Le Typorium présente une nouvelle famille de caractères calligraphiques basés sur une écriture étudiée à travers les manuscrits et autographes de Georges Brassens, poète et musicien (1921-1981). Son tracé, rigoureux et appliqué, souvent minutieux, est à l’image d’une œuvre unique et singulière, immédiatement reconnaissable. Le script Brassens offre des fonctionnalités OpenType telles que des caractères alternatifs pour les majuscules et les minuscules afin de renforcer la fluidité d’une écriture manuelle, des chiffres alternatifs, des fractions et un jeu de caractères accentués étendu pour prendre en charge de nombreuses langues étrangères. Trois graisses ont été créées afin d’offrir une large palette de possibilités graphiques. 60 images d’un poète qui a cassé sa pipe à l’âge de 60 ans., classées en trois séries de vignettes (pictogrammes, symboles, portraits), elles illustrent l’univers imagé et la richesse symbolique de la poésie de Georges Brassens où les représentations mythologiques et allégoriques y tiennent une part importante. Georges Brassens est un poète, auteur-compositeur-interprète né à Sète le 22 octobre 1921, mort à Saint-Gély-du-Fesc le 29 octobre 1981 et enterré au cimetière Le Py de Sète. Auteur de plus de deux cents chansons populaires, il met en musique et interprète ses poèmes en s’accompagnant à la guitare. Outre ses propres textes, il met également en musique des poèmes de François Villon, Victor Hugo, Paul Verlaine, Paul Fort, Antoine Pol, ou encore Louis Aragon. Il reçoit le Grand Prix de Poésie de l’Académie Française e 1967. Un grand nombre d’écoles, salles de spectacle, voies, parcs et jardins portent également son nom, dont à Paris le parc Georges-Brassens, tout proche de l’impasse Florimont où il vécut ses premières années parisiennes, de sa maison de la rue Santos-Dumont et du café Les Sportifs Réunis – Chez Walczak – rue Brancion qui lui inspira « Le Bistrot ». À Sète, l’Espace Georges Brassens ainsi que de nombreux festivals et associations redonnent vie au poète et à son œuvre. The Typorium presents a new calligraphic typeface family based on a writing studied through the manuscripts and autographs of Georges Brassens, poet and musician (1921-1981). Its layout, rigorous and applied, often meticulous, is in the image of a unique and singular work, immediately recognizable. Brassens script offers OpenType features such as alternate characters for upper and lower case to enhance the fluency of handwriting, alternate numbers, fractions and an extended accented character set to support many foreign languages. Three weights have been created to offer a wide range of graphic possibilities. 60 images of a poet who broke his pipe (French expression for passing away) at the age of 60, classified into three series of vignettes (pictograms, symbols, portraits), they illustrate the imagery world and the symbolic richness of Georges Brassens poetry where mythological and allegorical representations hold an important part. Georges Brassens is a poet, singer-songwriter born in Sète on October 22, 1921, died in Saint-Gély-du-Fesc on October 29, 1981 and buried in Le Py cemetery of Sète. Author of more than two hundred popular songs, he sets to music and performs his poems, accompanying himself on the guitar. In addition to his own texts, he also sets to music poems by François Villon, Victor Hugo, Paul Verlaine, Paul Fort, Antoine Pol, or Louis Aragon. He received the Grand Prix of Poetry from the Académie Française in 1967. A large number of schools, theaters, streets, parks and gardens also bear his name, including in Paris the Georges-Brassens park, very close to the impasse Florimont where he lived his first years in Paris, his house in the rue Santos-Dumont and the café Les Sportifs Réunis - Chez Walczak - rue Brancion which inspired "Le Bistrot". In Sète, the Espace Georges Brassens as well as numerous festivals and associations bring the poet and his work back to life.

The Scriptuale family, which contains eight styles, is a contemporary upright calligraphic face. Designed by German designer Renate Weise in 2003, this family of typefaces speaks to the present, while at the same time reflecting on a lyrical past. The letterforms of the Scriptuale family are romanticized, they reference German calligraphic styles from the 19th and early 20th Centuries. For instance the design of Scriptuale's uppercase strays from the canon of classical proportion into romantic idealism. While the C and O are drawn according to the ancient quadratic proportions - almost twice as wide, optically, as the E or the L - the letter A is wider than would be expected, and the D narrower. These subtle differences introduce a different rhythm into text set in Scriptuale than Italic styles of calligraphy may offer. Scriptuale's Gs merit special notice: both the upper and lower case G lunge slightly forward, further enhancing the dynamic quality of the text. Also unique in Scriptuale's design is the lowercase width: the letterforms appear slightly condensed; they have large x-heights to compensate for this. In a delightful twist, the number 2's beak has been closed by drawing it full-circle, back into the stem: this references a style of letter design that was practiced, among other places, by artists from the old Klingspor foundry in Offenbach Germany. Typefaces constructed there easily captured the zeitgeist of the romantic period, but are less calligraphic than Scriptuale (e.g., Rudolf Koch's Koch Antiqua). A semi-serif face (like Prof. Hermann Zapf's Optima or Otl Aicher's Rotis Semi), some of Scriptuale's letters have serifs (D), and some do not (A). And although both the B and the E normally have the same "structure" on their left side, Weise has drawn them differently in Scriptuale. These strengthen the calligraphic-like quality of the family. Traces of the pen are easy to see in Scriptuale's design; it is a thoroughly calligraphic face. The eight typefaces in the Scriptuale family include Light, Regular, Semi Bold, and Bold weights. Each weight has a companion italic. Scriptuale is similar to one other contemporary calligraphic family in the Linotype portfolio, Anasdair , from British designer

Looking for a typeface that embodies both grit and grandeur? Look no further than Lerku. This crispy font takes its inspiration from the timeless classic Bold Antique by Morris Fuller Benton, but it adds a grungy edge that’s perfect for today’s contemporary designs. With letter pair ligatures that help break up the monotony of repeating characters, Lerku is perfect for OpenType-savvy applications that demand a bit of variation. Whether you’re designing a website, a logo, or a marketing campaign, Lerku will give your message a bold, authoritative voice that’s sure to make an impact. So if you want to add a touch of vintage charm to your design, while still keeping it fresh and modern, Lerku is the perfect choice. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The Engraver’s Square Gothic—like its rounder cousin, the engraver’s sans serif, Sweet® Sans,has been one of the more widely used stationer’s lettering styles since about 1900. Its minimal forms, made without curves, were popularized long ago by bankers and others seeking a serious, established feel to their stationery. One might argue that the design is a possible precursor to Morris Fuller Benton’s Bank Gothic® typeface. Sweet® Square is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century remain both familiar and appealing. Referencing various masterplates, Mark van Bronkhorst has drawn Sweet Square in nine weights. The sources offered just uppercase, small caps, and figures, yet similar, condensed examples had a lowercase, making it possible to interpret a full character set for Sweet Square. Italics were also added to give the family greater versatility. The fonts are available as basic, “Standard” character sets, and as “Pro” character sets offering special characters, a variety of typographic features, and full support for Western and Central European languages. Sweet Square gives new life to an uncommon class of typeface: an early twentieth-century commercial invention that brings a singular verve to modern design. Its unique style is as useful as it is novel. Bank Gothic is a registered trademark of Grosse Pointe Group LLC.

The Engraver’s Square Gothic—like its rounder cousin, the engraver’s sans serif, Sweet® Sans,has been one of the more widely used stationer’s lettering styles since about 1900. Its minimal forms, made without curves, were popularized long ago by bankers and others seeking a serious, established feel to their stationery. One might argue that the design is a possible precursor to Morris Fuller Benton’s Bank Gothic® typeface. Sweet® Square is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century remain both familiar and appealing. Referencing various masterplates, Mark van Bronkhorst has drawn Sweet Square in nine weights. The sources offered just uppercase, small caps, and figures, yet similar, condensed examples had a lowercase, making it possible to interpret a full character set for Sweet Square. Italics were also added to give the family greater versatility. The fonts are available as basic, “/fonts/sweet/square/” character sets, and as “Pro” character sets offering special characters, a variety of typographic features, and full support for Western and Central European languages. Sweet Square gives new life to an uncommon class of typeface: an early twentieth-century commercial invention that brings a singular verve to modern design. Its unique style is as useful as it is novel. Bank Gothic is a registered trademark of Grosse Pointe Group LLC.

The “Moorish arch” treatment of certain letters on a 2001 book on Dutch design, executed by René Knip, provided the inspiration for this exotic unicase typeface. The font also includes arabesque designs in the brace, florin and section mark positions. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

The raw emotional energy of German Expressionism is evident in this font, based on Judith Type, designed by C. H. Kleukens in 1923. This version takes its name from the Biblical character who lost his head to the original font’s namesake. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Baraquiel is based on an interesting style of calligraphic script we found in a turn-of-the-century magazine ad. It is much more acutely slanted than most scripts, and has pretty dramatic variations in weight. Nonetheless it has high readability and works well in combination with many of our text fonts, particularly Evadare and Albemarle.

The Morille is display bold serif typeface. The shape is classic and unique style. You can also get more elegant serif in alternate and ligature. With vintage fill It's great for logotypes, wedding invitations, romantic cards, labels, packaging, spelling of names and others. Add to your most creative ideas and watch how they bring them to life!

Formosa is the old, colonial name for Taiwan. Formosa means beautiful in Portuguese and I think this handwritten typeface has a certain beauty itself. It comes in three styles, all of which make extensive use of ligatures, to give the font an authentic, handwritten feel. Like most of my fonts, Formosa comes with Babylonian language support.

The concept of this letter is a young alligator. Young crocodiles have lean bodies and are agile. It has uncontrollable power, and the angular leather vinyl and teeth feel vivid. This font was created to convey the most compressed energy possible through a collection of compressed squares. Although it doesn't attack, it is quite an aggressive letter.

I happened to come across a facsimile of a sample of text with typeface made by Sweynheim & Pannartz in 1476. I scanned the sample, and redraw all the available glyphs from the sample in RobFog. After that I added the missing characters by copying and pasting the forms of the original characters, and filling in the missing parts.

This original typeface appears to be lifted straight from an old crumpled piece of parchment or from a pirate map. An absolute must-have for Halloween, children's publications, pirate-themed texts, and any writing that needs to convey a haunting feel. These tattered letters conjure up spirits and spooks of buccaneers, swashbucklers, and conquistadores from centuries past.

The orthography was invented in 1952 by a Sufi Sheikh, named Hussein Sheikh Ahmed Kaddare. A phonetically robust writing system, the technical commissions that appraised the Kaddare alphabet concurred that it was the most accurate indigenous script and orthography for transcribing the Somali language. Kaddare uses both upper and lower case letters, with the lower case represented in cursive.

Arch Creek JNL is Jeff Levine's all-caps re-interpretation of a classic typeface of the past; Beton. Clean lines and slab serifs make this design a wonderful display face for attention-getting headlines. The beautiful watercolor print used in the font flag is by a good friend of Jeff's - Miami artist Michael George, and is used by permission.

Chancellor is a robust hand-drawn sans serif display typeface. Its sturdy letterforms takes inspiration from Plakatstil era posters, while bringing up also cool adornments to flourish your lettering designs. This all caps typeface has two versions for each letter, amplifying your composition choices. It's positively a great tool for a wide range of creative display uses.

The Core edition unleashes the true nature of Basika. A powerful communication means for designers and a bridge from the past into the future of experimental typeface design. Basika Core comes in three styles, it includes discretionary ligatures and stylistic alternates. Don't hesitate to get in touch at nos.ink. Basika Core current version: 1.0 - released in May 2022.

Ronsley Font Duo is a hand-drawn font with a modern look. This Ronsley Font Duo is perfect for any modern project including branding designs, logos, invitations, wedding decorations, website designs, instagram, business cards and more! You can access this easily in most programs. Please check to make sure you know how to access the alternatives. Thank you!

Hello, friend! 'Quessera' font is coming; an elegant typeface with huge playful stylistic & ligatures. Quessera has a complete stylistic of uppercase and has many unique ligatures, so you have many choices to determine the most perfect one for your work and make it look stunning. Quessera is perfect for branding, logo, invitation, wedding vibes, fashion, headlines, and more.

The Exotique is unique, this display font and is equipped with multilingual to be able to handle most typographic applications ranging from branding to body copying with various weights and inherent readability. will be perfect and look luxurious for many projects such as fashion, magazines, logos, branding, photography, invitations, quotes, blog headings, posters, advertisements, postcards, etc.

Since I live in a hamlet without any facilities whatsoever, I order a lot online. Most deliveries are done during daytime, but some companies prefer to deliver my stuff at night. When I was drawing out the glyphs for this font (using my Chinese ink and a broken paint stirrer), the door bell rang. It was a Night Delivery…

Cats is a whimsical font made up of two different sets of cat alphabets in upper and lower cases. Happy cats are pictured in a variety of poses forming the letters they represent. If you love cats, you will not want to miss having the Cats font in your collection. Includes full set of accented characters.

SavoryPaste is a grungy sans serif from insigne. SavoryPaste includes 64 discretionary ligatures of the most common letter pairs for a more natural look without distracting repeating characters. The typeface family also includes OpenType small caps, old style figures and alternates without filled counters. The SavoryPaste family also includes a completely interchangeable and more restrained alternate.

Free-form hand lettering on a 1979 poster for the Washington, D.C. exhibition of watercolors and etchings by the Elie Abrahami inspired Art Director JNL, which is available in both regular and oblique versions. This type of lettering was most popular in the late 50s through the mid-60s for movie titles, greeting cards and poster text.

Hi, presenting a blackletter font named Old Skull. This vintage gothic look typeface was originally made using a flat calligraphic pen what makes it more organic and natural. Old Skull typeface suits the best for original t-shirt prints and tattoo designs. This font supports most of the European languages, please check out the screenshot with all available characters.

Universally Corrupt is a distressed, noisy and corroded font that is perfect for hiding any words of truth by burying it in chaos. A “must have” typeface for any politician or corporate C.E.O! It was expanded to include extended Latin, extended Cyrillic and Greek alphabets so it will work with most languages in Europe and the Americas.

Darwin Pro, the sequel to Darwin, is ready to leave port and start new adventures. The font was redrawn, the language support was extended and a new set of figures was added. Darwin Pro comes in 7 weights plus italics and includes alternative characters available as an OpenType feature as well as oldstyle figures, numerators and denominators.

Tudeprins is not a really positive word - the font probably did deserve another name, but I was inspired after reading a children's novel, starring a "Tudeprins" The font is dedicated to children's books, adventures, comics or something related to that - but feel free to use "Tudeprins" for anything you like! Comes with multilingual support as well as contextual alternates!

Blicalon is a geometric sans serif font with modern look and good legibility. Blicalon aims to be a universal, it works great in headlines, short and long texts, high-end branding, logo designs, magazines, product packaging & invitations. It comes in 2 different styles - regular and italic and is equipped with an extended character set, supporting most European languages.

Melodicstar is a Modern Calligraphy Font. Melodicstar is a lovely script font featuring charming, playful characters that seem to dance along the baseline. Add this font to your most creative ideas, and notice how it makes them stand out! Melodicstar also multilingual support. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank you!

Love Lea is a lovely calligraphy font. It has beautiful and well balanced characters and as a result, it matches a wide pool of designs. Add it to your most creative ideas and notice how it makes them come alive! This font is PUA encoded which means you can access all of the glyphs and swashes with ease

Introducing DAGUIN, inspired by the medieval look and feel in fashion visual, fusion up with the contemporary modern serif to reach the wider range of visual trend possibilities. From past to the future. Perfectly fit for your logo, magazine, look book, social media branding and content, beauty blog, fashion branding, website, clothing, merchandise, mood board concept, etc.

Variant is a wild style outstanding sans serif font. Urban and incredibly bold, this font will most certainly make your designs stand out. It will add a unique spark to any design project that you wish to create! This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease!

Brookvale - Retro Condensed Font is a nostalgic typeface that channels the essence of the past with a contemporary twist. It's condensed letterforms and retro flair evoke a sense of vintage charm, making it an ideal choice for projects seeking a dash of retro coolness. Perfect for posters, branding, and designs that celebrate the enduring appeal of yesteryears.

Magnel is designed for headlines, posters and big sizes. Besides most Latin alphabet languages, it packs dozens of (accented) ligatures and every single letter has a smart swash variant that when enabled in OT-aware application, conveniently occurs at the start/end of line. Other OT features include: lining/oldstyle numerals, ordinals, popular fractions, capital spacing, scientific superiors/inferiors.

Proudly present- Mastji, created by Wildan Type, A serif modern and bold typeface, Mastji has decorative alternate & beauty ligature. This typeface is perfect for an elegant & luxury logo, book or movie title design, fashion brand, magazine, clothes, lettering, quotes, and so much more. Add to your most creative ideas and watch how they bring them to life!

Yenthida Script is a modern calligraphy design, including Regular. This font is casual and beautiful with strokes. Can be used for various purposes. such as logos, product packaging, wedding invitations, branding, headlines, signage, labels, signatures, book covers, posters, quotes, and more. Yenthida Script includes changes in OpenType stylistics, binding, and international support for most Western languages.

In Handmade Font the letters are made of hands or handprints, something children sometimes do when they are set free with paint. It is caps only but the letters on the lower-case keys differ from those on the upper-case keys. It comes with a large assortment of accented letters to support most European languages.

Ramen Sans is a friendly grotesque type family with the warmth of serif types and a little bit of the edginess of geometric sans! Designed with body text in mind, it offers 5 weights (and their italics), small caps, tabular figures, fractions, numerators, denominators, and supports the Adobe Latin 3 character set (most western and central European languages).

Its name, CrippledFont, might lead you to think that this font was missing important characters. It is not. Rather it is a letterbat font composed of crutches and canes. It is caps only, with the lower-case keys having an alternative set of capitals. It has an extensive set of accented letters that will support most European languages.