lines and slight hand-written character. All total, there are six weights, with complementary italics and three different widths. Dulcian supports OpenType features and is packaged with unicase alternates, unconnected alternates, ligatures, old-fashioned figures, fractions, titling and small caps. Preview any and all of these features in the interactive PDF manual. The Dulcian family of fonts also includes glyphs for 72 languages, providing you with more than 600 glyphs per font. While designed especially for pull quotes, this display typeface can be used for a variety of applications. Dulcian is an excellent choice for websites as well as flyers and packaging. Other uses include coffee, menus, awards, certificates where a touch of humanity and personalization is needed.

Hoyle is a dynamic high-quality serif typeface. Drawn and created by Måns Grebäck between 2019 and 2020, this classic design makes use of the fact that timelessness is the best manner to achieve modernity; the letters are of such composition that they will always be simultaneously contemporary and traditional. Hoyle is a family containing five weights: Thin, Light, Medium, Bold and Black. Each weight is also provided as Italic, resulting in 10 unique styles. The weights are harmonic and created to balance perfectly agaist each other. Try the included Variable Font! A format where you can set any weight manually, and any slant, resulting in more than 5000 variations. More info: https://www.mansgreback.com/variable-fonts This slab serif typeface is also filled with OpenType features such as ligatures, alternates, oldstyle, superscript, subscript, fractional and alternate numbers. It has a very extensive lingual support, covering European Latin, Vietnamese, Zulu and many more scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

Multi is an extensive sans serif typeface family that consists of two subfamilies: Multi Text that comprises three weights (roman & italic) and Multi Display (seven weights, roman & italic). Vitality bursts forth from Multi. It has a distinctive ‘phrasing’ (in the musical sense), neither humanist nor glyphic, somewhere in between, exploring uncharted territory. Its design is pragmatic, yet not rigid, slightly tinged with tiny incised touches. This is clearly noticeable in Multi Display: the roman lowercase’s asymmetric stems are very softly tapered, with bevelled, sharp upstrokes. Furthermore, all weights consistently share these idiosyncrasies from Thin to Poster. With its lower contrast, wider proportions, shorter ascenders and descenders, Multi Text was purposely adjusted to meet all the requirements of a legible typeface for newspapers in paper and screen, as they were manually hinted. It also has a few new features, such as the outstrokes of the roman ‘l’ and the italic ‘a’, which bring a subtle calligraphic feel to the text flow.

It’s time to have some fun! The Scandiebox Hadlettering Collection was inspired by simplicity of the modern Scandinavian style and also have some influence of Japanese kawaii. All handwritten fonts in this collection perfectly compliment each other as well as the set of more than 100 illustrations created in the same happy style. You can find Scandiebox Extras Manual here. The collection’s childish look-and-feel makes it perfect for all sorts of designs for children - books, cards, invitations, packaging, apparel, children shop ads, etc. If you are an Adobe Suite user, you’ll find that working with illustrations is extremely easy - just select a stylistic alternate you want in either drop down list or using the glyphs panel. If you are using an application that doesn’t support opentype features, you can use all the fonts additional features with a help of either your default font management software or using the pdf reference guide mentioned above. Enjoy!"

This font was inspired by the rare manuscript Roman Quadrata used by an unknown scribe to inscribe a copy of the Roman poet Virgil’s GEORGICS, somehwere around 161 to 180 AD. Only a few sheets have survived, now preserved by different libraries around the world. In creating this font, we have adapted it for contemporary users, making differences between U and V; I and J (which made no difference at all to ancient Latin scribes) and naturally adding the glyphs for Thorn, Oslash, Lslash, W, Y, as well as the usual accented characters and punctuation, none of which existed at the time. Only capitals are present in the original; but we have provided alternates: so alternating each character A-Z/a-z will give a pleasant appearance of manual script. We have added the Roman numerals “I V X L C D M” in the OTF/TTF versions usable as “Old Style Numerals” alternates.

Sicret is a perfectly geometric typeface family. It was drawn by Måns Grebäck in 2020, and each one of its glyphs was manually created by following a strict mathematical pattern consisting of only two basic shapes, in four different combinations, set on a three units tall grid. The resulting product is a true monoline font with a solid character, with an official look while yet going towards sci-fi because of its digital nature. The family consists of nine weights: Thin, Extra Light, Light, Regular, Medium, Semi Bold, Bold, Extra Bold and Black. The range of weights makes it very adaptable, and all the weights works very well together to give a sentence or graphic tone and emphasization. As Sicret is a font with over 850 glyphs, it is guaranteed to contain all characters you'll ever need, including all punctuation and numbers. It has a very extensive lingual support, covering Greek, Cyrillic, Hebrew as well as European and American languages.

Say hello to our new classy font duo "Karme"- a combination of all-caps serif and stylish handwritten script! Karme Serif - Due to its extraordinary and eccentric characters, the serif can be more suitable for displays, headers, and short logos rather than body or long texts. Not all but some of the letters have alternatives in stunning lowercase forms. You can play with 92 different fascinating ligatures with the Karma Serif. While using the serif, we would recommend turning off the automatic ligatures and accessing them manually through the Glyphs panel (or copy/paste) so that from several options you can choose the one that fits your text best. Karme Script - a modern and realistic handwritten font with a natural flow. Featuring 112 playful and groovy ligatures, the font can be well paired with serif, sans serif, and display fonts. Works great for stationery, websites, packaging, and many other handwritten style designs.

Giambattista Bodoni was an Italian engraver, printer, and publisher who was one of the best typographers of the 18th century and became known worldwide for his iconic serif typeface. In the posthumous edition of Bodoni’s “Manual of Typography” published in 1818 by his widow Margherita “Ghitta” Dall’Aglio may also be found, among the other treasures, the Cancellaresca (Chancery). Ghitta is a redesign of this typeface in its finest form. With strong stroke contrast in 4 optical grades, 850 glyphs with wide range of language support, accented ligatures, oldstyle figures, 8 stylistic sets, and unique way of letter connection, Ghitta Bodoni Cancellaresca follows and builds on the best of Bodoni’s historical prototype and shifts further to a contemporary script typeface full of grace, neatness, and beauty. *** This font is powered by OpenType feature “Ligatures”, so it is necessary to have this function turned on. If you need support or more information, please kindly contact me: spurnej@email.cz

This script font was inspired by a lot of autographs, notes and drafts, written by President Abraham Lincoln, mainly the Gettysburg address, first draft and copies, but also the emancipation proclamation. It is an attempt to offer a typical manual script from this American period, not to propose the exact writing from A. Lincoln himself. This font is a little fat and monotone, maybe Abraham Lincoln used a smooth or rounded pen, but some letters I have consulted were written obviously with a sharp one, so, in the future, I will certainly produce a slim version of this font. It is used as variously as web-site titles, posters and fliers design or greeting cards, all various sorts of presentations, menus, certificates, letters. This font supports enlargement as well as small size, though the original size was about 18 to 24 pts. When printed, it remain perfectly legible from 10 to 12 pts.

Santa Rita is a new casual and modern script. This brush style typeface is the perfect blend of elegance and spontaneity. With the total number of 752 glyphs, is equipped with plenty of OpenType features. Uppercase letters can alternate between at least three different forms that can be combined with some ornaments and lowercase letters have leastways five choices more to avoid repetition. These effects include start and end forms of lowercase letters. To activate the optional glyphs you may click on Swash, Contextual or Stylistics Alternates, Standard or Discretionary Ligatures buttons in any OpenType savvy program or manually choose the characters from Glyph Palette. Also, there’s a set of 60 ornaments designed to support the font (access the ornaments through the Glyph Palette) and an important set of catchwords. The Santa Rita font might be the choice to use on creating headlines, logos & posters for branding and packaging purposes. Hope you enjoy!

Maple Drive is a bold rounded serif typeface with a warm and familiar feel built-in. Maple Drive delivers a recognizable nostalgic feeling polished for modern day use. Maple Drive works great as a logotype, in magazines, headlines, posters, advertising and packaging. As a product of the modern era, Maple Drive is fully equipped with plenty of OpenType goodness: Standard Ligatures are automatically on and they step in on certain letter combinations, such as ff and fi. In addition it has a wide range of, Stylistic, Swash and Titling Alternates as well as Discretionary Ligatures that you can trigger on or off from OpenType controls in any OpenType savvy program, or manually select the suitable variations from the character window. Try these alternates for more eloquent designs. Alternates are best to treat like you would treat a really strong spice: just a bit at a time. See the full range of the alternative glyphs on the specimen posters.

Hipster Script is another of my habitual attempts at trying to reduce the divide between manual and digital. In this case, I try to articulate brush lettering, try to get the computer to emulate continuous painting. The process wasn't that different from my work with Feel Script's shot at computerized commercial lettering, though here we have a more casual contrast, rather than the high seriousness of the Copperplate script. Swashes, alternates, ligatures — too many of them, all trying to make the interplay between the tool’s two extreme widths remain faithful to hand movement subtleties. I also toyed with ligatures containing apostrophes, something I've never seen before. With this typeface I think I've become more balanced in uniting the spontaneity of post-war ad lettering with the current trends in illustration and design. Hipster Script received a Judge’s choice Certificate of Excellence at the Type Directors of New York and was selected to be part of the Bienal Tipos Latinos 2012.

Cobbler is a friendly type family in six weights. With proportions of geometric type, Cobbler is a contemporary sans on the inside and an ultra soft display typeface on the outside. Not a single sharp corner and only a hand full of straights make Cobbler extra warm and huggable. In fact, the few straight horizontal lines give the typeface the stability of a workhorse while keeping the gooey playfulness that characterizes Cobbler so much. And to make all this even more fun, there is a pile OpenType features built in. For example loads of Discretionary Ligatures that make capital letters interlock left and right – just fun! Or automatic fractions, case sensitive punctuation and contextual alternates – for serious typesetting. Cobbler works great for branding, packaging, editorial or any display application – and it comes with an expansive character set that covers Underware’s Latin Plus and with it over 200 languages. Furthermore Cobbler is manually kerned and auto-hinted for crisp display on screen also in small sizes.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! If you're looking for a hand-drawn font to help craft a unique statement piece, you've probably been spending hours looking for the perfect brush font. The problem with most brush fonts is that they're not actually made from real brushes - they look like they've been artificially drawn by a machine. There's now a high-quality alternative available. We are proud to introduce our new, very high resolution Chicago Brush font - the result of our meticulous process of digitizing hand-drawn typefaces and then optimizing them through our exclusive, innovative technology. That’s why we created Chicago Brush, a font made from a real brush. Use it to create logos, names and signage. It will look hand lettered, like you really worked on those letters manually. A Million Thanks Colllab Studio www.colllabstudio.com

We are happy to introduce Prague Metronome, inspired by the city of Prague and the metronome in the heart of this city. Prague Metronome, a font made manually by hand that we set in such a way that everything is connected in a neat rhythm, just like metronome used by musicians to set the tempo. This font has alternate stylistic for Uppercase and Lowercase, we also complement lowercase with alternate swash and titling. No half-hearted, we added 142 ligature to get the impression of natural handwriting. Comes with two thicknesses namely hairline and monoline as well as a unique shape appearance that will attract interest when used as your brand identity. This font can be used for brands, quotes, headers, websites, and other broader graphic designs. Prague with its metronome is a symbol for everything, beauty, history and personal impression that cannot be described. If European cities were a necklace, Prague would be a diamond among the pearls. Enjoy our font. thanks.

A title font that looks better as larger the font size. First of all, it is designed for use in the upper-case format. Feature style: futurism, space, modernism, glyph variety (uniqueness (minimum automatic generation)). A kind of „s‟ in the lower-case format sets the tone and emphasizes the character, formed in the Prime Numbers Nebula — they determined its appearance, and influenced the style as a whole. Particular attention is paid to the kern: the kern table is formed manually, taking into account absolutely all the glyphs included in the font-family. Two types of stress (grave, acute) for all letter glyphs. The font contains basic Latin and several additional tables, as well as three types of quotation marks, a non-breaking space and a hyphen, a short, medium, and long dash. For a set of mathematical expressions there are centrifugal signs: equal, minus (not a hyphen or minus-hyphen), plus, multiplication (X-shaped and dot), plus-minus, division. The font was made for 3 years.

A sanserif with human touch in 6 fonts Angie Sans is a low contrast incised sans serif sharing some similarities with Optima by Hermann Zapf and Pascal by José Mendoza, both created at the end of the 50’s. The later, feature an italic not published by the initial foundry who launched Pascal. Angie Sans follow same path with its italic based on Chancery forms from the Renaissance, narrower than the roman shapes. With its capitals based on Roman proportions, lowercases featuring open counters, strong horizontals, Angie Sans is a legible typeface. The manual gesture is present in Angie Sans, which offer the plastic qualities such as warmth, craftmanship and humanity. Angie Sans is an Incised Garalde who works well for display as text settings. Available in 6 series, with matching italics, Angie Sans will work well in design projects where delicate and human touch is required. Angie Sans Morisawa Awards 1990

Alfons is a handy collection of 38 display fonts with a pack of Ornaments and Extras on top of that. Alfons is great for any kind of display use from online to packaging to posters or identities. Alfons is divided into eight subfamilies that play great together. Alfons’ core family is a monoline script that has eight weights from extra thin to black and on top of that two printed versions that have softer, a bit blurred features. Alfons Script is equipped with Standard Ligatures which makes the flow more natural. For more swirling swashes and bouncy flow try Swash, Stylistic or Titling Alternates in any OpenType savvy program or manually select from even more alternate characters from Glyph Palette. Alfons Display, Sans, Condensed, Serif and Slab are equipped with Swash alternates and Alfons Tiki has interlocking ligatures feature that you can access from Discretionary Ligatures. Alfons Extras is a pack of pictograms and icons and some catchwords. Alfons Ornaments is designed to work with Script.

Brighten is the new family font composed of Brighten Regular and Regular Italic, Brighten Round and Round Italic. With the total number of 606 glyphs, Brighten is the perfect blend of elegant and casual. Brighten is equipped with plenty of OpenType features. Uppercase letters can alternate between at least two or three different forms and lowercase letters have leastways four choices more to avoid repetition. These effects include start and end forms of lowercase letters, which are automatically substituted in at beginnings or ends of words. To activate the optional glyphs,  you may click on Swash, Contextual, Standard Ligatures, Stylistic or Discretionary Ligatures buttons in any OpenType savvy program or manually choose the characters from Glyph Palette. Also, there’s some ornaments designed to support the font (access the ornaments through the Glyph Palette). The Brighten family font might be the choice to use on creating headlines, logos & posters for branding and packaging purposes.

Download Fieldwork’s PDF Type Specimen Fieldwork brings back the manual tradition of typography production, veering away from lab interpolations. Each of its 24 variants was drawn based on optical evaluation; many of its curves and details were specifically adjusted for each weight, reformulating them to better suit the requirements of the distinct stroke weighs. It is the product of a collaborative effort by the TipoType team, combining their personal strengths and “most importantly” their enriching individual outlooks to achieve a more versatile and fresh outcome. Its shapes successfully combine geometric strokes (in the Geo variants) with the humanistic warmth of the double-storey glyphs (like a and g in the Hum variant) in a system that grows with alternates, swashes and the corresponding italics for every weight. It includes a very thorough coverage for a wide variety of Latin alphabet-based language families. Special thanks to: • José “Pollo” Perdomo: Font production assistent. • Rasmus Jappe Kristiansen: Detroit City project

Brandon Text is the companion of the famous Brandon Grotesque type family. It has a higher x-height than the Grotesque version and is optimized for long texts, small sizes and screens. This sans serif type family of six weights plus matching italics was designed by Hannes von Döhren in 2012. 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 Text has a functional look with a warm touch and works perfectly together with Brandon Grotesque . It is manually hinted and optimized for screens, so it will be a good choice for Websites, eBooks or Apps. The whole Brandon series is equipped for complex, professional typography with different sets of numbers, alternate letters, fractions and an extended character set to support Central and Eastern European as well as Western European Languages.

Aspira: the legible geometric typeface. Aspira is a multi-purpose typeface. It is suitable for both text and display use — for graphic design, corporate identity design, magazines, newspapers, books, reports, advertising, signage, etc. Aspira is a versatile typeface. It offers 112 styles consisting of 8 weights and 7 widths. It offers 56 upright fonts and 56 italic fonts. It offers lining and oldstyle figures (proportional and tabular). It offers small caps, ligatures, arbitrary fractions, and extensive language support. Aspira is a geometric typeface. It offers a fresh geometric personality which is pleasant and not too conspicuous. Aspira is a multi-width typeface. It offers 7 widths — much more than what is currently usual. Aspira is a legible typeface. Many of its details, like its open apertures and subtle variations in stroke width, are designed to enhance its legibility. Free demo font available. Aspira in use: 1 2 3 4 5 6 7 8 9 10. For more information about Aspira, download the PDF Specimen Manual.

A fresh new decorative display face bubbling with life & spontaneity, Jabberwub belongs to a rare genus of creature fonts that time forgotócasual animated. A fun & bouncy eye-catcher that crosses into the land of the zany, dancing a whacky line between discord & rhyme, Jabberwub packs tons of fun into a state-of-the-art OpenType font loaded with 270 extra glyphs, including stylistic alternates, discretionary ligatures, word ligatures and capitalized ligatures, allowing creative typographers to achieve a custom hand-lettered look without all the mess & spilt glue of a manual paste-up job. Just like using rub-down type but it never cracks or splits, and it never runs out. The moment you start using Jabberwub you'll be laffing! Jabberwub is ideal for whatever zany stuff springs to mind. It takes an outline with no problem-o, and you can squish & squoosh it as the occasion takes your fancy. Optimal results are achieved by hand setting each individual glyph. Available in OpenType only.

Everything your head should not be or would rather not do is here. A complete collection of 225 illustrations (plus bonus shadows) in three fonts. The illustrations collected in the Capsbats keep the free-flowing lines of the ink-on-paper sketches. As a dingbat, or pictorial typeface, the Capsbats are very versatile: you can use them immediately in any application. The vectorial format of the font file means they are scalable with no loss of quality. And you can customize them in no time in your favourite graphics program. They can be used out of the box, as accents or spot illustration, or enlarged, combined, coloured, textured... to achieve an infinite variety of results easily. With Capsbats you have an incredible resource for your concept illustration needs: enlarge them and you can create a high impact page layout, posters, magazine covers and book jackets, advertising... The Capsbats Shadows are bonus silhouettes that you can use in very different situations. Use these shadows to fill them with your own patterns, or use them as a mask or clipping path, to paste the images you want inside them. The possibilities are endless. We didn't limit our imagination in drawing them, so why would you when using them? The book 1000 Heads is a compendium of the drawings featured in the Capsbats and Entestats and it gives a glimpse of the limitless applications of this collection.

Although geometric Sans Serifs have been in vogue for nearly a century, they have never been as ubiquitous. It is not improbable that the old adage would be phrased: “When in doubt, set it in geometric sans”, had it been composed today. Have we not had enough? We think, not. Postmodern times demand a variety of expressions. The vision behind Geometria was to revisit the perennial favorite to lend subtle individuality to its tried and true forms. Geometria stands out in the crowd of similar fonts thanks to its complicated nature. It combines dynamic elements with a certain degree of stability. A slightly higher waistline of the capitals contributes to their distinctive appearance. If the upper case refers to the American grotesques of the 19th century, the lower case tends toward the forms of the Renaissance in its proportions. Geometria is a typeface of clean shapes that is well-suited for continuous reading, and it sets remarkably well. At the same time, it can be friendly, even flirtatious. Its distinct personality combines seeming opposites. At times it may appear serious, at times playful. On occasion, it may be deliberate, other times dynamic. It could seem rigid, then elegant. It is a typeface that could be perceived either as cutting-edge, or as nostalgic. A careful and discerning typographer will bring out and emphasize those aspects of its multifaceted personality that are needed to solve the problem at hand. Geometria consists of 24 fonts — eight weights with matching italics and narrow styles. The font includes multiple sets of figures and currency signs, alternate glyphs, a variety of experimental ligatures, and punctuation marks for the two cases. The 835 glyphs support 72 languages. Granshan 2013 award.

I've had a lot of lovely cakes through the years (My wife is a great cook!) But I've also tried some really...ehem...not so good cakes. Actually, the worst cake I ever had, was at work - if you didn't know, I work as a kindergarten teacher - and the cake was made by one of the kids! Anyway, this font was made as a sort of tribute to that cake - the font may not represent something that is smooth and lovely, but it was made with lots of personality and love - just like that cake from that kindergarten kid!

As a kid I used to write my favourite football teams name with 3D letters over and over again. I spent hours doing this - often to find out I had the colors wrong, or I had made a spelling error or two - but now, several years after, I have created the "Like a cat" font - so that you can make "handmade" headlines or funny quotes or even your favourite football teams name in a swoosh! If you get the colors wrong, or you make a spelling error, it's fast and easy to correct! :) Like a cat comes with substitution characters for double letters!

The other day I had to login to a page several times, and as security I had to check the "I am not a robot" box. Actually, I think I did a login at that particular page like 30 times that day...and in the end I was thinking "Come on, you should know by now that I am not a robot" And even though I thought it was a repetitious hassle I figured that I needed to name a font "I am not a robot" - and not a robotic-like one, but a sweet and funny cartoonish one! :)

“In some way I was Mr Mamoulian, and someone else was writing and drawing this stuff. He kept sending me these pages. I had to sign my name and pass them off as my own. I had no choice. He was holding my aged mother hostage, you see. I told him when the pages were due and he somehow got them to me. Sometimes he left them in secret locations. I don't remember them at all.” -- Brian Bolland Mr. Mamoulian has four weights with automatic alternating uppercase letters, Crossbar I Technology, and European, Vietnamese & Cyrillic language support.

The family of Tipografia Maracatu was born in 2020 when we could not leave the house because of the coronavirus epidemic. I had no idea how it would turn out. I just wanted to draw letters. When I finished the regular version, I thought it looked a lot like the art and music from the Northeast of Brazil, and that is why I came up with the name Maracatu. Maracatu is a musical-style original from the Northeast of Brazil. After I had the font style and the Regular version, I thought it would be nice to have Bold and Light.

Some time ago, my son asked me to name all Seven Seas. I had to think for a bit, because I can think of more than 7 seas (the North Sea, the Caspian Sea, the South China Sea, the Sea Of Okhotsk, etc.), but apparently these are not part of the BIG Seven. It turns out that even oceans count as ‘seas’. Long story short, I created a font, had to think of my son’s question and named the font Seven Seas. Seven Seas is a hand made serif that comes with swashed alternatives for a lot of glyphs.

Endgame font was made using a very, VERY bad brush and Chinese ink. I had bought a bunch of brushes some time ago and I discovered that the hairs had been treated with some goo to keep them from sticking out. The goo didn’t really come off, so when I started to draw the glyphs for this font, the brush strokes were kind of wild. In the end, I really liked it (even though I will never again buy that particular brand of brushes). Endgame is a wild brush font. Comes with the works: diacritics, ligatures and alternates.

In the beginning, this font had been designed for an affiche work as wood pattern which includes one font and medium weight. The stylish design of this font had been inclined us to create more weights and more styles. Daphne Font Family comes in three weights; normal and italic. Plus two additional styles which are wood pattern and shadow. You can get great wood pattern results with Daphne Font Family; also with colored shadows, you can get gorgeous results in poster works and t-shirt prints. Even in very small type sizes, it can be legible.

Pinch Remix is a recreated version of a typeface I made in 2007. The form hasn’t changed at all, but I composed the family by increasing the number of weights and revising the spacing and kerning. At first it was created from randomly drawing an alphabet offhand on paper with a drawing pen. Then I figured that perhaps it had the framework for a typeface. Originally because it was just a memo, I had already thrown in the trash once. Yet something about it caught me, and when I turned to look down at it, I couldn’t throw it away.

You stand, poised at the brink. If you do not choose the right, the best typeface, this may be one of the greatest disasters in your history. The whole root and core and brain on which and around which your project is built seems about to perish into an ignominious end. But I do not for a moment fail to believe that Winsel shall prevail for you. This bold new face, founded from the tested mind of insigne design, will in the moment of need wield for you the full might of its ancestors. The entire strength of the British Empire’s vernacular poster lettering spanning the 1920’s to the 1950’s drives the very heart of every feature and weight this font has to offer. Winsel’s expanded design is sharp and angular, based on pointed brush strokes. Its thick, sturdy appearance will draw and direct your reader’s mind to the weight and importance of your messages and titling. Within the font’s full forces work a range of styles to achieve victory in the contest ahead: thick weights that are compact and muscular for carrying a heavier load and lighter, finer weights to lead you through your more sensitive operations. It stands equipped with OpenType features, ready to support most European Latin-based languages and providing features such as Small Caps and Titling Caps in all nine of its weights. Well-honed for the task ahead, Winsel has been crafted to ride out the storm of mediocrity and to outlive the merits of inconsequence, if necessary for years, if necessary alone. There has never been in all the world such an opportunity for you. With Winsel, you shall go on till the end. You shall write on the beaches. You shall write on the landing grounds. You shall write with growing confidence and growing strength in print or on the air. Every morn has brought forth a noble chance. Your chance this day is Winsel.

Civic Triline was inspired by a beautifully lucid (and hand lettered) example of municipal signage. It is a clear and easy to read sans serif display face, constructed of one thick and two thin lines. Civic Triline is an ideal typeface for making stylish signage or lettering posters with a modern yet distinctive look.