Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

If you've had too much coffee but not enough of Too Much Coffee Man you can now indulge in an excess of characters created by the hand of Too Much Coffee Man's creator, Mister Shannon Wheeler. Don't worry, in our efforts to ensure clean and confident lettering samples, we kept Shannon on decaf until he was done. Dip this font in your system folder and your hard drive will get a caffeine and sugar rush guaranteed to increase its memory partition and bring the images on your monitor into sharper focus.

Maya Tiles was designed as a set of 62 seamless, endless patterns accompanied by font map(s) and “Idea Book” to get you started on designing your own wallpapers, textiles, stained/etched/privacy glass window films, or even wooden fancy trellises - the choice is yours :) The font features simple, fancy, intricate patterns in three variants (Fill, Outlines and Stencil). - Outlines were designed with an idea of serving as an unobtrusive pattern on its own, or as a playful addition to the Fill pattern. - Fill pattern was designed to give more statement to Outlines, which in some cases may be too subtle for the job you have to be done. - Stencil has the most robust shapes. I have thrown this one in just in case you might want to do some DIY stencils. You may also use this file as a starting point for some CNC cut fancy trellis, however please do match pattern to the cutting method (ie. CNC, bolt cutter etc) and the material you intend to cut. -By overlaying Outlines & Fill (or Stencil & Fill) and manipulating those two layers you may get “more flat” or “more 3D” look. Have fun! Note: Please be aware that you may need to prepare those patterns in order to work with them in CAD-CAM or if you intend them for bolt cutter etc.

Ivy Tiles was designed as a set of 62 seamless, endless patterns accompanied by font map(s). They well might be a base for designing your own wallpapers, textiles, glass wall opaque foil privacy screens or even wooden fancy trellises - the choice is yours :) The font features simple, fancy, intricate patterns in three variants (Fill, Outlines and Stencil). - Outlines were designed with an idea of serving as an unobtrusive pattern on its own, or as a playful addition to the Fill pattern. - Fill pattern was designed to give more statement to Outlines, which in some cases may be too subtle for the job you have to be done. - Stencil has the most robust shapes. I have thrown this one in just in case you might want to do some DIY stencils. You may also use this file as a starting point for some CNC cut fancy trellis, however please do match pattern to the cutting method (ie. CNC, bolt cutter etc.) to the pattern and the material you intend to cut. -By overlaying Outlines & Fill (or Stencil & Fill) and manipulating those two layers you may get “more flat” or “more 3D” look. Have fun! Note: Please be aware that you may need to prepare those patterns in order to work with them in CAD-CAM or if you intend them for bolt cutter etc.

K-Type’s ‘Banks & Miles’ fonts are inspired by the geometric monoline lettering created for the British Post Office in 1970 by London design company Banks & Miles, a project initiated and supervised by partner John Miles, and which included ‘Double Line’ and ‘Single Line’ alphabets. The new digital typeface is a reworking and extension of both alphabets. Banks & Miles Double Line is provided in three weights – Light, Regular and Dark – variations achieved by adjusting the width of the inline. Banks & Miles Single Line develops the less used companion sans into a three weight family – Regular, Medium and Bold – each with an optically corrected oblique. Although the ‘Banks & Miles Double Line’ and ‘Banks & Miles Single Line’ fonts are based on the original Post Office letterforms, glyphs have been drawn from scratch and include numerous adjustments and impertinent alterations, such as narrowing the overly wide Z and shortening the leg of the K. Several disparities exist between the Post Office Double and Single Line styles, and K-Type has attempted to secure greater consistency between the two. For instance, a wide apex on the Double Line’s lowercase w is made pointed to match the uppercase W and the Single Line’s W/w. Also, the gently sloping hook of Single Line’s lowercase j is adopted for both families. The original Single Line’s R and k, which were incongruously simplified, are drawn in their more remarkable Double Line forms, and whilst the new Single Line fonts are modestly condensed where appropriate, rounded letters retain the essentially circular form of the Double Line. Many characters that were not part of the original project, such as @, ß, #, and currency symbols, have been designed afresh, and a full set of Latin Extended-A characters is included. The new fonts are a celebration of distinctive features like the delightful teardrop-shaped bowl of a,b,d,g,p and q, and a general level of elegance not always achieved by inline typefaces. The Post Office Double Line alphabet was used from the early 1970s, in different colours to denote the various parts of the Post Office business which included telecommunications, counter services and the Royal Mail. Even after the Post Office was split into separate businesses in the 1980s, Post Office Counters and Royal Mail continued use of the lettering, and a version can still be seen within the Royal Mail cruciform logo.

I started Rainmaker Script by hand sketching a huge amount of letters to find the right tone. After having enough I picked the characters that I liked and begun composing a font out of them. With this method I ended up with the Rainmaker Script - an elegant signature style connected script with natural variation in the rhythm. Rainmaker Script is great for branding, headlines and packaging. It’s equipped with (automatic) Contextual Alternates that keep the flow natural and variable. There’s also Swash, Stylistic and Titling Alternates, and even more alternates can be found for some characters from the Glyph Palette. From the Glyph Palette you’ll also find a handful of ending swooshes and ornamental strokes that can be combined with the font. All the extras in Rainmaker Script are PUA encoded so you can access them in most graphic design software.

Introducing Amstrong Signature Script font. Hi Designers, come again to complete your script font collection! This is a classic thin font with an italic style. This font comes with several modern swirly alternates that can make your work look elegant, sweet and perfect. With this style, this font will be suitable for logos, branding projects, product packaging, mugs, quotes, posters, shopping bags, logos, t-shirts, book covers, business cards, invitation cards, greeting cards, and all your other beautiful projects. Amstrong Signature Script font, includes various language support. You can use this font for your work very easily because it contains many features. Contains a complete set of upper and lowercase letters, punctuation, numbers and multilingual support. This font also includes several ligatures and alternative styles Set Stylistic For those of you who have software that is able to work OpenType (Corel Draw / Photoshop / Illustrator / InDesign). Files include: Amstrong Signature Script.OTF If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Version, you can access all alternative glyphs using Font Book (Mac) or Character Map (Windows): How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw

Athan Script is a classic calligraphy font. This is a classic thin font with an italic style. This font is available in several modern swirls that can make your work look elegant, sweet and perfect. This font is suitable for logos, branding projects, design of household appliances, product packaging, mugs, quotes, posters, shopping bags, logos, t-shirts, book covers, business cards, invitation cards, greeting cards, and all your other beautiful projects. Athan Script has 620+ glyphs and 400 alternative characters, including various language support. You can use this font for your work very easily. Because there are many features in it. Contains a complete set of upper and lowercase letters, punctuation, numbers and multilingual support. This font also includes several ligatures and alternative styles Set Stylistic For those of you who have software that is able to work OpenType (Corel Draw / Photoshop / Illustrator / InDesign). If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Version, you can access all alternative glyphs using Font Book (Mac) or Character Map (Windows). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Mail support: maximal.fonts@gmail.com

The Fraga Script is Retro inspired style and combination with hand lettering style.The Fraga Script has many alternative swash and ligatures character and have opentype features like a stylistic alternative, stylistic set, ligature and swash so you can mix and match like a you want. The Fraga Script came with open type features such stylistic alternates, stylistic sets and ligatures good for logotype, posters, badges, book covers, tshirt design, handwritten quotes, product packaging, header, poster, merchandise, social media and greeting cards. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ The Fraga Script is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. Thank you for your visit.

Amorra Script is a classic thin font with italics style. Here you will get a beautiful classic font. This font is available in several modern rounds that can make your work look elegant, sweet and perfect. With this style, this font will be suitable for logos, branding projects, household designs equipment, product packaging, mugs, quotes, posters, shopping bags, logos, t-shirts, book covers, business cards, invitation cards, greetings card, and all the other beautiful projects. Amorra Script, including various language support. You can use this font for your work easily. Because there are many features in it. Contains complete set upper and lower case letters, punctuation, numbers, and multilingual support. This font also includes several ligaments and alternatives Style Set Style For those of you who have good software OpenType function (Corel Draw / Photoshop / Illustrator / InDesign). If you don't have a program that supports the OpenType feature like Adobe Illustrator and the CorelDraw X version, you can access all alternatives glyphs use Font Book (Mac) or Character Map (Windows): How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Thank you & Congratulations on the Design

Conrad X. 'Cobb' Shinn (Sept. 4, 1887- Jan. 28, 1951) was a Fillmore, Indiana-born post card illustrator who sold a series of successful novelty postcard lines which included (among others) Charlie Chaplin, automobiles and the Dutch culture in the beginning years of the 20th Century. After serving in World War I, Shinn found the market for novelty postcards dwindling, and he also lent his artistic skills to cartoon features and illustrating many children's books [including his own, under the nickname 'Uncle Cobb'] which taught easy step-by-step drawing methods. Some time in the 1920s, he eventually migrated into the field of supplying electrotypes and stereotypes of 'stock cuts' of photos and line art to the printing trade. In the days of letterpress printing, this was the forerunner of paper clip art and its successor, electronic clip art. Purchasing many of his designs from 'journeyman' artists of the time, the diversity of Cobb Shinn's stock cuts library grew with the passing years, reflecting changing times, styles and topics. Some of the illustrators whose signed works were presented in Shinn's 'CUTalogs' [as he called his stock cuts catalogs] include Mary Clemmitt, Louis H. Hippe, E.C. Klinge, Nelson White, Harvey Fuller, Bess Livings, Lois Head, Harvey Peake and Van Tuyl. Upon his passing in 1951, it's not known how long the Indianapolis-based company existed before finally closing its doors. One of the more popular series of cartoons were the line illustrations of men and women affectionately called 'little big head guys' by many modern fans of these cuts because the heads of the characters were drawn somewhat larger than the rest of their bodies. Shinn Kickers JNL is a collection twenty-six of these illustrations, and just like a kick in the shin (as the pun in the name implies), these charming cartoons get your attention.

Swansbury, Inc. provides handwriting instruction to all ages, accompanied by two exemplar fonts, Barchowsky Fluent Hand.otf and Barchowsky Dot.otf. The basis for the design of the characters is the italic of the Renaissance. With the advantage of contextual alternates, Barchowsky Fluent Hand automatically joins lowercase letters so it can be used in any venue where a clean and elegant appearance of handwriting is desired. The fonts allow maximum instructional flexibility. Aside from their use in lesson plans, educators can customize pages for specific student interests, studies and needs. Included are all math symbols that one typically encounters in school curricula. Nan Jay Barchowsky, designer of this font, believes that children should hone their handwriting skills as they learn all subjects, reading, math, history and foreign languages. Both fonts support all Western European languages and Turkish. Barchowsky Dot is for young children or others who need remediation. The letterforms are identical to those in Barchowsky Fluent Hand. Used at a large point size open dots appear within the lines that form the characters indicating where one should start each stroke in a letter or number. Once formations are learned Barchowsky Fluent Hand can be used with the contextual alternates turned off until students are ready to write in the joined-up manner of a true cursive. Specifications: The technology for fonts that automatically join letters, or allow them to be unjoined is relatively new. At present, both fonts work on Windows XP with Service Pack 1 or later (or Vista), using AbiWord, a free word processor (go to abisource.com). They also work well with InDesign 2. Currently there is an unknown factor in later versions of InDesign for Windows that disallows joining. Macs completely support the fonts using InDesign 2 and later, PhotoshopCS and IllustratorCS. If you do not have these applications, there is an inexpensive word processor for Macs.

Swansbury, Inc. provides handwriting instruction to all ages, accompanied by two exemplar fonts, Barchowsky Fluent Hand.otf and Barchowsky Dot.otf. The basis for the design of the characters is the italic of the Renaissance. With the advantage of contextual alternates, Barchowsky Fluent Hand automatically joins lowercase letters so it can be used in any venue where a clean and elegant appearance of handwriting is desired. The fonts allow maximum instructional flexibility. Aside from their use in lesson plans, educators can customize pages for specific student interests, studies and needs. Included are all math symbols that one typically encounters in school curricula. Nan Jay Barchowsky, designer of this font, believes that children should hone their handwriting skills as they learn all subjects, reading, math, history and foreign languages. Both fonts support all Western European languages and Turkish. Barchowsky Dot is for young children or others who need remediation. The letterforms are identical to those in Barchowsky Fluent Hand. Used at a large point size open dots appear within the lines that form the characters indicating where one should start each stroke in a letter or number. Once formations are learned Barchowsky Fluent Hand can be used with the contextual alternates turned off until students are ready to write in the joined-up manner of a true cursive. Specifications: The technology for fonts that automatically join letters, or allow them to be unjoined is relatively new. At present, both fonts work on Windows XP with Service Pack 1 or later (or Vista), using AbiWord, a free word processor (go to abisource.com). They also work well with InDesign 2. Currently there is an unknown factor in later versions of InDesign for Windows that disallows joining. Macs completely support the fonts using InDesign 2 and later, PhotoshopCS and IllustratorCS. If you do not have these applications, there is an inexpensive word processor for Macs.

Aramus is a new serif font in my continuing objective of designing book fonts that I can really use. In many ways, Aramus is a very different direction for me. It comes from a scan of an old display face that has been radically modified to a much smaller x-height than I have been using lately, plus taller ascenders. Many of the characters needed a lot of correction to bring them into my taste. In general, I have decided that many of my fonts create a type color that is too dense. Aramus is an attempt to get away from that look. Although Amitale has been a very successful book family and excellent to work with, I find I still need something more open with a lighter color. Aramus is the first look at the new direction. The original hand-cut serifs vary a lot, different for almost every character. This gives a little looseness and helps the lightness I am looking for. It will be interesting to see where this all goes. This is a normal serif for me in that it has caps, lowercase, small caps with the appropriate figures for each case. This font has all the OpenType features in the set for 2009. I didn't bother with the CE accents (though I can add them upon request. They will be in the final new book family). There are several ligatures for your fun and enjoyment: bb gg ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, small caps, proportional lining figures, proportional oldstyle figures, & small cap figures, plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

Welcome to a world of elegance and grace with BIENUG, the unrivaled classic serif font. Designed specifically for projects with a classic modernism theme, this font is the perfect solution for bringing a stunning, classic touch to your designs. With ligature and alternate features, BIENUG provides unlimited creative freedom. You can combine unique character variations to create an interesting look that is different from the others. Available in a variety of styles, this font lets you explore different nuances and moods in each design. In addition, BIENUG supports multilingualism, enabling you to convey messages fluently in multiple languages. There are no limitations in reaching an international audience with this font. Enhance your designs with the beauty and elegance of BIENUG. Make an unforgettable impression with subtle details and strong characters. Add a touch of classic modernism to your project and present a stunning visual experience. Explore the BIENUG collection now and find power in the beauty of this classic serif. Let this font be your loyal partner in creating eye-catching and memorable designs. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

We want to create a different feel for the stencil font style. Usually stencil fonts are synonymous with military, retro and bold characters, but here we created the Cellga font with an elegant and attractive stencil style for a modern design, combined with a subtle swash. In addition to swash in the Cellga font, there are also many alternative character shapes and unique Discreationary ligatures. So the Cellga font is very worthy of being a font collection on your computer for projects with a unique and charming elegant concept. Sans Serif typefaces such as "Cellga" are very easy to apply to any design, especially those with an elegant, modern and classic, besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The "Cellga"contains 623 glyphs with many unique and interesting alternative options. In addition to the regular font, there is also an italic version of the Cellga font. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

This font has been used for signage and wayfinding in the new Mbombela Stadium built for the FIFA World Cup 2010 - and it looks strangely appropriate there: the font has a certain hand-painted, relaxed charm so fitting of the south African culture. Interesting and bold choice of the architects. :) Anyway, the font has now been updated with our usual multilingual glyphset, and is ready to use around the world by soccer fans and typo fans alike. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.