The song "Selfish Jean" by Travis inspired me to name this font, and a runny pen made me draw the letters. Actually, I started making the font while listening to that particular song - and the whole atmosphere about that situation, suited me perfect to make this handmade font! :)

Aphrodite Slim Pro is not just a lighter version of its sister Aphrodite Pro. Aphrodite Slim Pro has duplicated the quantity of characters of its partner, and that means more than 500 new glyphs, reaching a total of more than 1000. More delicate and meticulous, Aphrodite Slim Pro is once more a new typography with deep calligraphic ideals: We immersed ourselves into the world of each calligraphy ductus and each calligraphy masters by studying from decoration to lettering books. This was the key for the logic of Aphrodite Slim’s behavior. The new concept of Aphrodite Slim Pro was to join diverse styles of calligraphy in one in order to achieve an autonomous expressiveness, in fact, this is what calligraphy aims to, and we agreed to bring those ideals to the world of typography: It is justifiable to be inspired in hundred-year-old calligraphies, but it is even better if the results you obtain have a plus. A personal plus. During the creation process we were wondering whether it was possible to mix certain strokes of such rigid styles as uncial, (Li·n’s favourite style), with strokes of the copperplate, (Sav’s favourite style), and also to take and mix cualities of cancelleresca cursiva, formata and moderna; finally giving our creation a roman-transition italic look. So Aphrodite Slim takes ideals and aspects from those formal styles, following its own logic though, and emphasizing the fact of being a decorative typography. Calligraphy masters of our past are who we are in debt with. They are the cause we have lovely letters now. They have been spontaneous at the moment of creation, what differs from the type-designers of nowadays, whose spontaneity is more limited. Digital faces that we are used to see these days are a result of long hours of optical adjustments, grids, macros and inspirations of other existing typography, but without personal contributions. Aphrodite Slim wants to refute this. Its mission is to rescue de spontaneity of the artesanal lettering in order to obtain unique words; those which only calligraphy masters of our past or lettering artists of our present could give us. We have worked hard to achieve this, making Aphrodite the most universal font we could: It was necessary to study the most common words, focalizing more in the ones referring to “sensitivity”, of four of the most spoken languages in the world. Aphrodite Slim has an enormous quantity of decorative characters and special ligatures for phrases and words in English, French, Spanish and German. (See English, Français, Español, Deutsch PDF in the gallery section). We promise there is no existing type that decorates/ligates glyphs and words like Aphrodite Slim does: It is the first time a font like this really considers its purpose. -The way glyphs are ligated is insane- : Aphrodite Slim rescues some ideals of persons like Jan van den Velde (Italian cancilleresca writing of XVI Century) who understands ascenders and descenders as possibilities to beautify the lines of writing with curved strokes that seem to be dancing above and below of the words. This master also creates ascenders and descenders even where they are not necessary, on letters that do not actually need them: Aphrodite Slim takes this ideal. The font counts with a wide range of glyphs that seem not to be satisfied with its more primitive form and prefer to extreme their parts to be decorative. It also existed masters of calligraphy like José de Casanova of XVII Century, who, with a magnificant skill and a really personal mark, had the particularity of ligating words that were actually separated with spaces. This is another innovative feature in Aphrodite Slim. An investigation of the most common beginnings and endings words of the English language was done. Having that feature activated (discretionary ligatures), common words will start to ligate or to be decorated even when they are separated by spaces. Impossible to forget Francesco Periccioli of XVII Century and our experience us designers to face with works of him: His letters, that today are included in the group of cancellerescas modernas, have been a direct inspiration to the oldstyle figures and historical forms variables in Aphrodite Slim. Giovanni Antonio Tagliente (XVI Century) and his particular way of making tails and diagonals longer than usual, qualities that our creation reflects too. Finally, our adventures in Biblioteca Nacional and Barrio San Telmo, Buenos Aires, were essential for us to make Aphrodite Slim more complete and interesting: Sav did an excellent work when studying how the decorative miscellanea and swirls of early XX century were. She also investigated what particularities made those roman titling characters look antique so she could rescue some ideals for the oldstyle figures and historical forms variables. This also leaded her to create the ornaments variable in Aphrodite Slim. We are really proud of presenting Aphrodite Slim Pro, a typography that was the result of days and nights of working hard, because we do love what we do; and we are glad we are living in a present that gives us the possibility to spread this kind of art, because that is the way we consider our job: Aphrodite Slim Pro is Art. Hope you can appreciate the enormous work this type has. Features. Aphrodite Slim Pro is the most complete variable. It includes more than 1000 glyphs. Thanks to the Open-Type programming, it counts with a easy way to change/alternate glyphs if the application in which the font is used supports this. The variables contained in Aphrodite Slim Pro are also offered separately. Aphrodite Slim Text: It is the variable for lines and paragraphs. Thus it is the least ornamental and the most accurate to achieve a satisfying legibility. It has the Standard Ligatures feature in order to improve the possible conflicts some glyphs could have by others. Aphrodite Slim Contextual: It is the one that makes emphasis in decorating. It has the particularity of ligating/decorating words of common use in English, French, Spanish and German. It also has the quality of ligating common beginnings and endings of the common words in English. Aphrodite Slim Stylistic: With similar features of Slim Contextual. It includes a set of decorative numbers for a display use. Aphrodite Slim Swash: This one has special beginnings and endings to decorate words. Aphrodite Slim Endings: It makes words look as a signature. Aphrodite Slim Historical: It adds an antique look to the written word. It also has the special historical ligature function. Aphrodite Slim Titling: This one is the most decorative. Its copperplate inspired ornaments give words a special color, in order to handle the quantity of decoration, it comes with the standard ligature feature, which has the most common ligatures plus others that make decorative swirls not to be conflictive. Aphrodite Slim Ornaments: A set of 52 ornaments. Aphrodite Slim Pro includes all this features plus the Stylistic Set 1; Stylistic Set 2 and the possibility of Slashed Zero. We recommend you to check out the gallery in order to see all these features in action.

Comenia Sans was designed in the framework of a unique typographic project for all types of schools. It is a complementary face for Comenia Serif, released by our friends at Storm Type Foundry. Comenia Sans has a lot in common with its serif sister: the height of both upper and lower case, the length of ascenders and descenders, and the general weight. This makes the two perfect partners which work well even when set side by side in a single line of text. Comenia Sans does, however, lack all serifs, ornamental elements and stroke stress variation. All these elements freshen up the feel of long texts, but for shorter texts use, they are not necessary. Despite that, Comenia Sans retains the soft, friendly character of its big sister, as well as a few tiny details which lend it its unique character without compromising legibility or utility. Open counters give all letters an airy feel and permit enough variation in construction. This is why the face works well even in multiple-page texts. All its letters are easily distinguished from each other, so the reader's eyes are not strained. Diacritics and punctuation harmonize with both upper and lower case. As usually, all diacritical marks fully respect conventional shapes of accents and they are perfectly suitable for Czech, Slovak, Polish and other Central European languages, where a lot of diacritics abounds. Similarly to the renaissance italics which refers to the cursive forms, Comenia Sans introduces novel shapes of some characters drawing from the hand-written heritage. This is most apparent in the single-bellied a, the simplified g, and the stem of f which crosses the baseline and ends with a distinct terminal. In the text, emphasized words are thus distinguished not only by the slant of letters, but also by the shapes of the letters themselves. All twelve styles contain set of small caps, suitable for the names, in the indexes or the headlines in longer texts. Legibility in small sizes under 10 points was at the center of designers' attention, too. This is why the counters of a, e and g are large enough to prevent ink spread in small sizes, both on-screen and in print. After all, the font was specifically optimized for screen use: its sober, simple forms are perfectly fit to be displayed on the computer screen and in other low-resolution devices. When used in the context of architecture, the smoothness of all contours stands out, permitting to enlarge the letters almost without limit. A standard at the Suitcase Type Foundry, each style of Comenia Sans boasts a number of ligatures, an automatic replacement of small caps and caps punctuation, a collection of mathematical symbols, and several types of numerals which make it easy to set academic and other texts in an organised, well-arranged way. For the same purpose, fractions may come in handy, too. Apart from the standard emphasis styles, the family also contains six condensed cuts (each set has the same number of characters), designated for situations where space is limited or the need for striking, poster-like effect arises. Comenia Sans is the ideal choice for the setting of magazines, picture books, and navigation systems alike. Its excellent legibility and soft, fine details will be appreciated both in micro-typography and in poster sizes. Although it was designed as a member of a compact system, it will work equally well on its own or in combination with other high-quality typefaces.

This set of letters and ornaments is loosely based on on a typeface that was offered by the DeVinne Press at the turn of the century. We can speculate from its name that this type was used as a display font to try to equate the look of letters on 15th and ­16th century heraldic cartouches, seals, stamps, medals and other inscriptional lettering. The sample was digitized with an “antiqued” outline to further enhance this ancient inscriptional theme. The letters were then grouped in the font with the more traditional Roman letters as the capitals and the Lombardic forms as the miniscules. The original type sample contained some unusual 15th century inscriptional numbers which have been included as extras in the font so the user the has the option to create an authentic looking design.

Emil Rudolf Weiss's eponymous Rundgotisch of 1937 provided the pattern for this streamlined version of classic German blackletters. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

This font definitely reflects the name: Tenderfoot sort of gives that Home Sweet Home feeling. No, the little cowpoke on the pony isn't me, a close friend was kind enough to let me use his childhood photo for this font.

This font is an addition to the Italican Oblique family, where the lower case characters have been redeveloped to give an impression of script. While some characters join together, there was no intention to create this style throughout the whole font.

The idea of creating this font is based on Koch’s Schmale Deutsche Anzeigenschrift which was released in 1923 by Klingspor in Offenbach, Germany. This font was entirely redrawn and completed with the help of a few basic letters and the numerals.

The American Typefounders 1893 specimen book included the pattern for this face, originally called Pontiac. Its subtle idiosyncrasies make it warm and inviting. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

The Hunt Brothers, penmen extraordinaire, presented the pattern for this face as Upright Ornamental, it's a little loopy and a whole lotta fun. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

"Goblin Monster" is a font with a monster theme that is perfect for your Halloween celebration. This font is very easy to use and each letter is decorated with bats and spider webs which will add to the beauty of this font. The shape of the letters and the character of the letters is very unique and different. This font can also be used for book covers, movie or book titles, logos, posters, stickers and more.

Lettering on a menu from a Pennsylvania hotel, circa 1930, provided the inspiration for this happy-go-lucky take on the alphabet. Lowercase letters are variants of the uppercase and kerning has been applied to every possible letter combination, so feel free to double-clutch the shift key to create a truly handlettered feel with this font. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

The name of this font is TWOMBLY, which is inspired by the abstract art master Cy Twombly. This original typeface has an Art Deco style with a firm, straightforward, confident character. Its self-respect is HEAVY, but it is very elegant and has a literary temperament. This font reveals a calm and calm temperament from Northern Europe. The details of the triangle used as a transition in the serif are full of playfulness, which makes the whole font have a youthful and cutting-edge feeling.

The Greyspark Font is a great font selection for a big range of design projects. These fonts will add a beautiful and light retro charm to any design project! This font is perfect for branding logo, illustration, or apparel design. This font also support multilingual, number and symbol. This font comes in three style, regular, stamp, and block. The script style have the clean feel, the stamp gives you the aged feel with texture on it, and the block style have a rough edge.

This is a geometric uncial font with a retro/art-deco feel. It comes in four weights, each in upright and oblique styles. It has Unicode coverage for Latin, Greek (modern diacritics only), and Cyrillic, plus the Euro and peace signs. This font began as part of a project to design a local currency. Sadly, the municipality canceled the endeavor before the design competition had started. I'm including one of the prototypes in the gallery section as an example of this font’s many uses.

Country Western is a revival of the classic William Page font known as Clarendon Ornamented originally designed in 1859 and again in 1877 by Vanderburgh & Wells. This version combines the best of both versions and adds something new. New to this font are the lowercase, italic, swash and script versions plus Greek and Cyrillic character sets. Keeping with the original theme from 1859 Fill fonts are available for the Ornamented and Open faced versions of this font. Greek, Cyrillic, Central and Eastern European characters sets are supported in the Windows TrueType and OpenType formats. The Windows and Mac PostScript Type1 versions of this font, however, do not support Greek, Cyrillic, Central and Eastern European characters sets.

Country Western is a revival of the classic William Page font known as Clarendon Ornamented originally designed in 1859 and again in 1877 by Vanderburgh & Wells. This version combines the best of both versions and adds something new. New to this font are the lowercase, italic, swash and script versions plus Greek and Cyrillic character sets. Keeping with the original theme from 1859 Fill fonts are available for the Ornamented and Open faced versions of this font. Greek, Cyrillic, Central and Eastern European characters sets are supported in the Windows TrueType and OpenType formats. The Windows and Mac PostScript Type1 versions of this font, however, do not support Greek, Cyrillic, Central and Eastern European characters sets.

Do you suffer from OCD? Then this font is perfect for you. Or maybe not. Sometimes I like confusion, chaos, imperfect things, because I can often see beauty in them. In this font I drew the letters with a pen and or with just the index finger on a tablet, completely free, without improvement. The chaos ensuing. As if I was rushing notes just for me. Then, without changing the design any further, but to make the chaos minimally legible, I decided - look at this madness! - to organize the chaos. In other words, I aligned metrics and kerning, and the end result was this. I hope you like it and that it is very useful for you. Cheers.

SK Barbicane is a family of typefaces named after Jules Verne's famous book, From the Earth to the Moon. Inspired by Jules Verne's foresight, it was designed with a synthesis of the future and the past. While it carries sharper and futuristic lines than the future, it also incorporates the organic structure of the past. All characters have equal dimensions in this font with mono weight and mono space. In this way, you can create regular typographic layouts in your designs. Consisting of two different families, Normal and Unicase, this font has a total of 12 different fonts and 5088 glyphs. In this way, it contains many typographic elements that you will need in your designs.

This family was inspired by the pure Jenson set of fonts used in Venice to print De preparatio evangelica in the year 1470. The present font contains all of the specific latin abbreviations and ligatures used in the original. Added are the accented characters and a few others not in use in this early period of printing, also small caps, these, contained in a separate file in the Mac TT version. This font supports strong enlargements as easily than small size remaining very smart, elegant and fine. Decorated letters like 1512 Initials, 1550 Arabesques, 1565 Venetian 1584 Rinceau or other fonts from GLC Foundry, can be used with this family without anachronism. If Italic style is required, we recommend the use of 1557 Italique.

Introducing, Blink Twice, a unique sans with styled lowercase! Blink Twice is a modern and stylish font based sans that have unique looks. This font contains uppercase and lowercase that have different form. You can use the lowercase and uppercase in the same word that will make your text more stand out! And the best of this font is the italic version as the alternates which mean you can combine it all without worrying about the kerning! You can use this font for the magazine, poster, and suitable for headline. This font also support multi language. What you will get: All Caps Font with different uppercase and lowercase Italic version as the alternates (E H I N M e h i n m). Well Kerned.

Loaded with personality and functionality, Cresta is built to look good while surviving the worst conditions. It is at home on screen and in a magazine. Its six weights are intended to be used everywhere. Unlike most typefaces, Cresta was built without a reference. For this project, everything design choice was based on what worked best for a workhorse sans serif family. Cresta was originally created as the primary typeface for this website. This meant it needed to work in copy, headlines, and navigation across all devices, browsers and operating systems. This meant it needed to be sturdy and have enough character to make it stand out from other UI typefaces. With its large x-height, ample counters, and giant apertures, Cresta is meant for easy utility in rough conditions. Even with all of this, that doesnít mean that its dull; as the weights increase, the style of Cresta becomes more appearant. This style is defined most apparently by the terminals on the lowercase r and the angle of the joins between the curved and straight strokes (such as in the connection on the n).

SK Nowatorus is a modern experimental display grotesque. This typeface challenges the usual ideas about the structure of symbols and harmony in the typesetting line. The typeface symbols are based on the average contrast of thicknesses and on the contrast of the shapes of the symbols themselves. The font combines both narrow characters of the main set and wide additional ones. This, coupled with a wide range of alternatives and ligatures, gives huge opportunities for creative experiments. SK Nowatorus supports a multilingual set of Latin Pro and Cyrillic Pro. This typeface is perfect for poster design and for a set of small text blocks due to the presence of a capital and lowercase set.

This font was inspired by music from the band Silverstein. The main characteristics are the incredibly thin, orgainic lines.

Described as “An extended script type that lends itself well to fine fashion, ready-to-wear and all quality merchandise” in a marketing blurb pitching Beaufont by the Morgan Sign Machine Company of Chicago for their Line-O-Scribe sign printing system. This advertising script font was originally manufactured exclusively for Morgan Sign under license by the Hamilton Wood Type Manufacturing Company. The source patterns and original artwork for this typeface exist in the archives of the Hamilton Wood Type & Printing Museum, and were used for this fresh digitization of this font. This digital take includes alternate letters as originally designed in the mid-century wood type version, and now includes a full extended latin character set with over 350 characters.

This first font was made as an experimental work for us. learn a alot of typeform from other typeface in the past, bring us to this grace position. We learn about Variable font and all the thing to do some improvement in our work. such a nice time to present this new font to the world as the ground breaking of our mission to scale up our skill and to step up into the next vision as a font designer. We create this font with variable and Open Type features. Some instances including, from thin to black. and on the variable font has and oblique style.

Corpesh was drawn in Adobe Illustrator during the wee hours of the night. It is a single weight set of fonts, no bold version. As is/was much of what I have done over the last year, it was created purely to pass time. As a self taught amateur in this field, I only do this for the enjoyment it brings me. This typeface is being released early, at the same time as 'Brainstroke', for exactly the same reason that typeface is, that being a health crisis. I know this typeface is not complete, with, as mentioned, no bold version, and probably never will have.

This highly stylish, engraved blackletter font was cut by Rudolf Koch between 1919 and 1921 for Klingspor in Offenbach on Main. It was then sold under the name Deutsche Zierschrift. I completely redraw and extended this font and called it Zierfraktur. To take full advantage of this fine headline blackletter font, please use it from, at least, 18 points upward. This font contains a bunch of useful ligatures, and it is recommended to activate both Standard and Discretionary Ligatures. The round s can be reached by typing the # key, and you get the numero sign by typing the combination N-o-period and activating the OT feature Ordinals.

This font represents the type style created by this very famous classic typewriter.

This font was inspired by music from the band The Devil Wears Prada.

Bronto is a typeface that mutated many times: it went from being morphologically conventional, to have soft features, to finally have some inverted contrasts that made it more dynamical; but all this without losing sight of the meaning of a typefamily, and the aim pursued by this work: Bronto doesn’t behave as a piece of art, but as a tool. In some weights, this typeface possesses fluffy characteristics and is boldly bighead, while in other versions is slightly contrasted and controlled; this in order to maintain the essential features of the typefamily along the versatility and usability of the 20 variations that composed it. Bronto it’s inspired in neo humanists typographies of the 20th century, and in Chilean lettering. This kind of work was made by the spontaneity of the paintbrush, which gave an inverted contrast to some characters. This typeface has plenty of OpenType features, specially an extensive set of ligatures in all weights. Bronto is well suited for motion graphics, letterings, web, advertisings, magazines and books.

Stylish Marker is a font based on a casual and worn marker, just before it's unusable, thus giving rise to an irregular texture, typical of a widely used marker

This is the rounded version of Penta! »Penta« is a new Sans typeface, designed in the American tradition with contrast between the up- and downstrokes. The contrast is hardly visible on the »thin« cut, but the heavier the weights get, the more contrast becomes visible. That makes this font very useful, almost linear in the lighter weights and very distinct rhythm in the heavier ones. »Penta« is extremly versatile, it can be used for bodycopy in the lighter weights and for heavy headlines.

Here's an offering from the Blackfriars Type Foundry of London that's perfect for commanding headlines. The letterforms have been carefully kerned for a tight fit to increase the visual color of this nostalgic behemoth. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

A clear and enjoyable reading experience hinges on the legibility of text copy, especially when reading on screen. This is why Monotype has developed the eText collection of fonts specifically tailored for the text-heavy display environments of e-readers, tablets, mobile devices, and the Web. Matthew Carter designed the original ITC Galliard. Carl Crossgrove created this eText version.

This font was inspired by the embossed lettering on cigar boxes. The letters, or entire words, are often surrounded by raised dots, and that was our idea here. We drew this about 1997, and have been refining it ever since. All letters are on the lowercase keyboard; the end pieces and spaces are on the caps.

This loopy offering is patterned after a typeface from the 1888 specimen book from the Central Type Foundry of St. Louis, called simply "Spiral". The ragged contours on the original face have been smoothed out, but it still is an attention-getter. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

A 1905 poster for the Austrian National Highway by artist Gustav Jahn inspired the letterforms for this typeface. In the spirit of comity, Barnhart Brothers & Spindler's Publicity Gothic Initial Caps inspired the uppercase treatment. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Almoneda: Sale at public auction of movable goods, generally used. And also: private and voluntary sale of jewelry and junk that is made without the intervention of justice. Formerly, it was nothing more than the market or sale of things and spoils won from the enemy in war. Nowadays, the almoneda is practically associated with spaces where the sale of "old things" takes place and, in Madrid, they are usually concentrated in the area of El Rastro, an open-air market that is set up on Sundays and some holidays in the center of Madrid. There, you can find everything and, if you walk around a lot and look hard enough, great typographic finds. It is there where I find a large number of elements (usually from the late nineteenth and early twentieth century) such as boxes, posters, books, etc.. in which appear uppercase letters with a variety of shapes, letters embedded, rare ligatures ... In addition, many elements extracted from street signs, tiles from bars and commemorative elements of Madrid have been used to complete this font design made with care and patience. Thus was born Almoneda, a modern typeface with a marked axis and great contrast, and an uppercase with several sets of characters to play with and enjoy. It also includes a large number of ligatures and discretionary ligatures. A Variable font is included with the full package license. Almoneda, a typeface that will not leave you indifferent. They take it out of my hands, hey!