Antipod is a versatile sans serif family designed with the stroke of the nib in mind. The early sketches were made with a reed pen and then stabilised to keep the specific junctions between verticals and horizontals shapes. The design of the letters constantly balance between curves and inner sharp corners and the contrast of one is cohabiting with the other to give Antipod its specific design. When Antipod is set at small size its specific are almost unnoticeable but the text has a very particular type colour. And this specificity is useful when setting texts for display, to give your design a strong personality. Each weight includes a set of extra glyphs to make your text settings more singular. It also comes with extended language support, tabular figures, fractions and more. It is suited for any work editorial design, signage, corporate as well as onscreen applications.

This font is mainly inspired from the engraved characters of a German Map depicting Germany's roads and parts of surrounding lands, edited in Berlin probably in the end of 1700's. The engraver was Carl Jaeck or Jaek (1763-1808). The Map was bought by the French napoleonic general Louis Pierre Delosme (1768-1828) probably during the Napolenic campaign against Germany, circa 1805 or at least 1806, his sole staying in Germany. The font (with two styles, Normal and Italic)is containing standard ligatures and a few alternative characters. It is a "small eye" or "Small x-eight" font, as the Maps' characters are most often very small (some Italic lower cases of the map are 1mm hight, upper cases 2mm) The standard English characters set is completed with accented or specific characters for Western (Including Celtic) and Central European, Baltic, Eastern Europe and Turkish languages.

This late 19th century design conjures up early 20th century Dutch DeStijl lettering with a mostly strict adherence to right angles and minimal stroke modulation. Geometric began its life as a metal typeface from the Central Type Foundry, circa 1884. Soon after, this design was officially licensed to Morgans & Wilcox and was shown in their 1890 catalog in Regular, Light and Condensed Light variations. After acquiring Morgans & Wilcox, Hamilton Manufacturing offered Geometric Light Face Condensed as their own No 3020 and the Geometric Light Face as No 3021. HWT Geometric has been expanded digitally to include a Regular Condensed version. A heavier wood type specimen was found from an unknown manufacturer and digitized as it was found, resulting in the HWT Geometric Shopworn and Shopworn Inked variations. These digital versions all include a full Western and Central European character set of over 380 glyphs.

Archie is a wide attention-grabber based on a simple geometric alphabet drawn in the early 1930s by Dutch calligrapher and lettering artist Martin Meijer. This digital family expands considerably on the original letters, adding biform shapes, small caps, italics across the board, and support for many Latin-based languages. Archie's eye-catching forms are meant for clear, seamless and strong message delivery. In its upright styles, strong vertical strokes emphasize the sense of confidence and importance, and in its italics, that emphasis is further affirmed by a natural sense of urgency. This kind of alphabet is perfect for display typography aiming at the glance-and-go crowd. When used properly and placed prominently, no eye can escape it. The basic Archie family is comprised of six basic fonts, while the Pro set combines all three uprights in one font and all three italics in another.

Unique and decorative signage for many drive-ins, motels, food stores and other businesses of the 1940s had what was referred to as “privilege signs” provided by one of the major cola brands. Consisting of the brand’s emblem on a decorative panel, the remainder of the sign would carry the desired message of the storekeeper (such as “Drive-In”) in prismatic, embossed metal letters. Inspired by the Art Deco sans serif style of those vintage signs, Privilege Sign Two JNL recreates the type design in both regular and oblique versions. The typefaces are solid black, but adding a selected color and a prismatic effect from your favorite graphics program can reproduce the look and feel of those old businesses. This is a companion font to Privilege Sign JNL, which recreates the condensed sans serif lettering of other privilege signs from the 1950s and early 1960s.

Etrusco Now is the revival of a lead typeface originally cast in lead by Italian foundry Nebiolo in the early 1920s. Heavily inspired by the design of the Medium weight of Schelter & Giesecke's Grotesk, Etrusco was, like Cairoli, an early precursor of the modernist grotesque superfamilies: a solid, multi-purpose "work-horse" typeface family that could solve a wide range of design problems with its range of widths and weights. When designing the new incarnation of Nebiolo's Etrusco, the Italiantype team directed by Cosimo Lorenzo Pancini and Mario de Libero decided to extend the original weight and width range to keep this "superfamily" approach. Etrusco Now has twenty-one styles widths in three widths of seven weights each, with matching italics; the original weights for the typeface have been collected in the Etrusco Classic subfamily. Etrusco Now new widths allowed the team to include in the design many nods and homages to other vintage classics of Nebiolo. The lighter weights of the normal width have been heavily influenced by the modernist look of Recta, while the heavy condensed and compressed widths refer to the black vertical texture of Aldo Novarese's Metropol. This infuses the typeface with a slightly vintage mood, making Etrusco at the same time warmly familiar and unexpected to eyes accustomed to the formal and cold look of late modernist grotesques like Helvetica. Contemporary but rich in slight historical quirks, Etrusco Now is perfect for any editorial and branding project that aims to be different in a subtle way. Etrusco Now's deviations from the norm are small enough to give it personality without affecting readability, while its wide range of open type features (alternates, stylistic sets, positional numbers) and language coverage make it a problem solver for any situation. Like its cousin Cairoli, Etrusco is born out of love for lost letterforms and stands like its lead ancestor from a century ago, at the crossroads between artsy craftsmanship and industrial needs.

Textus Receptus is a historical revival based on the Roman and Greek types used by Johann Bebel (and later also Michael Isengrin) in Basel in the 1520s. The Roman is a low-contrast medium-to-heavy Venetian reminiscent of Jenson or Golden Type. The unusual polytonic Greek, not previously digitized, is lighter in weight and supplied with all the ligatures and variants of the original. Yet when used without historial forms the Greek has a surprisingly contemporary feel: it’s quirky and playful as a display face, but still easily legible in running text. Bebel’s Greek extended and refined the one used for the first printed Greek New Testament, Desiderius Erasmus’ Novum Instrumentum Omne, published in Basel in 1516 by Johann Froben. The name of the font was chosen in honor of this edition, which was so influential that it was later called the Textus Receptus (the “received text”), serving as the basis for Luther’s German Bible in 1522 and much subsequent scholarship for over 300 years. Following 16th century practice, Textus Receptus contains 130 ligatures and stylistic alternates for Greek, accessible either with OpenType features or with five stylistic sets. The Greek capitals, often printed bare in early editions, have been equipped with accents and breathings for proper polytonic or monotonic typesetting. The Roman includes both standard and historical ligatures along with the abbreviations and diacritics typically employed in early printed Latin. For expanded language coverage it has the entire unicode Latin Extended‑A range and part of Latin Extended-B. The capital A is surmounted by a horizontal stroke, as in some 16th century Italian designs, and the hyphen and question mark have both modern and historical form variants. Mark-to-base positioning correctly renders fifty combining diacritics, and with mark-to-mark positioning the most common diacritics may be stacked, permitting, for example, accents and breathings on top of length-marked vowels. Numerals include old-style, proportional lining and tabular lining. For further details, please download the 31-page Textus Receptus User Guide.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. During the 80’s and 90’s, a lot of these logos leaned towards the geometric sans styles and the swiss styling of fonts like Handel Gothic, while playing with varying degrees of squared rounds and varying expanded widths per logotype. Mercurial has this flavor, but it wasn’t derived from logotypes. Instead, it began as a digitization of a film typeface from LetterGraphics in the early 70's known as "Sam". It visual ties to this genre of automotive logotypes and fonts like Handel Gothic lend a familiarity to it, yet it has an identity all its own. As with so many automotive logotypes, this singular style film typeface, lacked an expansive family which shows off all potential the logotypes have and what they "could" be and do. And that's where we come in. What originally began as this family’s Regular Width - Bold Style has been expanded into a collection of 3 Width Families, each containing 5 Weights. Here’s what’s included with the Mercurial Complete bundle: 396 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the final poster graphics for a preview of the characters included) 3 widths in the collection: Narrow, Regular, & Wide 5 weights in each width family: Light, Book, Regular, Medium & Bold. Here’s why the Mercurial Family is for you: - You’re in need of stylish sans font family with a range of widths and weights. - You’re love those 80’s automotive logos, but want more range of use. - You’re looking for an alternative to Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.

Palm Sunday - Quirky Easter Day Theme Font is a unique typeface designed to capture the playful spirit of Easter and Palm Sunday. This font is characterized by its quirky, chaotic, and variable thick-thin letterforms, which add an element of fun and intrigue to your designs. It can be used effectively either on its own or in combination with its ten charming variations. With ten distinctive variations inspired by Easter day, including eggs, bunnies, carrots, bunny ears, and flowers, Palm Sunday is the ideal choice for projects related to Easter, Pascha, and the joyous celebrations associated with the holiday. It perfectly suits children's themes, crafting projects, and any design that seeks to evoke a sense of fun, playfulness, and a vibrant, colorful aesthetic.

Megumi was originally commissioned as a headline face for a fashion and lifestyle magazine with a heavy Japanese influence. The uppercase letters are narrow and have an almost monospaced aesthetic, being influenced by Romaji letterforms. Serifs are severe, and curves sinuous. Although experiments were made with extra weight, it was decided that only this ultra light weight would be developed, to be set large in headlines. The italic has an over-the-top 35° slant (so slanted in fact that the backslash from the italic is the exact same shape as the forward slash in the Roman) and a discretionary ligature feature that can be engaged to add extra interest to headlines. The Roman has a few wide alternate glyphs for round uppercase characters. Both styles have a stylistic set (ss03) feature which switches regular parentheses for angle brackets, which the Art Director thought “looked cool”. In a mess of venture capitalist pull-outs and Covid related issues, the publication never came to be, but the Hipster Japanophile Magazine World’s loss is your gain, as this beautifully crafted, editorial oddity is now available to license. Use it editorially, obviously, but it would also look great on posters, perfumes, postmodern publications, and perhaps some other things that don’t begin with p.

This family was inspired from the French edition of Hypnerotomachie de Poliphile ("The Strife of Love in a Dream") attributed to Francesco Colonna, 1467 printed in 1546 in Paris by Jacques Kerver. He was using a Garamond set (look at our 1592 GLC Garamond), including two styles: Normal and Italic (Normal carved by Claude Garamond, Italic we don't know; it was an Italic pattern very often in use in Paris at that time). We have modified the slant angle of the Capitals used with Italics because the Normal capitals were used in both styles in the original. The present font includes all of the specific latin abbreviations and ligatures used in this edition (with a few differences between the two styles). Added are the accented characters and a few others not in use in this early period of printing. Decorated letters such as 1512 Initials, 1550 Arabesques, 1565 Venetian, or 1584 Rinceau can be used with this family without anachronism.

Drawn shortly before Jim Rimmer's passing in 2010, Loxley was designed to be used in a fine press edition of the folklore story of Robin Hood. It was named after the cited birthplace of the story's classic hero. Loxley's shapes were inspired the same early Roman faces (such as Subiaco from the late 1400s) that influenced Frederick Goudy's Aries, Franciscan and Goudry Thirty types. It exhibits the preculiarities of Jim's left-handed calligraphy, as well as his outside-the-box thinking with exit strokes and serif variations. Loxley was remastered for the latest technologies in 2013. Now it comes with a character set of over 450 glyphs, including plenty of stylistic alternates, a full compliment of f-ligatures, a Th-ligature, basic fractions, ordinals, a long s for historic setting, comprehensive class-based kerning, and extended Latin language support. 20% of this font's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

P22 Barabajagal is a unique take on the display fat face by way of doodling fun. Somewhat informed by the shapes of an early 1970s film type called Kap Antiqua Bold, this font’s aesthetic is the stuff of boundless energy and light humour, where an uncommon “peak” angle drawing perspective results in sturdy trunks, fat bottom curls, and active ascenders eager for mobility in space. This is the kind of font that makes you wonder whether it was drawn with rulers, protractors and compasses, or just by a mad doodler’s crazy-good free hand. Regardless, Barabajagal easily turns the geometry of modern forms into an exercise in sugar-loaded fun. It’s a very good tool to use in design geared at kids and young adults, such as food and toy packaging, books, animation, cartoons and games. Barabajagal comes with over 550 glyphs, lots of alternates, and a few ligatures and swash caps. It also contains extended support for Latin languages.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

The source of inspiration for MFC Decatur Monogram is a beautifully styled blackletter from JM. Bergling’s 1914 book on Monograms and Engraving Alphabets. This elegant decorative style was shown only displayed as Capital letters, so we took it further by crafting matching Smallcaps, Numerals, and lined Capitals, Smallcaps, and Numerals. MFC Decatur Monogram can create one, two, or three letter monograms as well as basic headline and titling settings. It is a refined look that is as darling as it is elegant. Decatur Monogram's numeral set and bullet dividers allow for even more detailed and personalized monograms. If you want to create a more customized look, you can add any of a handful of complimentary brackets to surround your monogram setting. Any monograms or typesettings surrounded by brackets, braces, or parenthesis will auto line the middle lettersets. And lastly, due to its traditional smallcaps - Capitals - smallcaps composition, Decatur Monogram can also type unique headings & titles.

Spannerz is a font that is a bit of a chimera. It has the rather machined appearance of tools, particularly wrenches, from which it takes it's name, but it also possesses the characteristics of fonts used for science fiction, early era computers, and an unusual 1970's feel found in its soft, somewhat bloated, outer edges. Spannerz has a glyph count of 398 and supports the following languages Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

Altertypo, a font family on a never-ending quest for the "perfect" sans-serif style. Inspired by the early 20th-century pioneers like Gill Sans and Johnston Sans, Altertypo seamlessly blends their classic elegance with contemporary flair. This unique typeface is your passport to creative freedom in graphic design, serving a multitude of purposes from editorial and corporate to web and interaction design. This font allows you to craft compelling designs that transcend the ordinary, providing the versatility and innovation you seek. It invites you to explore a world of creative possibilities, where every character is thoughtfully placed to ensure a smooth, organic flow of words. Step into the realm of Altertypo, and leave behind the constraints of conventional fonts. It's your gateway to exceptional design, where each letter harmonizes effortlessly to deliver a captivating visual experience. Say goodbye to the limitations of standard fonts and embrace the boundless potential that Altertypo offers.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

Alta California became designer steve mehallo's "vector-based artist's response" to the early Apple Macintosh bitmapped font San Francisco. Alta California was developed using "sampled" wood type and letters from numerous historical sources. The name comes from the Alta California newspaper, the first daily published in California, one of a dubious Barbary Coast nature, a sheet that shaped the bias of San Franciscans and attracted its own grade of reporters, including a printing specialist who went under the nom de plume Mark Twain. Alta California's edges were meticulously redrafted by hand, with letterpress-inspired fallout and 19th century pointing hands. The final collection of rough hewn letters jump, dive, fall, zag and zig. Alta California looks great on greeting cards, food packaging, as retail signage for boutiques, vintage stores or at D.I.Y. sales, on band posters or club cards, in and around historical quarters, or for use on any ransom note that needs to evoke a wild west look and feel.

Sharplion is a typeface family designed by Zeki Michael and Leyla Melis Aslan. It’s a simple, but sharp display typeface with a clear yet powerful personality, created to not only optimize space, but also build contrast on the printed page and on the screen. Sharplion, coming in two weights and a matching slanted version, is designed to give that neo-vintage industrial feel in 'titles and hierarchic subheadings, logotypes and cases of short and simple copywriting for the artisan, hand-made and small batch look.’ The first 4 letters for what is now Sharplion, were designed in 2018 by Zeki Michael to be used as a logotype for Depo Coffee Roasting’s branding project. In early 2019 after Zeki designed all the letters, numbers and glyphs, he teamed up with talented designer, Leyla Melis Aslan to add strength to the project. The full Sharplion type system includes Regular, Black and Slanted styles – providing a simple but sharp contrast type solution for digital and print design work.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

Varese Gradient is a color font for display, headlines, or large body text. Use it for bold graphic statements or a vintage mood. Its geometric style is inspired by Art Deco and early 1900s European travel posters. This typeface will set a friendly and light tone while giving messages a unique and memorable feeling. The gradients transition vertically and come in these sets; color with white, color with black, two colors, chromatic grays, grayscales, and concepts like summer or cappuccino. The font name will indicate its color. The full family includes one regular font. Here is a list of all the fonts in color. The lowercase letterforms are similar to the uppercase, but the lowercase have counterforms. It comes with OpenType features such as alternate glyphs, half-height letters, standard ligatures, and stylistic sets. The fonts are OpenType SVG format and fully scalable. Contact Tarallo Design if you need custom colors. Varese Gradient has siblings, Varese Soft (rounded) and Varese Outlined (color/shadow/outline).

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

Mozsár, named after Mozsár Street in the downtown of Budapest (pronounced ‘mo-zhar’, meaning mortar in Hungarian.) Mozsár is a unicase display typeface with constructivist characteristics from the early 20th Century. It uses pure geometric shapes and purposefully departs from strict typographical rules to give a more friendly look. With Mozsár you can create really unique and awesome looking displays, titles and even name plates for your business. It works very well in big size. The central idea behind the design was that two variants of the typeface would randomly alternate as the user types. The typeface uses Contextual Alternates (CALT) created with the OpenType’s semi-random feature to mix the variants. The width and height of the letter shapes are generally equal, but I made some exceptions to lend the type a character of unexpectedness. The curves are identical in both versions of each letter, and the intersections of the axes are always perpendicular (with some evident exceptions).

Carrig Pro is a refined and elegant serif. Classed as an Antiqua, Carrig Pro is born from [or borne by] a hybrid of influences that range from early Roman inscriptions to type of the Pre-Modern era, giving Carrig Pro a distinctive character all of its own. Carrig Pro will appear instantly familiar and friendly and could well be the perfect typeface for designers seeking to convey a message with a distinctive and prestigious air. Now a 12-font family, Carrig Pro (2017) is an extended version of Carrig (2015), it has been completely redrawn, revised and improved. Carrig Pro has many useful features for typographers to exploit, such as easily accessible small caps, discretionary ligatures, gadzooks and stylistic alternates, as well as a number of ornamental glyphs. See more here. Key features: 6 weights in roman and italic Small Caps, Ornaments, Alternates, Historic Characters, Ligatures and Gadzooks Full Latin character set 750 glyphs per font.

Neon Bugler is a font based on the third logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore. This font design has these principles as its parameters: The letters generally follow what would be natural stroke directions; no sharp corners, all gentle turns; no lines back up over each other, cross each other, or run into each other. All of this civility between the lines produces an unintentional but welcome neon quality about it. This font can have a variety of vibes depending on its context--it has a certain nostalgia to it, yet it also has a slick, clean, futuristic look. It can even be used in a semi-grunge setting. This is a very versatile font! And if you like this font, check out the new boxy version of it, Neon Bugler Squared! Digitized by John Bomparte.

“My Dearest Friend” is how she began nearly all her letters to her husband, John. I refer, of course, to Abigail Smith Adams, first Second Lady and second First Lady of the United States. Her famous correspondence with John Adams produced nearly 1,200 letters over a span of some 40 years, leaving us with a priceless record of early American life — from household routines to war and politics to expressions of personal worry and devotion. Although Abigail’s was not the loveliest hand, I found it sure and expressive, as befitting her extraordinary sway and intelligence; it also carries a genuine flavor of the period. In making the font I focused chiefly on her handwriting from the 1780s and ’90s, when she’d taken to using a disconnected cursive, which struck me as distinctive and alluring. The OpenType release of Abigail Adams has scores of ligatures, standard and contextual alternates, lining and old-style figures, cross-outs, ink blots, and full Latin language support.

Fragrance was inspired by script styles of the twentieth century, and brought into the early 21st century with extravagant, sweeping, upper-case letters and smaller "x" height. Fragrance Antique is a new style for the delicate, feminine Fragrance font. Fragrance Antique retains its elegance, but has a deconstructed, grunged appearance, making it perfect for "ancient" manuscripts, medieval wedding stationery, greeting cards and graffiti style advertising material. The font has a delicate, feminine style reminiscent of elusive perfumes, its elegance emphasized by the contrast between upper and lower case characters. Upper case swashes extend outwards, slashing across or underlining more demure lower case letters. Fragrance is perfect for wedding stationery, greeting cards, lingerie, flowers, perfume and cosmetic advertising, book covers and magazine pages. The font contains over 272 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It also includes "open-type"characters to enhance the flow of the text. It has all the accented characters used in the major European languages.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

Ligatures FS Rufus is an outgoing, likable sort of font with an eccentric streak. Wide letterforms and curious ink-traps make for an engaging personality, and a set of discretionary ligatures make FS Rufus irresistible to designers wanting to play. Not a small set, either: there are some 80 different options available. Wide The decision was made early on to make the letterforms of FS Rufus luxuriously wide. This generates a distinctive visual texture when the font is used for text. With other weights available for headlines, FS Rufus brings a curiously engaging look to editorial, magazine covers and advertising. Just look at my ink traps Ink traps are normally the preserve of fonts intended for printing at small sizes, in newspapers or directories – extra notches necessary to prevent ink from pooling. FS Rufus turns the ink trap into a beautiful eccentricity, flaunting it in both its lowercase and capitals. Take a look at the “h”, “a” and “k”, and the “B” and “N”. Attention-seeking? Moi?

This is the companion sans family to make the Librum serif families work as well as they do. By companion, I do mean stylistically compatible. But mainly, they have the same vertical metrics. So they work very well for run-in heads, inline character styles, and all the rest of the needs in large books with complex formatting. They are designed for use in InDesign, and they work very well in that environment. The fonts use the same OpenType feature files as the rest of the Librum families. The feature files for the italic and bold are more limited—as I have rarely used things like that [over the past 20+ years]. The character shapes are a bit whimsical. The original ancestor of this book design sans was a very playful font I released as Aerle. It’s been calmed down a lot but is still loose and friendly. For a great deal, see Librum Book Design Group , for a package containing all fifteen fonts!

SemikolonPlus: Optimal readability by reduced, distinct letter forms. Appropriate for 
early readers of any age in schools and other educational institutions. SemikolonPlus minimizes the risk of confusing similar characters and therefore is predestinated for the use in text blocks, work sheets, educational games et cetera. Furthermore, with its accented characters, currency signs, true fractions and other special characters, SemikolonPlus is suited for numerous typographic tasks and – thanks to its distinct letter forms - offers great readability, even in lower point sizes. SemikolonPlus is recommended by the German association of alphabetization and basic education, which uses it for adult education, reading magazines, teaching material and the own YouTube-channel. SemikolonClassic: Is the familiar font with alternative character forms. E.g. it contains the lower case double level a and g, as well as glyphs harmonically formed to the typeface. The SemikolonClassic is suitable for diverse uses in various sectors. Together or in combination SemikolonPlus and SemikolonClassic offer extensive possibilities for the layout of text material with their heavy font weights.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.