Howdy pardner! Giddy-up and lasso yerself these renegade typefaces. Created by renowned illustrator David Lyttleton , this set presents an Englishman's unique vision of the American West. Perfect for your next hoe-down, barn raising or Western-themed cricket match.

Pooper Black Pro is based on a brush ethic and has an extreme axis that lends a certain amount of speed to the font while the lack of connectors slows it down. The pro version expands on the original and popular Pooper Black with the addition of full Central and Eastern European character sets and plenty of alternate characters for those who have applications that support Opentype features. Almost all of the lower case characters now include an in stroke and out stroke version for greater design flexibility. A wonderful face for packaging, titling, and short bursts of text.

P22 ST.G Shrift is a font series based on the type designs of Stefan George with an italic version designed by Colin Kahn. Stefan George (1868-1933) was a German poet who led the revolt against realism in German literature. All of his works were privately published and the typefaces that were used reflected his neo-classic and anti-industrial (progessive) aesthetics; oftentimes consisting of his own hand lettering designs. The original font was cast in 1907 by a small foundry in Germany and was used primarily for the works of George as well as other books including a monumental edition of Dante's Divine Comedy. The ST.G Shrift Fonts contained in this set are derived from 3 known variations of the original roman typeface, St.G., found in various books published in Berlin in the early 20th century. ST.G Shrift One contains the most idiosyncratic characters, while ST.G Shrift Two uses more familiar characters as well as a redesign of characters including the t and the k to be more in keeping with modern san-serif designs. The OpenType version of the roman contains both one and two and expands on them by including central European characters, small caps, and small caps titling figures. The Small Caps titling figures are derived from the first version of the typeface. Below is a features list (accessible through the type palette in Adobe programs) and their functions: ST.G Shrift Opentype Features: Small Caps: Changes Lowercase to Small Caps Titling Figures: Changes Uppercase to Titling Caps, and Small Caps to Small Caps Titling Figures Contextual Alternates: Changes Character Set to match ST.G One and changes Small Caps to Titling Small Caps Ornaments: Changes < > and ? (greater, less and bullet) to ornaments ST.G Shrift Italic is an art nouveau version of the roman. The OpenType version includes central European characters, small caps, titling caps, titling small caps and ornaments.

Reminiscent of vintage Paris. Think Tea Parties, Sweet Treats, Candy Shoppes, Boutiques, Fine China, Couture, Cakes and Pastries. This font is perfect for cards, menus, signage, and much more. Les Bonbon Boutique PW is intended and suitable for Display use and Titles. It's not suitable for long paragraphs of text. This font is meant for display, titles, beautiful signage, cards, etc. Les Bonbon Boutique PW is available in OpenType, and TrueType format.

In 2014 I made a font called Whatnot. I think I made with with a roller ball pen, but I am not sure, as it was a long timer ago. I have always liked Whatnot font and I think it deserves a second lease on life, so I made a new (and improved) version of it, called Whatnot 22. Not Catch 22... It now comes with better kerning, multilingual support (including Vietnamese, Sami and Greek) and a cool set of contextual alternates that cycles as you type.

Film-P2 is an Ultra Condensed sans serif display typeface designed by Bartosz Panek. It is the follower of the geometric 'Film Poster' (https://www.myfonts.com/fonts/fontsphere/film-poster/) which was inspired by futuristic movie posters. In Film-P2, the letter design is more neutral, the font is more versatile, but no less expressive, which was one of the assumptions of the project. This allows many different application possibilities. In titles, headings, longer text compositions, bold and custom juxtapositions, and in many different formats. The differences in the width of the letters in the narrow, regular, wide versions are not significant, they are fairly balanced, but they give a lot of variation depending on the method of application and design characteristics, e.g. text size, background type, etc. The entire Film-P2 family offers many creative possibilities in graphic design, branding, printing and website design. Each font include multilingual support, numerals and a large range of special characters.

Geometric dimensioning and tolerancing (GD&T) is a system for defining and communicating engineering tolerances. It uses a symbolic language on engineering drawings and computer-generated three-dimensional solid models that explicitly describe nominal geometry and its allowable variation. This highly specialized symbol font is designed specifically to be used by engineers to describe CAD produced outside the CAD environment. Included is a chart featuring character names and keyboard placement. Complies with ASME Y14.5M-1994. Updated to include 2009 addition of ‘unilateral’ symbol.

The handwriting of a college student - complete with the whimsical nature of a student jotting down notes to friends or doodling in her journal.

Sweet Titling No. 22 is part of the Sweet Collection of engraved lettering styles from the 20th Century, published by MVB Fonts. This obscure, art deco design would have been used for engraved letterhead, business cards, etc., and likely first appeared in the 1920s or ’30s.

Based on the original typeface from Face, London, circa 1972.

London is one of my favourite cities, so it was about time I named a font after it. Well, technically, I named a font after one of London’s districts. Southwark comes from the Anglo-Saxon word Suthriganaweorc, which means ‘Fort of the men of Surrey’. The font Southwork is a handmade Clarendon. I used a Japanese brush pen to create the outlines. I gave the glyphs texture by filling them in with a brush and Chinese ink. Southwark, therefore, has an uneven look and a brushy texture. It looks good on just about anything, but posters, greeting cards and product packaging come to mind.

In the 1970s, Face Photosetting in London was known as the preeminent typesetting house in London. Steve worked in the studio in Newman Street and Hanway Place. El Paso Pro is a family of typefaces based on a unique single font design from the Face Collection, called El Paso.

An authentic collection of engineered fonts, constructed in East London. Docklands is a handmade font family inspired by the creation of the London docks in the early 18th century. The rough edged sign written style is evocative of the era when iron works and boatbuilding wharfs lined the River Thames.

Redrawn from an old wood type we picked up in London. The original manufacturer is unknown. We added the lowercase to increase is usefulness.

POWERPLAY a monospace lowercase alphabet with a 3D twist. Designed by André Toet in 1976 (during his study at Central School of Art & Design, London, UK) and he redesigned this in 2011. The name Powerplay is based on the Battersea Power Station, London. The remarkable architecture of the building is also used as a decor for films and for one of the covers by Pink Floyd (Animals, the flying pig). Concept/Art Direction/ Design: André Toet © 2017

Picadilly family was made after my short visit in London and huge impression of Edward Johnston works. I've designed family of 20 modern typefaces with strong personality.

Originally developed as a logotype proposal for the Metropolitan Hotel in Park Lane, London. Available in upper case only, Metropolitan is a pure, streamlined, contemporary display typeface.

Brick Lane is an picture font consisting of 52 detailed, hand drawn illustrations of people seen on Brick Lane, a street in the heart of the Bangladeshi community in the East End of London. It has over the last few years become the home of parts of the creative industries in London, mainly media, fashion and graphics. All illustrations are based on photographs taken on location over a period of time. The photographs are then hand traced to create high quality, detailed silhouettes.

The font design is inspired by the long autumn evenings in London. Those "fast brown foxes" ran along the streets. Camden smelled delicious. And she was as beautiful as a queen.

Atlas is an affable display font (think friendly neighborhood pub) originally created by Day & Collins of London. Atlas has thick strokes and triangular, rounded serifs. Some characters feature curly, decorative elements.

Stone and steel FS Benjamin is a flared serif typeface designed by Stuart de Rozario. Consisting of 12 styles ranging from Light, Book, Regular, Medium, SemiBold and Bold with Italics it has clear, delicate letterforms, punctuated with brutal chiselled angles. With a pure and crafted feel to the forms the typeface has traditional roots but has been designed to work in a contemporary setting. Archetypal proportions in terms of x-height to cap height and ascender to descender ratio, allow the typeface to feel familiar and be legible in all platforms. Delicate brutalism Inspired by the contrasts of London and named after Big Ben, FS Benjamin was designed by Stuart de Rozario and founder, Jason Smith. Walking around London Jason was inspired by the juxtaposition of the old and the new. Glass and steel architecture can often be found amongst traditional signage and coats of arms seen around the City. These surroundings sparked an idea to create a modern design based on an alphabet that would traditionally be carved from stone. “Much of the typography we see today is so similar. I thought what if we created a typeface with traditional roots but modernised it to sit amongst the punk and noise of the streets of London? Old with new. Business with busyness. This is what London is all about.” Jason Smith

Cast in iron and burnished by the feet of a million Londoners, this font derives from the manhole covers of England’s capital city. It evokes heavy duty machinery, metal castings and worn urban decay with gritty immediacy.

Worthington Arcade is a classically-proportioned capitals-only type incorporating a selection of ligatures and alternates. It loosely resembles the hand-painted architectural lettering of the 30s to the 50s, exemplified by the likes of Percy Smith’s interior signage for the BBC or George Mansell’s lettering for the University of London and the signs found on London’s bridges. However, rather than a slavish copy of any historical model, it is more an examination and evocation of certain idiosyncratic quirks of civic lettering of the period, and an attempt to create a peculiarly English titling typeface. The round letters, for example the O, Q and C, are wider than the perfect circle usually found in such designs, while the straight-sided characters, usually drawn on a square, are narrower. This lends the whole a subtle elegance that is also emphasized by the raised crossbars on the H, E and F and extended lower leg of the E. Includes old-style numerals.

ITC Johnston is the result of the combined talents of Dave Farey and Richard Dawson, based on the work of Edward Johnston. In developing ITC Johnston, says London type designer Dave Farey, he did “lots of research on not only the face but the man.” Edward Johnston was something of an eccentric, “famous for sitting in a deck chair and carrying toast in his pockets.” (The deck chair was his preferred furniture in his own living room; the toast was so that he’d always have sustenance near at hand.) Johnston was also almost single-handedly responsible, early in this century, for the revival in Britain of the Renaissance calligraphic tradition of the chancery italic. His book Writing & Illuminating, & Lettering (with its peculiar extraneous comma in the title) is a classic on its subject, and his influence on his contemporaries was tremendous. He is perhaps best remembered, however, for the alphabet that he designed in 1916 for the London Underground Railway (now London Transport), which was based on his original “block letter” model. Johnston’s letters were constructed very carefully, based on his study of historical writing techniques at the British Museum. His capital letters took their form from the best classical Roman inscriptions. “He had serious rules for his sans serif style,” says Farey, “particularly the height-to-weight ratio of 1:7 for the construction of line weight, and therefore horizontals and verticals were to be the same thickness. Johnston’s O’s and C’s and G’s and even his S’s were constructions of perfect circles. This was a bit of a problem as far as text sizes were concerned, or in reality sizes smaller than half an inch. It also precluded any other weight but medium ‘ any weight lighter or heavier than his 1:7 relationship.” Johnston was famously slow at any project he undertook, says Farey. “He did eventually, under protest, create a bolder weight, in capitals only ‘ which took twenty years to complete.” Farey and his colleague Richard Dawson have based ITC Johnston on Edward Johnston’s original block letters, expanding them into a three-weight type family. Johnston himself never called his Underground lettering a typeface, according to Farey. It was an alphabet meant for signage and other display purposes, designed to be legible at a glance rather than readable in passages of text. Farey and Dawson’s adaptation retains the sparkling starkness of Johnston’s letters while combining comfortably into text. Johnston’s block letter bears an obvious resemblance to Gill Sans, the highly successful type family developed by Monotype in the 1920s. The young Eric Gill had studied under Johnston at the London College of Printing, worked on the Underground project with him, and followed many of the same principles in developing his own sans serif typeface. The Johnston letters gave a characteristic look to London’s transport system after the First World War, but it was Gill Sans that became the emblematic letter form of British graphic design for decades. (Johnston’s sans serif continued in use in the Underground until the early ‘80s, when a revised and modernized version, with a tighter fit and a larger x-height, was designed by the London design firm Banks and Miles.) Farey and Dawson, working from their studio in London’s Clerkenwell, wanted to create a type family that was neither a museum piece nor a bastardization, and that would “provide an alternative of the same school” to the omnipresent Gill Sans. “These alphabets,” says Farey, referring to the Johnston letters, “have never been developed as contemporary styles.” He and Dawson not only devised three weights of ITC Johnston but gave it a full set of small capitals in each weight ‘ something that neither the original Johnston face nor the Gill faces have ‘ as well as old-style figures and several alternate characters.

The chapbook Pen & Brush Lettering and Practical Alphabets, published by Blandford Press, Ltd., London, in 1929 averred that these letterforms suggested a lightface version of Neuland. And so they do, with the added bonus that this typeface, unlike its inspiration, includes lowercase characters.

The 1918 specimen book of the Miller and Richard Type Foundry of London and Edinburgh featured this endearing typeface. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets, as well as a very tasty f_f_i ligature.