Created in 2009 by V.H. Fleisher, Monod Brun is a geometric sans-serif typeface. The font has OpenType features that can be accessed in programs like the Adobe Creative Suite. These features include tabular lining figures, titling caps which are heavier & more loosely spaced than the regular caps, alternative punctuation marks, and arbitrary nut fractions (for single digit numerators & denominators). By clicking on the “Gallery” tab above, you can see an illustration of the OpenType features. The “ff” tab on the “Sample Text” bar below allows you to test the OpenType features with your own text. Supported languages include: Albanian, Czech, Danish, Dutch, English, Faroese, Finnish, French, German, Icelandic, Italian, Norwegian, Portuguese, Spanish & Swedish.

Journal Hand was inspired by a 45-year-old travel diary I bought at an estate sale. The carefully constructed all-uppercase letters indicated that this traveler cared about style and legibility. Each picture, postcard and brochure that was glued into the diary had a neatly written caption and I admired the care this day tripper took to record his European trek. While the pages are now yellowed and falling apart, the handwriting is still legible and stylish. Because his handwriting totally suits today's uses, I re-created it in modern journalistic style that looks like it was written with a technical pen. Use this typeface when you need a neatly handwritten style. Uppercase only!

A long time ago, I lived and worked in the English Lake District. When I first arrived there, I camped out not far from a neolithic monument called Castlerigg Stone Circle. Castlerigg Stone Circle is one of the most beautiful stone circles in the whole of Britain; the views are great and it makes for a nice walk from Keswick. This rather grungy font was made with a Sharpie pen I initially wanted to throw away, because it was dry, but then decided I could at least get one more font out of it. The result is Castlerigg - a rather neolithic looking all caps font. Castlerigg comes with double letter ligatures for the lower case.

This font was inspired by one of a standard French manual styles in use from the beginning of 1900s to the end of World War II, when people were writing most often with pen holders and metal nibs. This typeface is easily legible as it was used for the lithographic printing of university textbooks. All lower cases from a to z and numerals from 0 to 9 are doubled by a slightly different one to allow a varying manual aspect in texts. We have added a lot of diacritic characters, covering West (including Celtic) and North European, Icelandic, Baltic, Eastern European and Turkish language. A few special glyphs allows to make final loops or underlining.

Designed specifically for AT&T by Matthew Carter at Mergenthaler to replace Bell Gothic with a typeface that made effective use of digital typesetting technology, Bell Centennial gets several more lines per page than Bell Gothic, reduces calls to information because of its significantly higher legibility under adverse printing conditions, saving AT&T many millions of dollars per year. Although intended for use at small sizes, Mazda UK used Bell Centennial at huge sizes to striking effect in a mid-1990s ad campaign.

Humanex is the first text typeface of Sébastien Truchet. He created it during the year of postgraduation ‘Systèmes graphiques, typographique & language' in Amiens. The beginning stages of the font development involved calligraphic research based on humanistic ductus. Sébastien’s goal was to introduce modules in a lineal structure. Downstrokes and upstrokes are homogeneous. Links between stem and curve are straight. It gives solidity and thickness to the typographical composition. The first version was a Semi Bold version and its italic. This typeface gave a blackest text. You can see the first display typeface, Humanex Ultralight. Sébastien kept the Semibold structure in order to make a thin typeface. Its goal is to give support to the Semibold version. It is a good typeface in big sizes. In order to add a better legibility, Sébastien built a Book version to have a brightest grey of text. The reading is more comfortable.

Invaded 2600 is based on the screen font of the 70's arcade classic Space Invaders for the Atari 2600. Each time you use Invaded 2600 you will be at war with enemies from space who are threatening the earth. Good luck!

What can be better than releasing a hot summer font in winter time! Honestly - all the images are ice blue or white. Christmas stuff is everywhere and 'Jingle Bells' torment your ears! But here it comes to catch you: Bold and orange! www.typethis.studio

Five years later, DSType proudly introduces Estilo Pro: the Ultimate version of Estilo. Now with sharp edges and five weights from Hairline to Bold, Estilo Pro includes an extraordinary set of features like alternate characters, initial swashes, ending swashes, ligatures, ornaments and drop caps in a total of 1000 glyphs per weight.

Lindore is a handwritten pointed pen calligraphy script that has a fun and whimsical personality. Perfect for posters, wedding invitations, and all of your favorite quotes! We would love to see how you use the font! Use #lindorefont to tag us on Instagram!

PhrackSle is a a Fraktur face with a difference: it has a uniform stroke rather than a calligraphic-pen stroke. It comes in four weights: thin, plain, bold, and extrabold. (For a version of the design done with a calligraphic stroke, see PhederFrack.)

Reverse Calendar Blocks JNL is the third typeface from Jeff Levine that allows the user to create a vintage-style calendar. Other versions available are Calendar Blocks JNL and Monthly Calendar JNL. The layout for the font is as follows: Numerals for displaying a year are on the 0-9 keys The 1-31 dates are located on the A-Z and a-e keys The combination dates of 23/30 and 24/31 are located on the f and g keys Days of the week (Sunday through Saturday) are on the keys h though n Months are found on the o through z keys A blank box (for balancing out layouts) is on the period key

This family was inspired from a lot of 1848-1850 French engraved documents reproducing handwritten texts talking about the Paris' insurrection days in June 1848 (described by Victor Hugo in Les misérables) . It seems that all were first written using quill pens, as the strokes are too much heavy and bold for metal pens and even though the engraver work is very fine. We have added only a few characters, most of them were present in the originals. The TTF and OTF versions are enriched with more than 50 ligatures or alternate characters.

The Gold Rush is over, the prospectors have made their fortune and the mine has been worked out! The inhabitants of Boomtown USA have moved on -- the saloon is dry, the sheriff has hung his hat and the only visitors to the local whorehouse are tumbleweeds. Yeah, the buildings remain -- hollowed out husks carrying memories of bar room brawls, high noon shootouts and high stake poker games between outlaws -- but if you take a walk down the street be careful not to kick up too much dust... Turn the corner and you might see Ol' Toothless Joe standing on the corner sucking on a bottle of whiskey... And don't walk too slowly past the storefront of the undertaker -- that guy made his living putting strangers like you in a wooden overcoat from sunrise to sundown. Spooks and Spectres linger everywhere... there's a sign just down the road -- didn't you see it? "Ghost Town! Abandon Hope all who Enter Here!"

As you can see above, Grante can smartly fit pretty different needs. While lowercase letters are bold-with-soft-edges, caps are magic: this font counts more than 100 ligatures for you to play in an OpenType-aware application. It is worth mentioning that even without OpenType tricks it is possible to use these ligatures, setting them "by hand". We hope you enjoy. Hey! Have we said that dingbats are included?

The signs of the Bosnian pyramids The pyramid researcher, Semir Osmanagic, began excavations in 2005 in Visoko, Bosnia, 30 km North from Sarajevo. Mr. Senad Hodocic, the curator at the local museum, pointed out at the pyramidal shape of the Visocica Mountain, which grabbed Osmanagic's attention. It is also suspected that the four adjacent hills, covered by plants and greenery, also hide the pyramids. The main sites of the excavations are called the Pyramid of the Sun and the Pyramid of the Moon, and the results achieved so far have already proved that those structures are man-made and artificial. The Pyramid of the Sun is bigger and older than the pyramid in Giza, which was built by Pharaoh Cheops 4600 years ago. Gábor Szakács, who went to the site in June 2006 for the first time, found the symbols on the megalithic blocks inside the tunnel of the Pyramid of the Sun, which correspond to the ancient Hungarian runic writings. Further information about the Bosnian Pyramids is available at the website http://www.piramidasunca.ba/. There are also researchers who do not accept the subject of the Bosnian pyramids. Time will tell the truth.

Breeze is a fun font from Frank Marciuliano where the letters are formed like the sails from the boat. He may have been inspired from the sailboats which he sees on the walks along the shore on the Hudson River. There are two forms available. Left and right define the direction of the blowing wind.

Inspired by so many brush lettering around the trend last year, Clarkson Script was created with manual brush pen and refined in digital version. The Concept of Clarkson Script is combining the style of a feminine script and a masculine style to help other designer to create more easily digital lettering and other purpose.

Rosalinde is an original font based on rough hand-lettering reminiscent of 1960s era protest poster lettering. It's the kind of lettering you'd expect to see used for a snippet of anti-war poetry set against a red-white-and-blue striped background, or perhaps accompanied by a fat dove with an olive-branch.

Kevin Simpson was five years old when the stylized "E" of the Electrolux vacuum cleaner logo caught his eye. This is his earliest recollection of an interest that ultimately became an obsession. Type remains his major preoccupation, and he admits to attempting to work a good typeface design into any project where he can get away with it. Aitos was inspired by a metal sculpture Simpson saw while driving through the French countryside. "The statue was very strong. It was heavily weathered and had obviously been there for some time, yet it also seemed very delicate and light." Aitos, like the statue, is a rugged design. At first glance, it is chunky and bold, perhaps a little jarring. If you look again, however, you'll see it has refined qualities. Aitos commands attention - yet is still affable.

From the dainty light weight through to the striking UltraBold, Otama raises the bar to a new level of dangerous sophistication. Although easily classified alongside Modern typefaces such as Didot and Bodoni, Otama was purposely developed with minimum reference to these two visual heavy weights. In search of something more than a mere historical revival, Otama instead draws proportional reference from popular 20th century Transitional and Garalde typefaces with visual inspiration coming from calligraphic studies. Many characteristics from Tim Donaldson’s 2010 display face Pyes Pa were directly passed on in execution of Otama — The shoelaced k, e and a being the most obvious examples of this family relation. Refined over 2 years with well over 8,000 characters over 28 styles, Otama certainly deserves its place as a comprehensive and versatile typeface in any designer’s font library.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980's. Many of these sleek logotypes are lacking an expansive family to enhance and express their brand in a richer sense, becoming true brand workhorses. The Aspire SmallCaps family finds its origin of inspiration in the ACURA automotive company logo, and from there expands to an 6 font family of weights & oblique styles, striving to become a workhorse. Aspire SmallCaps is perhaps the most true to form tribute to the original all capitals inspiration logotype. It maintains all capital forms (whether standard or smallcaps) and yet is still strikingly powerful in its presence and readability including numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here's what's included with the Aspire SmallCaps Family bundle: - 438 glyphs per style - including Capitals, Small Caps, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) - Stylistic Alternates - alternate characters that remove the angled stencil cuts for a more standardized text look. - 3 weights in the family: Light, Regular, & Black. - 3 obliques in the family, one for each weight: Light, Regular, & Black. - Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Aspire SmallCaps Family is for you: - You're in need of automotive sans font family with a range of weights and obliques - You're love that ACURA letter styling, and want to design anything within that genre - You're looking for an alternative to Eurostile with more stylized letterforms. - You're looking for a battle-tech typeface for your futuristic war chest labelling. - You just like to collect quality fonts to add to your design arsenal

Everything has beauty, but not everyone sees it - Confucius Fully realize your boldness and show your lavish side with the Pathita Script. The Pathita Script will be the perfect addition to aid you in your journey to be who you really are. Let the world see you and your beauty, bring it out through your handiwork and give your viewers a new perspective!

Letterpress Extras JNL gathers more re-drawn images from the rich trove of vintage letterpress cuts. There's plenty of pointing hands and decorative ornaments, a few cartoons and some assorted miscellany. Also included are images of dip pen nibs from an old catalog and a decorative border set. To access the pen points, use the shift key and type any numeral key.

Handwriting of a strong Carelian personality revived: It’s autumn time once again, harvesting season, mushroom & berry time – the favourite season of my Karelian aunt Katri. A postcard she sent me more than twenty years ago had inspired me to SyysScript, “Script of Autumn” in Finnish. Katri had a very kind but also energetic personality, and I always thought her handwriting was a mirror of it. By making SyysScript I felt I could revive some of her unforgettable character. My Finnish autumn font has by now become a favourite for many and is branding fine food in both the Eastern and the Western hemisphere – even far beyond the arctic circle. “SyysScript“ is actually a growing family. For enhanced functionality in small sizes I added “SyysScript Eco” a year ago, a style with shortened extensions and simplified letterforms especially suited for packaging. And this autumn, a special one for Finland which is celebrating its 99th birthday, SyysScript grew again: Two long awaited newcomers, “SyysScript FeltTip” and “SyysScript FeltTip Eco” joined the family. They are bolder and softer than the previous styles but keep their positive, lighthearted feel. Use them to make a powerful individual mark on any background. – They are equally well suited for paper, packaging, a screen or even a concrete wall! Language support: Western and Central European, Extended Cyrillic.

Don't you HATE it when this happens? You're protesting the war in Iraq, and the other protesters keep pointing at you and giggling. You can't figure out what they could possibly be laughing at...You look up and then it hits you: you're holding a sign that looks like it was made by your 5-year old kid brother. It's sloppy, the words are crooked, hell, it's BARELY READABLE. How is anyone ever going to take you seriously with THAT SIGN???? There's only one solution...To further your cause, you need Burghal Design's Peace font. Peace contains upper and lower letters, numbers, punctuation, even foreign accented characters! Clean, concise, and oh, SO legible, you'll have no problem getting your message across with this typeface. Who knows, you might even make the evening news.

A next generation gothic with that clean legible corporate look, very simple yet very dignified. Great for text and head lines, just about any application. If you are tired of seeing Helvetica try Paladium Gothic.

100.000 years ago years ago, a group of mad scientists from the far away planet ZyrXX, encountered the earth and just waited to conquer the planet. Their masterplan was to use electronic brain waves to manipulate our minds. Sounds cheesy and comic, right? Well, that is the true story about this font. The font was built using a grid (hence the name!) and all I had in mind, was a mixture of old sci-fi movies and computer graphics from the 80ies. I did my best to recall and re-create this - I will let you be the judge to decide whether I succeeded! :)

This family started as a graduation project back in 2009, coming from calligraphic studies and sketches with a broad nib pen, based on humanist proportions and inclination. From its ink and paper origins it has come a long way until the current form, being digitalized and made into fonts through the course of the last 8 years.

Toronto Gothic was developed from a headline in a 1920s issue of the Toronto Star. In a previous life, it was probably Condensed Titling Gothic #11, but in this form its rounded corners and irregular lines are meant to make it look worn from years of use.

Fleurons are embellishments and this is my sixth and so far most beautiful round. I again found some nice old ones and made them completely new. These go well with many Copperplate scripts and especially with my scripts Nadine and Ellida. Your very elaborate, Gert Wiescher

Recreation JNL is Jeff Levine's own take on a popular vintage typeface from the late 50s or early 60s that's seen a resurgence in recent years. While the basic alphabet is somewhat modeled from the classic design, all the other characters in the font are original.

A tessellation is a shape that can be used to completely fill the plane without gaps or overlaps—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. TessieSomeMore has two family members, a solid style that must have different colors to be useful and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. Most of the shapes in TessieSomeMore are Escher-like. Over half are either bug-like and bird-like shapes. There are also a few animal and other object shapes as well as some geometric or abstract shapes that have visual appeal.

That's a special horrific font with an intricate pattern of bones. All letters are put together of nonrecurring elements drawn individually by hand. The classical forms as we see it sound afresh with the bones attire.

It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there. Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds. Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff. Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well. This is one quill script that no large bird had to die for. A few technical notes The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on. Awards During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.

Boom. You asked for more, um, well just ‘more’—more swashes, more options, more weights, more of everything. I cannot give you more weights. The design just won’t allow it and anything else would be a compromise or a bastardization of the exemplars just to make money that I am unwilling to do. But, I did give you an overly indulgent, 90% cacao bar and espresso, Lust Script Fine. The ending strokes on these glyphs will literally draw blood. Enjoy it as much as I have. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

Y'know the real trouble with Spider-man, Superman and the rest of the soulful superheroes, gloating supervillains and musing muckmonsters is They Just Don't Shut Up! For Crying Out Loud, give those iron jaws a REST willya?!? Yak Yak Yak! Blah Blah Blah! Yada Yada Yada... "With Great Power Comes Great Responsibility!" "You won't get away with this, Luthor!" "I'm the best there is at what I do!" SHUT UP!!! Letterers don't get paid by the WORD you know! QUIT YER WHINING! Yeah, yeah, yeah this font IS the much requested typeset -- featuring upper AND lower case characters -- created by Starkings & Roshell for the X-Men back in the Age of Apocalypse. Hell's Squakkin' Teeth -- The X-MEN... don't even get me started on THOSE guys! What THEY need is the mutant ability to put a freakin' sock in it!

Our eye is able to join missing parts of worn letters back into undisturbed shapes. We tend to see things better than they really are. Thanks to this ability we ignore faults of those close to us as we can’t accept the fact that every once in a while we convene with an impaired entity. Typography is merely a man’s invention, hence imperfection and transience, albeit overlooked, are its key features. This typeface is based on worn-out letterings on tombstones in the St. Croce basilica in Florence. For hundreds of years, microscopic particles of marble are being taken away on the soles of visitors: the embossed figures become fossilised white clouds, fragments of inscriptions are nearing the limits of legibility. First missing are thin joins and serifs, then the main strokes finally slowly diminish into nothingness over time. Unlike an archaeologist, for whom even completely featureless stele is valuable, the typographer must capture the proper moment of wear, when the type is not too “new” but also not too much decimated. Such typeface is usable for catalogue jackets, invitations and posters. Calligraphy is a natural human trait. To write is to create characters of reasonable beauty and content, according to the nature of the writer. A natural characteristic of architecture is to create an aesthetic message very similar to the alphabet. A doric column, the gabled roof, the circle of the well plan: these are the basic shapes from which all text typeface is derived.

Shirataki is a soft pen script with clear round letter shapes and large display capitals. Shirataki has really low contrast -it’s almost monolinear. Shirataki is a clear and friendly display script ideal for logo, signature, packaging, poster or headline purposes. Shirataki uses Contextual Alternates to keep the connections smooth and it has Swash alternates for every standard letter. There’s even more alternates in glyph palette. There’s also a set of swash endings coded in Titling Alternates and set in lowercase letters. In addition there’s a selection of strokes set in uppercase A-H. Shirataki is PUA encoded so you can access extras in most graphic design softwares even without OpenType support. In case you were wondering Shirataki are Japanese yam noodles. Enjoy!