Isotonic started out as a spin-off with the idea of creating a text oriented version of Ciutadella, it has since taken on a life of its own. Building on a foundation that has proven to work very well, we decided to open the counters and increase the x height. Even though it is not strictly a text font, it works surprisingly well in body sizes and screens. The soft corners gives charm, closeness and an appropriate voice for sports, science, tech, economy etc. Learn more about the design process of Isotonic at the Emtype’s Blog.

Hi everyone, come back from us The Bosento font is perfect for Your projects today are branding, poster design, t-shirts, invitations, designs for children, and editorial design. You will find a lot of glyphs, including ligatures, to look elegant in this bold serif. OpenType features include style sets, character variants, starting and ending forms, and multilingual support. Important information: To access the alternatives, you must have access to an older version of Photoshop to copy/paste the glyphs from the included PSD, OR the Glyphs Panel, which can be found in Photoshop CC or any Version of Adobe Illustrator. Cheer!

Peter started as a sketch in the static sans-serif tradition of Helvetica®. Then slight references to the calligraphic origin of type were added, giving it a more distinct character. This neo-grotesque sans has rational and clear basic letterforms, while in its details it unfolds attributes of humanist type. As a neo-grotesque sans it claims a very modest design, yet being a bit wider than its relatives and offering the warmth of humanist drafts. The early sketch grew to a type family of 18 fonts and now supports 700+ glyphs with pro opentype features.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

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.

Space Armada - A Science-Fiction Font for Out of this World Designs! Space Armada is inspired by a 1980s interpretation of the future, referencing blockbuster sci-fi action movies of the period, along with the emerging video-game consoles and home computer technologies. It's nine unique fonts are designed to work together in a variety of ways, so you can layer it's different styles on top of each other to retro-futuristic effect!* Here's an example of how it works: Start by placing the Regular font on top of the Bold for a simple base outline. Add contrasting gradients to both fonts for an instant metallic or chrome effect. Take it a step further with one of the readymade Outlines for an embossed look. Overlay the Wireframe font for a glimpse inside the machine! This looks particularly good when you apply a glow effect and reduce it's opacity so the other layers show through. That's just one way to use it. Check out my visuals for more usage ideas! You can also follow my short tutorial! Space Armada is an all-caps font with unique uppercase and lowercase characters, along with a range of alternatives for experimentation with different looks. It also includes punctuation, numerals and language support, plus a selection of underlines and symbols. It's a highly customisable font, perfect for retro designs such as movie titles, posters, games, book covers and more! Every care has been taken to ensure that all fonts align perfectly when layering. Due to the variations in how different software handles text tracking, some minor tweaking may be required for pixel perfect alignment.

Take your typography to the next level with Super Sabretooth. A vigorous, rebellious brush font designed to bring the noise, start the fun, and leave any inhibitions at the door. It pushes lettering limits to the extreme and breaks down any boundaries on it's journey there. Super Sabretooth is packed full of great features & added extras, providing everything you need to create highly charged typography designs. Here's what this family consists of: Super Sabretooth • A high energy brush font containing upper & lowercase characters, numerals and a large range of punctuation. Super Sabretooth All Caps • This is a second version of Super Sabretooth, with all lowercase characters replaced with a brand new set of small-caps. Use this font as a larger & louder alternative to the regular version. Quick Tip! If you want more freedom, you can combine the two font sets together to create truly awesome customised typography, they will work in harmony as well as being strong standalone fonts. There are no rules with it - play around, mix it up, have fun, and enjoy the ride! Super Sabretooth Swashes • Still looking for even MORE features? Alrighty, check out this extra font containing 17 swashes and 9 paint splatters, designed to add the perfect finishing touch to underline & exaggerate your Super Sabretooth lettering. Simply type any a-z character in this font to generate the extras. Fonts include multilingual support for the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norweigen, Danish, Dutch, Turkish, Polish, Finnish, Romanian, Hungarian, Estonian, Filipino, Indonesian, Icelandic, Romansh, Welsh Thanks for checking it out, and remember: Push the Limits.

Perhaps all people knows that oranges are healthy. One single orange provides almost every daily need of vitamin C. This font is called Appelsin, which is the danish word for orange. Perhaps this font is just as healthy for your designs as well? ;)

Some time ago I bought my smallest book ever: Kate Greenaway’s Alphabet* 57 x 72 mm. I thought it was the sweetest little book I had ever seen. Not knowing about the fame of the designer Kate Greenaway (1846-1901), I put it in some dark drawer and looked at it from time to time. Kate’s books were all outstanding successes in English publishing history; she was an icon of the Victorian era. Some of those books are still being reprinted today. This little gem I had accidentally acquired has become very rare and I have not found any reprints yet. So I thought maybe I could adapt her drawings for use on today’s computers. I ventured to redraw her delicate illustrations, blowing them up 300 percent, being forced to simplify them without losing her touch. It took quite some time! While redrawing them, I discovered that she most certainly drew them in at least three different sessions as well. Then I scanned my drawings and put them in a font. To make the font more usable, I added the ten numerals in Kate’s style; the original does not have those. I hope she would have liked my adaptations. Yours in a very preserving mood, Gert Wiescher. * Kate Greenaway’s Alphabet, edited by George Rutledge & Sons, London and New York, ca. 1885.

Do It Yourself JNL was modeled after self-adhesive vinyl letters and numbers manufactured by Duro Art Industries of Chicago - formerly the Duro Decal Company. The hand-drawn look of the original lettering was retained by Jeff Levine to stay true to the design, and the rectangles that border each glyph represent the pieces of self-adhesive vinyl onto which the characters were silk screened. Limited character set.

Sensational Sans is an original design by Alex Kaczun. The inspiration started with the shape of a paper clip. Simple and elegant. A condensed sans serif that's, well... just sensational! It's a delight to use and view. Great for advertising, large headlines, web applications, and well... just about anything. Works equally well in a broad range of text point sizes. Comes in 4 delightful flavors—Light, Regular, Medium and Bold.

The model for Bensonhurst JNL was a 1930s-era hand-lettered WPA (Works Project Administration) poster for the play "Hell Bent For Heaven". Although the basic style is a classic Art Deco "thick and thin" format, the design (in certain characters) starts to take on the feel of a 1970s revival style. With this in mind, Bensonhurst JNL is a bit of a hybrid between the 1930s and the 1970s.

Vintage Varsity was inspired by that classic iron-on letterman jacket your "cool" uncle wore in high school (and lets be real, probably still wears today)... Pair with some fuzzy felt textures and you got yourself a killer duo! Strike the fill, throw a stroke on it, and design a retro-slogan t-shirt. Is this starting to sound like a cheesy infomercial? Good, I'm rolling with it. Have fun!

Minimal, modular, modern—at first glance, Materia shows a contemporary flair, combining pure, strong geometrical form with a subtle, distinct appearance. Actually, the design was inspired by lettering from the turn of the 19th to the 20th century that still can be found in the East of France. While its formal origins date back as far as this, revived e. g. by the constructivists into the nineteen twenties and later on by Dutch information designer Wim Crouwel in the nineteen-sixties, the visual language of Materia still speaks of the »future«. Following a minimalistic concept the font is formally built on a grid. Wherever optical curves are needed for a smoother, more comfortable shape of letters than a simple rectangular block, diagonals cut off the egdes – like a diamond is cut to achieve more beauty. Thus headlines and texts set in Materia are given a certain »egdy« feeling, whereas their tonality is still kept well-balanced, keeping concentation all on information in a nonconfomist way. Materia comes in eight styles, from elegant Thin to attention-forcing Ultra. Even a regular Italic is available, following the classic type-set-principle. Two of the styles are explicitly designed for display use, Shadow and Code. Both are ready for combinations with Bold or each other respectively, the layering of Shadow and Code e. g. allows astonishing effects or highlighting within the letters. For OpenType-users Materia is a real Pro, containing accented Latin letters for over 70 languages, small caps, old style, tabular and lining figures and special condensed titling all caps for cases in which space is all that counts. How useful all of the above mentioned is may be seen in the book David Lynch – Lithos, designed by Koma Amok, published in 2010 by item éditions, Paris, and Hatje Cantz, Germany, which was typeset completely in Materia.

Say hello to Golden Clouds :) A charming and cute font duo with handwritten letters and doodles!! Bring some irresistible fun to your design with Golden Clouds Font Duo! This playful font duo consists of a fast-flowing signature font and a charming font with small capital letters as the perfect companion. But that's not all - the set also includes a bonus Doodle font containing hand-drawn drawings designed to give your "Golden Clouds" fonts the appeal of handmade. Golden Clouds Script • A clean, smooth handwritten signature font containing uppercase and lowercase characters, numbers and a wide range of punctuation marks. Golden Clouds SmallCaps • Clean, charming handwritten font with capital letters. Golden Clouds Doodles • A set of hand-drawn drawings designed in combination with Script and Small Caps fonts. Just set it as your own font and enter any character to create each drawing. "Golden Clouds" is ideal for everyday use in greeting cards, illustrations, quotes, original branding, book covers, children's books, packaging and much more :) Font Features: A-Z; a-z character set; 1 language (English); numbers and punctuation marks, symbols. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop. Made with love and magic ♡ Thank you for reading it, and do not hesitate to send me a message if you have any questions! ~ Anastasia

Gloré is an elegant and modern serif font. Fall for its ravishing style and use it to create gorgeous wedding invitations, beautiful stationary art, branding, logos, headlines, headings, magazines, eye-catching social media posts, and much more! This font is PUA encoded which means you can access all of the amazing glyphs and ligature with ease! Gloré Features : Gloré Regular and Italic version, serif font all caps, numerals, and more punctuations. Multilingual support for various languages Stunning Ligatures

Happy Moment is a cute and tall lettered handwritten font that can be used for all chalkboard quotes or teaching material! Its authentic look and feel will add a realistic feel to your designs.

Atlan—a Latin ‘spin-off’ of classic geometric sans typefaces. Remembering typefaces like ‘Kabel’ by Rudolf Koch, while paying attention to current design needs, was the starting point for ‘Atlan’—a simple, elegant and appealing font. This typeface is based on highly expressive sans-serif geometric fonts of the 1920s. We challenged ourselves to reinterpret these characteristics, without losing expressiveness, in order to create a functional and versatile design. This process resulted in a font with display features, well-suited for light, uniform-coloured texts. The family offers a variety of styles from the elegant Thin weight—ideal for publishing and corporate websites—to the Heavy variant (perfect for logotypes and packaging), which reveals the stylistic elements of the typeface.

Nucleometer is a very contrasting and at the same time elegant display font. It is ideal for large headlines and impressionable typography. A feature of the Nucleometer is the rounding of the lowercase letters a, b and r, as well as a funny "tail" in the letters t, g, j, f, t, y. This gives it a more lively and unique character. Another interesting feature is the increased proportion of the ascender height of Ultra Condensed, which is larger than the usual Bold font. Together, this font is ideal for a designer who needs stylish and very contrasting typography in his work. Nucliometer is available in 5 styles, starting from Bold to Bold UltraCondensed and also has a variable format.

Jullina is a charming script font that adds an organic, handwritten feel to your designs while staying polished and clean. It’s a versatile font that would work great in many different projects including branding, social media posts, product packaging, product designs, labels, and invitations. Jullina comes with 359 glyphs including uppercase, lowercase, numerals, punctuation and includes OpenType features such as an alternate Uppercase set and 47 ligatures to create an authentic, handmade feel. Opentype- Jullina is an opentype font and recommended for programs that support opentype features such as Adobe Illustrator, Adobe Photoshop, Adobe Indesign, Pages, Word. What’s Included 359 glyphs — Uppercase, lowercase, numbers, symbols, punctuation, 47 styled ligatures & an alternate Uppercase set for more customization. Multilingual Support — Multilingual Support is included for Western & Central European Languages.

Introducing Maryhand, a bold and strong script font. carefully crafted. It contains many stylistic alternate and swashes that will help you to create your customized design. This font is perfect for branding (Logotype) and other design needs, like for quotes, merchandise, packaging, business card, and many other projects. With start and ending swash and middle swash for some letters, this font is very easy to use. Maryhand is cool and elegant. Just rely on your creativity! Features : Ligature & alternates Simple installations Standard Uppercase and Lowercase Alphabet Numbers and Punctuation Stylistic Alternates Stylistic Set Open Type Features Ligatures PUA Encoded Multilingual support To access the alternate glyph, you need a program that supports Open Type Features such as Adobe Illustrator CC, Adobe Photoshop CC, Adobe Indesign or CorelDraw.

ITC Dartangnon is a work of English designer Nick Cooke and began with the thought, It's a long shot but it might just work as a font." It started as a doodle with a chunky pencil. "So many script fonts look too stylized so I thought I'd try to produce one that looks more like handwriting." He scanned the doodles and used Fontographer to draw a set of monoline letters. "Working quickly I soon drew the whole alphabet, and without being too pedantic about the characters joining exactly, I arrived at this script." ITC Dartangnon is an energetic font which remains legible even in small point sizes. And, Cooke adds, "It is supposed to be used as upper and lowercase only, NEVER just caps.""

Little Paws. Are you team Cat or team Dog? Doesn't matter which side you are pick to, this font is cuteness overload. It is for everyone, not only limited to Cat or Dog but also open for any Pet Lovers. This font is suitable for happy theme, cute, party, holiday, kids and many more. It is also suitable for Logo, Cards, Branding, Social Media, Youtube Thumbnail, Advertisement, Posters, any many others. To make it easier for you to design, we provide two additional font family to enhance the beauty of the design. Features: - Standard Characters (Uppercase and Lowercase) - Numerals - Punctuation - International Characters Disclaimer: Clips arts shown in the posters/images are not included. It is for promotional purpose. Enjoy designing and stay Safe! Tigadestd

Linotype Gotharda is part of the Take Type Library, chosen from contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This display font started as an experiment of the Croatian-German designer Milo Dominik Ivir. He wanted to design a font with characteristics of both sans serif and Gothic faces. From the Gothic he took the heavy strokes, the narrow letters, the exaggerated overmatter and the high x-height. The modern standard forms of the letters s, a, x and z, the clear capitals and the lack of serifs are the characteristics taken from sans serif faces. The result is a font with a constructed, old German feel. Linotype Gotharda is intended exclusivley for headlines in large point sizes.

Maribor is a slab serif font with nice shapes, they are both soft and angular. It is perceived calmly and with a twist. Maribor means "Mara`s pinery". The energy of the Universe, reflecting the modification, renewal and change for the better is called Mara; Ancient wise ancestors called it so. Today it is known as the goddess Mara in the Vedic worldview of the Slavic-Aryan peoples. Maribor is a multilingual font, it contains characters for 104 Latin languages and all Slavic, including all capitals for them. There are all major currency signs, including the ruble and the Euro. Many OpenType features allow you to make a variety of compositions; as well as to see the font from the new side thanks to the stylistic sets for the Slavic alphabets.

This family of two character monograms and initial letters was inspired from a French portfolio containing about two hundred examples of "Chiffres - deux lettres", destinated to engravers and jewelers, published in Paris in 1864, drawn by French engraver, C. Demengeot. Unfortunately, a large part of the pages were lost, so we have had to redraw about two thirds of the complete monogram family. Each package contains numerals and two complete sets of two-letter monograms, for example the A-B set, containing AA AB AC... corresponding to caps keys alphabet and BA, BB, BC... corresponding to lower case keys alphabet. We have added an Initial set, with two choices of single characters. Warning: I and J have strictly identical monograms.

Vette Letters are thrilled to add maverick designer Dirk Uhlenbrock to the family, with the release of VLNL Bromfiets. Bromfiets (the Dutch word for moped) is a ‘holiday child’, the basic idea coming from a stop at a road junction in the Dutch coastal province of Zeeland. The Dutch signage, the black and white rings of traffic light poles, the symbols for brom- and snorfiets have always appealed to Dirk. While on vacation in Zeeland the first scribbles and digital drafts were created, always in mind that the typeface had to be striking, clear and friendly. The end result is more than that, a strong and instantly recognisable font with a matching dingbat weight full of icons and arrows. Stencil fonts have always interested Dirk, the informal character and the possible universal use as a paint- or spray-stencil on a wide variety of surfaces makes this type of font so interesting for me. The technically necessary dissolution of closed font contours always ensures a special aesthetic: What’HAT and HOW MUCH has to be removed or left, in order to make words easy to read and to avoid a fractal impression. Dirk Uhlenbrock has been working as graphic designer and illustrator in his hometown Essen, Germany for over 30 years. Always interested in typedesign he got in contact with Fontographer in 1996 and started to create and distribute loads of free fonts through his online platforms ‘Eyesaw’ and ‘Fontomas’. A bunch of these type experiments have been extented on request to complete fonts. Still located in Essen in 2009 Dirk started his second owner-based business erste liga büro für gestaltung - ersteliga.de

The Getty-Dubay® family of fonts has been 500 years in the making — so that you can make your handwriting worksheets in seconds. These fonts are modern descendants of the chancery handwriting style (now called “Italic”) from the Italian Renaissance, when master scribes designed a fluid and graceful hand, inspired by the proportions of the golden rectangle and Roman capitals. The Italic style has been in constant use since then. In modern times, it has been celebrated by Alfred Fairbank, Lloyd Reynolds and many others including authors Barbara Getty and Inga Dubay in their Getty-Dubay® Italic method. The Getty-Dubay® monoline handwriting fonts provide a replete resource to effectively model the highly-legible and beautiful Italic handwriting style. These are the official fonts of Getty-Dubay® Italic. Download the Getty-Dubay® Font Guide for everything you need to know about the Getty-Dubay® fonts. The Getty-Dubay® Joined fonts produce a clean cursive handwriting with join-as-you-type ease. Four join options are included: Standard, Pointed (altered joins into m, n and r), e k (utilizing the two-stroke e and one-stroke k), and Beginning (easiest joins only). The Getty-Dubay® Basic fonts provide sans-sarif clarity suitable for young writers. The Getty-Dubay® Precursive fonts add serifs to the lowercase letters, while retaining the pure Roman capitals of Basic Italic. The Getty-Dubay® Smallcaps fonts make mixed capitals easy to use. All Getty-Dubay® fonts come with scaffolds such as dashed contours, ruled lines, directional arrow and starting dots (for Basic and Smallcaps). They support multiple Latin-based languages from around the world. Getty-Dubay® is a registered trademark in the United States.

In the 1949 Paramount comedy "My Friend Irma" (a film based on the popular radio series that introduced America to Dean Martin and Jerry Lewis), an opening gag set-up involving excavation work utilizes street barricades which inspired Work Crew Stencil JNL. Placed along the site, different advisories are stenciled upon barricades warning of the work in progress. The scatterbrained Irma (Marie Wilson) walks straight through the construction, oblivious as to what's going on around her and steps right into the open hole dug into the sidewalk (a scene she reprises in 1950's "My Friend Irma Goes West").

Lark is a modern calligraphic sans inspired by a rich history of broad-edge and translation contrast calligraphy. By combining its sharp geometry with flared curves, Lark exhibits a nice warmth as a display face. Lark was initially conceived as a final project as part of the Type@Cooper West Extended Program's post-graduate certificate program in typeface design, so its journey has benefitted from routine feedback from experienced typeface designers. Comes in Bold, Medium, Regular, and Light weights for both roman and italic, and supports multiple languages including Danish, Dutch, English, French, German, Italian, Portuguese, Spanish, Swedish, and more.

Karol was designed in 2011 as a project in the MA in Advanced Typography from EINA/UAB, in Barcelona. It was born as text typeface inspired by the work of East European type designers. Two years later, Karol is ready for public release, in a collection of eight styles (four weights and matching italics) with high readability, strength and character. A few days before its publication, we received the news that Karol had been awarded the Certificate of Typographic Excellence (Judges’ Choice) of the Type Directors Club. Please check the ‘Read me’ file located in the gallery for more specifications.

Cottonwood is a group effort of the typeface artists K.B. Chansler, B. Lind and J. Redick and displays the unmistakable look of the Wild West. It is stylistically modelled on the typefaces used in advertisements and signage toward the end of the 19th century. Typical for these capital alphabets are the split serifs which emphasize the markedly decorative character. Cottonwood is a kind of homage to the Western typefaces (woodtypes) which became popular through their use on Wanted signs in Western films. Cottonwood is best used sparingly in headlines to best emphasize its decorative, 'wild' character.

Oddity is a calligraphic script font with reversed contrast with some exceptions in some letters, adding more legibility and rhythm. This new typeface has a nostalgic Lo-Fi vibe, a tribute to a past era. When experimenting we were finally breaking rules to create a really openminded letterset. Using ideas from English calligraphy and our own Nautica family as a starting point, we created this classy 70s flavour type design. Its modern concept transforms a vintage design trend into an absolutely contemporary typeface. Oddity is a perfect match for quote designs, it is simply outstanding when used at very large sizes. You will love to use this font for posters, branding, magazines, book covers, packaging, or products.

An offbeat not-quite-slab, not-quite-bracketed serif. And its extreme weight and width. Richard Dix started as a surgeon and turned out an actor, one of the lucky few who made a successful transition from silent film to talkies. In 1929 he made the movie western, “Redskins,” and his name appeared on a brilliant poster promoting the film. “Richard DIX”; four upper case and six lower case letters. The font Dix is derived and extrapolated from impressions of those 10 letters. Inspired by the poster for the 1929 film, “Redskin,” and a desire to create a black Edwardian font with an offbeat serif. Usage recommendations Western movie or 19th century-style advertising posters.

Eclectic PixelWeb is a collection of three sizes of popular web icons in the pixel aesthetic. With 80+ icons designed for creating e-commerce, navigation, and interface designs. Use it as a starting point in your favorite vector program, or use the icons as is - they are optimized for sizes at 20 point and will work in Flash and other web graphics programs. Shopping carts, directional arrows, buttons galore! It's like a pinata in font format, surprises for everyone! This font includes: a new and search buttons, home, security, email, search, and a host of other icons and images to make designing your next website a breeze!. Available in Mac and PC formats, in TrueType, PostScript and OpenType formats.

The font is largely undesigned, but is bound together by a thick connected band which forms the word-blocks. At the same time, parts of Urbanregent are very designed, glyphs have been re-designed to reflect changes in the way we speak and write. The exclamation mark is louder and more manic, because people tend to write two or three exclamation marks after each other anyway. The full stop is more stopping and the hyphen kicks you on to the next word. Kenn Munk's fonts are generally hard to use - Urbanregent is no exception, but a tip would be to start each word with a capital letter. Because Every Word Is Important.