SK Brushwood is an experimental geometric font based on chaotic lines. It is inspired by the Greek stone script, but nevertheless it is modern. The main component of the letter shape is straight and sloping lines ending in straight corners, which makes it look like brushwood. This is why the font gets its name. SK Brushwood is perfect for headlines, posters, print work, and the Internet.

Lost Signal is a two-style display that's absolutely perfect for editorial headlines. Her bold and characterful figure makes her perfect for posters, extreme sports, automotive and magazine covers. Reserved for upper and lower case in each style, featuring fl and fi ligatures, this calm and bold typeface is a content creator's best friend. Including: Uppercase, Lowercase. Numbers, Punctuation & Symbols. Diacritic for Multilingual Support

Lisboa Tamil is a humanist sans-serif typeface based on the same design as the original Latin version (2005). Originally designed for small sizes, this font family can work as display typeface where there own calligraphic style gives elegant low contrast personality between organic and solid design approach. Tamil is an Indic script, spoken in southern India, Sri Lanka and Singapore. Latin transliteration characters were also included.

Qoronfull is an exuberant industrial display typeface, full of curves that create neat alignments. and it's our second collaboration with Hey Porter! Qoronfull means clove, (a dried flower buds spice tree native to Indonesia), Qoronfull's esthetics, curves, and lines are representing the flowers, leaves, and stems of clove, applied on a strong base of Arabic Kufi calligraphy style, with a big group of type compositions and ligatures.

Tme, new lineal — Tme is an update of Sl (T = S + 1, m = l + 1 and e for natural logarithm), drawn in 2006 for the University of Arts Saint-Luc de Tournai. Its geometrical drawing is based on the directions of the hexagon, a scrupulously followed constraint which confers on some glyphs a very particular drawing. in light, regular and bold language: all latin glyphs

mathieu was created with a Krink K-60 marker – a paint marker that allowed gravity to dictate the outcome of each handwritten letterform. The font is the union of 26 mixed-case letters, 10 numbers, and roughly 100 glyphs, and has been seen in videos by artists Marshmello and Louis the Child. mathieu reflects Gino’s abstract style of writing, and reveals beauty in imperfection.

This font provides a typical set of characters for the ancient Nabataean language, used in what is now Jordan and adjoining regions during the period of the Roman Empire, based on lapidary letter-forms of the first century of the present era. It includes a full set of alphabetic characters as well as the ancient numeral forms, with ligatures and variant shapes for some numerals.

Proudly Present Farson - Vintage Typeface Farson born from an inspiring vintage display. This font gives a feel of a vintage, classic, old, and based on handmade. Already PUA Encoded and I think this font is perfect for people looking for vintage aesthetic or logo-type. Suitable for any graphic designs such as branding materials, t-shirt, print, business cards, logo, poster, t-shirt, photography, quotes .etc.

Knitting & Sewing Doodles are just that. If you type all caps you get 15 knitting icons and lower case is 15 sewing doodles. Knitting items include yarn, knitting, needles, ball winder, spinning supplies, stitch counter, etc. Sewing machine, buttons, thread, pin cushion, bobbin, thimble and needles, scissors, label, tape measure, darning egg, zipper, seam ripper, and pins, all in the Outside the Line style.

Yukas is a funky and sexy typeface where the proportions are based on the optical balance between black strokes and white shapes. Ideal to enjoy on a large scale. It takes its references from the psychedelic movement, old-school western movie posters, and mid-19th century American wood type with those big, heavy capital letters. Includes several Open Type alternatives to customize your design however you want.

Rabbet is based on the handwriting of Maine furniture designer and maker, Aaron Fedarko. It's friendly, bold, condensed, and slants left. Rabbet's special feature, besides loads of boyish charm, is a load of handwritten fractions as discretionary ligatures. Whether you're curious about woodworking (a rabbet is a type of joint), or you just want a cool, maybe slightly rebellious font, Rabbet is ready to do the work.

Lastero this amazing handwritten font duo is light and elegant, will emphasize your personality in any project and will charm you with its signature. This font includes alternates for Uppercase and Lowercase, also a lot ligatures for lower case make your signature with them. You can use it to create logos, branding, t-shirts, book covers, stationery, marketing, blogs, magazines, cosmetics, signage, and more.

Hey Boo! HALLOWEEN TALES FONT - a fun and spooky Halloween font with webs, spiders, ghosts, pumpkins and more. Perfect for Halloween designs, logos, branding, packaging, cards, stickers, posters, quotes, social media posts and much more! You could make me happy if rated my work! Feel free to contact me, if you have any questions. Happy creating and have a Boo day! 💀 👻 🎃

Folio was designed by Konrad F. Bauer and Walter Baum and appeared with the Bauer font foundry (Bauersche Gießerei) in 1957. The designers based their ideas on Helvetica but Folio did not turn out to pose the competition they had hoped. The font has the same applications as Helvetica and is an extremely legible font. Folio is particularly good for text and has an objective, neutral character.

Dutch type designer Just van Rossum created this display FontFont in 1992. The font is ideally suited for advertising and packaging, film and tv, editorial and publishing as well as music and nightlife. FF Confidential provides advanced typographical support with features such as ligatures. It comes with tabular lining figures. As well as Latin-based languages, the typeface family also supports the Greek writing system.

Hello! Introducing Quartell - modern display typeface family. Font looks amazing as alone words and as full text blocks. Also it good for bright captions and unforgettable logos It have supporting for many languages as: Czech, Danish and Norwegian, Deutsch, English, Espanol, French, Italiano, Magyar, Nederlands, Polish, Portuguese, Finnish, Swedish, Turkish, Russian and other based on extended latin. Thank you for purchasing and happy designing :)

Based on the 1932 typeface Newport, designed by Willard T. Sniffin for ATF, this Art Deco standard packs a lot into multi-line heads and subheads due to its very short descenders, cleverly accomplished by “fudging the baseline” on the g, p, q, and y. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Coolvetica is a sans-serif typeface, inspired by logotypes from the 1970s. This was an era where everyone was modifying Helvetica—not only logo designers but even font designers were into outlandish Helvetica mods. Phototype catalogs were loaded with playful variations of the already ubiquitous typeface. Coolvetica recreates that retro custom display lettering style with extra-tight kerning and funky curls. But don’t let the vintage feel fool you—Coolvetica is a true display typeface that’s ready to make a statement. Condensed, compressed, and crammed styles all use a flat-sided approach, an old-school strategy that’s rarely seen today. And with mathematical symbols, OpenType fractions, and numeric ordinals, this typeface is as versatile as it is stylish. So why settle for a dull typeface when you can stand out with Coolvetica? Try it out for your next project and see the difference a little typographical flair can make. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Ahoy there, folks! Have we got a typeface for you! It’s called Autoradiographic, and it’s inspired by those trusty old warning signs from back in the day. You know the ones…“Inflammable! Stay away!” And boy oh boy, does it have personality! Back in the post-WWII era, low waistlines were all the rage—but let me tell you, strict waistline alignment was not. No, sir! That’s where Autoradiographic comes in. It’s informational, sure, but it’s also neat as a pin and chock full of personality. And listen to this—Autoradiographic has everything you need to crunch those numbers like a pro. Mathematical symbols? Check. Fractions? Check. Currency symbols? Check, check, and check. And for those times when you really want to make an impact, Autoradiographic’s italics are narrow and loosely spaced. Now that’s what I call a typeface with some serious sass! So what are you waiting for? Grab a copy of Autoradiographic today—it comes in five weights and italics, so you’re sure to find just the right fit for your project. Don’t miss out on the chance to add some mid-century flair to your work—you won’t regret it! Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, 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, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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.

Before the mid-to-late 1970s, when retailers started to embrace UPC (universal price code) technology on a grand scale, pricing merchandise took on many forms. One method especially popular with variety stores (such as Woolworth's, McCrory's, Kress, etc.) were pre-printed price tags that came in small pads and were inserted into metal holders. Shelf Tags JNL recreates a vintage price tag based on examples seen online, and allows the user different ways to create their own vintage-style price tags. You can either utilize the round pen nib style numbers and price marks to place on any size or type tag, or type out prices using the reversed characters (white on black) along with the two end caps provided to form a complete tag unit. For the more adventurous, a complete blank tag is also provided in case the desire is to print a solid color tag background and [using the regular numbers] crate prices in custom colors. Two sets of smaller number (for "floating" cents prices) are also provided in regular numbers and reverse panels. As an extra bonus, there is a set of 1 through zero, dollar sign, cents sign and decimal point individual black-on-white outlined panels for making individual pricing numbers. The keyboard layout for the various characters is as follows: asterisk key - regular cents sign (no panel) dollar sign key - regular dollar sign (no panel) period key - regular decimal point (no panel) left and right parenthesis keys - panel end caps (to form price tags) colon key - reverse decimal point on black panel 1 thru 0 keys - regular numbers (no panels) A through J keys - small regular numbers (no panels) K and L keys - truncated [shorter width] end caps M through Y keys - individual price numbers (black on white with black border a through j keys - reverse numbers on black panels k key - reverse dollar sign on black panel l key - reverse cents sign on black panel m through v keys - reverse small numbers on black panels w through z keys - blank rectangular panels of varying widths equal sign key - full black panel price tag hyphen key - blank rectangular black panel based on the width of most number panels

The market for humanistic sans serif type families is saturated, so what can a new release add, and what does it take to stand out from the crowd? Asterisk Sans Pro (named after my favourite glyph to make) aims to be a highly versatile type family; massively useful due to its pan-European language support and bounty of OpenType features which make it the ideal choice for demanding typography. The look is contemporary; details which give the fonts character at large sizes all but disappear when small, making the middle weights suitable for large chunks of text. The family ranges from a hairline ultra light to a pretty weighty black – a must in a new typeface. Asterisk Sans Pro supports Latin, modern Greek and Cyrillic, with localized forms for Bulgarian, Serbian and Macedonian to boot. This is rare enough, but to have small caps for all these scripts in both upright and italic fonts is a big plus. Your client may not need all this language support right now, but this typeface gives them the option to grow while keeping a consistent look, and at a similar price point to families with a much narrower scope. The ability to customize Asterisk Sans Pro through the use of Stylistic Sets in OpenType savvy layout programs means you are really in control. Want more italic forms in the uprights? Go for it. A more Roman italic? Easy! The spurless m, n, r and u, accessible through SS13 give a graphic, almost bauhaus feel. The Dutch IJ glyph can be changed to a much cooler thing using SS14, and the family even supports ij-acute. Other OpenType features include a wealth of numeral styles (tabular and proportional, lining and oldstyle, plus small cap figures, numerators, denominators, subscript and superscript) and automatic fractions. There are also case-sensitive forms for all caps settings, a bunch of useful arrows, and superscript lower case Latin letters. All in, there are well over 1200 glyphs per font, making Asterisk Sans Pro an invaluable tool in your typeface arsenal, great for everything from corporate identities to editorial work, apps to cookbooks.

Noad Sans is an experimental sans serif typeface with a strong character and some very unique visual features. At the core of Noad Sans is a sturdy sans serif with closed apertures and fairly simple letterforms. The defining feature of Noad Sans, however, is its visualised nodes: all control points of Bézier curves in each of the fonts in the family are intentionally visualised. The effect of this feature is largely defined by the usage: in titles and larger bodies of text, the visualised nodes stand out and create a rhythmic pattern of their own. In smaller sizes, the sans serif base of the font becomes more prominent and the nodes create a visual fuzz. Noad Sans comes in 6 styles and as a Variable Font with two axes–Optical Size and Slant. The size of each node can be changed from the smallest (Mini and Mini Italic) to the largest (Extra and Extra Italic). Variable Font technology allows you to fine tune the size of the nodes and the slant angle, so that your version of Noad Sans can be truly unique. Noad Sans has a large character set of 570+ glyphs, covering the vast majority of Latin based languages. In addition to that there are dozens of special characters, punctuation, numbers, and symbols. Noad Sans is equipped with a number of useful OpenType features, such as Case-Sensitive Punctuation, Stylistic Alternates, Ligatures, Fractions and many more. Noad Sans began as an experimental project, and during its development the spirit of experimentation was at the heart of the project. Thanks to the unique nature of the typeface, it can feel at home in a variety of settings: from web development, graphic and product design to more novel uses like 3D and NFTs. Noad Sans type family includes 6 static fonts (Mini, Mini Italic, Regular, Regular Italic, Extra and Extra Italic) and one variable font. Each style can be purchased separately. There is a free trial version of Noad Sans that can be downloaded free of charge on MyFonts. For more information on the typeface, feel free to download Noad Sans PDF Specimen.

Blackletter fonts are timelessly beautiful and still very popular. At some point, it seems that every type designer discovers the beauty of these forms and the great pleasure in creating blackletter characters. Like also Dutch designer Coen Hofmann who, after designing Caxtonian Gothic, has designed yet another Blackletter font: Holland Gothic. Holland Gothic reminds of the 18th century »Duytsch« typefaces of Joan Michael Fleischmann and Christoffel Van Dyck. But Hofmann was mainly inspired by the Dutch calligraphers from the 17th and 18th century. Holland Gothic develops its full charm and beauty at larger sizes because of the hairlines in the upper case characters. To enable users composing texts in the style of our ancestors, Coen Hofmann added a series of pre-composed ligatures, also in combination with the long s, plus an alternate form for the lower case r which was used in combination with letters b, d, g, o, p, v, and w.

The typeface LECO 1988 is another font family which belongs to LECO set. It is a display typeface, which is inspired by the title written on the bottle of lečo from 1988. Its typical features are embedded diacritics and significant black look with low contrast. Lower case is united with upper case and has several identical glyphs in both forms. Font contains alternative set of glyphs for letter „E“. Tabular numerals, superiors and inferiors and the full set of (glyphs - symbols) for languages using the Latin alphabet are also included in this font. LECO 1988 font family includes six specific styles: Regular, Blind, Gradient, Outline, Shadow and Stencil style. Those styles extend typographic options by mutual combination or overlapping, whilst every style share the identical metrics and kerning. Font format is Open Type with the support of several open type features. This typeface is suitable for creating logotypes, powerful posters or can be used as a headline display typeface.

Gloria Monoline is a text serif with an editorial focus designed by Ikhsan Maulana. The idea for a typography job came from a design school letter-making exercise: Get a pair of scissors and some large sheets of paper, and start cutting. The resulting letters and the act of cutting them from paper inform the type design process, resulting in strong, simple shapes and open, inviting textures. The tone is crisp and straightforward. The classic letterforms, with a playful touch, give the design a personality that is both practical and spontaneous. The text weight is capable of adjusting copies at various sizes to print and render clearly on screen. Its lightest and heaviest weights work best at display sizes. Great care has been taken to save typists time with OpenType features including contextual punctuation and symbols to match case-sensitive, lower-case, and all-caps settings, as well as set images set for each use.

Guerrer is modern sans serif family of 20 fonts, 10 weights from thin to black, consists of uprights and matching italics (obliques). It has 300+ glyphs which covers major western languages and has some features, such as fractions, ligatures, alternates, mixed case (unicase) stylistic set, tabular & proportional lining, etc. The mixed case (unicase) feature would be very useful for logo branding project which will give a unique touch to the logotype. Ink traps for bolder styles were adjusted to maintain the legibility at smaller size for both print and digital needs. The typeface was inspired by the strength and the boldness of warriors (guerrer in Catalan). Designed with high x-height and short ascender & descender. The ascender has the same level width the caps height. The uppercase G was specially designed to resemble the warrior head with his armor/helmet. Guerrer would be great choice for branding project, display poster, website, packaging, and broad range of graphic design projects.

The Vale Press was a contemporary of Willam Morris's Kelmscott Press. The types used by the Vale Press were designed by artist Charles Ricketts, who also supervised the design and printing of Vale Press books. The main type used, Vale, was based on the Jenson 15th century roman type style. The King's Fount was an experimental semi-uncial font based on the Vale type. The King's Fount was designed in 1903 for the Vale edition of the 15h century poem "The Kingis Quair". This semi-uncial font evokes old English and Anglo-Saxon lettering. P22 Vale Pro combines the two fonts P22 Vale Roman and P22 Vale King's Fount into one "Pro" font. This pro font also includes a Central European character set, old style figures, fractions, ornaments and a special faux "Middle English" feature to make "anee text appeer Olde." This feature is not known to exist in any other font.

About LADA Font Family The font family LADA is available in 1 weights and 2 styles: Black. There are 2 style variations of the font style. Type Designer: Kuncho Kunev The name of family - Lada is the name of slavonic goddes of harmony, joy, youth and love. Lada is also the name of our main designer's wife. Release date: December, 2020 HermesSOFT Ltd. Lada styles design is based on the design of corporate identity of the building National Palace of Culture, opened at 1981 in Sofia, Bulgaria. All the labels, tables, symbols and information identity was based on this design idea. There are some photos of these labels. There also are included all Cyrillic vowels with accents that are really necessary for the professional typesetting in Cyrillic languages. Supported Languages: Western Europe (Greek not included), Central/Eastern Europe, Baltic, Turkish, Romanian, Cyrillic. Supported Code Pages: Macintosh and Windows, any for above languages. Opentype features includes kern and ligatures.

Platinus Script Pro is the latest example of what has now become a Sudtipos tradition: Adapting conventional calligraphic methods from the last two centuries to produce modern digital scripts for the current one. This time the resulting font explores the evolution of invitation scripts from the classic commercial lettering of the 1930s to the ideas clearly visible in the greeting cards of the 1980s and 1990s. Most base characters are made up of a single stroke, with some of the strokes driven from the top down, and some from the bottom up, putting the emphasis on the casual but precise fluidity of the hand, an emphasis magnified by the expert use of loops and swashes everywhere. The Platinus Script Pro family comes in two weights, each loaded with alternates and Latin-based langauge support, for more than 570 characters per font. Platinus Script Pro is great for product packaging, as well book covers, menus and greeting cards.

This is the one and only Neil Bold, designed by Wayne Stettler in 1966 and originally published as a Typositor typeface. An award-winner and instant celebrity upon its release, Neil Bold became synonymous with magnified modernism for a whole generation. It was a jazz record packaging favorite, especially at Blue Note records, and made regular appearances on science fiction book covers during the last stretch of the genre's golden age. This digital version greatly expands on the film type one. New small caps and biform styles were added to the authentically revived main face (for a set of three fonts), and language support has been extended to include all Latin-based tongues. Neil Bold Pro, the OpenType version, comes in a single font that combines all three fonts into a single file, with programmed features for small caps, stylistic alternates (for biform shapes), a few extra alternates, class-based kerning, and additional language support for Cyrillic and Greek scripts.

Goldplay is based on Isidora Sans design yet features rounded shapes. Its rounded, soft terminals give it a friendly and expressive look, and its modern and contemporary style as well as its classic proportions make it an excellent choice for headlines, logotypes, branding, books, magazines, motion graphics, and use on web and Tv. One of its key features is a large x-height which make it look elegant and classy. Goldplay comes in 2 versions—each in 7 weights, from Thin to Black, and matching italics, resulting in a total of 28 fonts. The standard sans serif version—fresh, clean and contemporary—is a perfect choice for editorial and corporate design, headlines, books, magazines or any other piece of graphic design. The Alt semi-serif display version—more expressive and modern—is ideal for logotypes, branding, packaging, and use on web and Tv. Goldplay contains a set of 540 characters that support over 200 Latin-based languages.

Artificial Intelligence is a computer generated typeface, in a brush handwriting style. As the world's first public and commercially available AI typeface, Artifical Intelligence celebrates the interaction between humanity and technology, in an attempt to blur the lines between hard data and interpretation. Based on 400 of Mans Greback's typefaces, this machine learning is bold and expressive, with a touch of retro while keeping it hip. It is provided in an all-caps uppercase style, Artificial Intelligence Caps, as well as the Regular style with lowercase lettering. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

The Superior Marking Equipment Company was originally located in Chicago, Illinois and over the years produced a line of both commercial and toy rubber stamp printing sets which were used for making signs, posters, tickets and other printed items. Rough Print JNL reproduces the scanned images printed from one of the toy rubber stamp sets. The sample characters were smaller than one half inch in height and were further reduced during scanning. This gives the end result of a typeface which looks like rubber stamp imprints at small sizes, and very angular, distorted, somewhat grunge type when printed at larger sizes. There is a limited character set consisting of alphabet, numerals, some punctuation and currency symbols. No kerning was added to keep the hand-made appeal. Rough Print JNL is an all caps font with the letters and numbers jogged randomly on both the caps and lower case keystrokes. For a similar design with lower case, Amateur Printer JNL is recommended.

Dufour was named in honor of an art deco font called "Independent" designed in the 1930s by Collette and Dufour. "Dufour" is influenced by the original font, however, there are substantial differences: instead of small caps, a true lower case was created, the upper case character proportions and shapes have been greatly modified, and all missing characters have been created to make a truly modern font which nevertheless has all of the panache of the original. A related font is Collette, designed by Anton Scholtz, however, Dufour has a softer feel that is more true to the original art deco period. Dufour comes in four styles: Dufour Regular, Dufour Regular Outline, Dufour Condensed, and Dufour Condensed Outline. The font has been carefully kerned and best results are obtained if kerning is switched on. (All-caps passages work well.) It is best used to create a retro feel and in headings, subheads and in short passages of text. Very effective in marketing for products for children.

The Charman Serif Font Family Pack is an Elegant serif font that comes in 20 different weights. Designed to reflect nature, creating a sense of softness and natural expression. The concept is pushed in a usability-focused direction, to serve as both a bold tool and a classy communicator. Charman Serif is encoded with Unicode PUA, which allows full access to all additional characters without having to design any special software. Mac users can use Font Book, and Windows users can use Character Map to view and copy any additional characters to paste into your favorite text editor/app. The Charman Serif character set combines many of the features of open type - additional symbols, both standard and optional, as well as punctuation in case and lower case - resulting in a stable workhorse set ready to handle projects of any size. I hope you enjoy using the Charman Serif font and that it will be a perfect addition to your font collection!

Frederic Goudy joined Lanston as art advisor in 1920. One of his first initiatives was to design a new version of Garamond based on original Garamond designs of 1540. Goudy intended his free-hand drawings to be cut exactly as he had drawn them and fought with the workmen at Lanston to keep them from “correcting” his work. This new type was called Garamont (an acceptable alternate spelling) to distinguish it from other Garamonds on the market. (The other Garamonds on the market at that time were later confirmed to be the work of Jean Jannon.) In 2001, Jim Rimmer digitized Garamont in two weights. The display weight is based on the actual metal outlines to compensate slightly for the ink gain that occurs with letterpress printing. The text weight is a touch heavier and more appropriate for general offset and digital text work. Digital Garamont is available to the public for the first time in 2005.

The Unit Gothic series was released by Hamilton Manufacturing Co. in 1907. This sans serif family features one of the first multi width/weight type 'systems' anticipating the Univers font system by 50 years. This set of 7 fonts was designed to aid in press room efficiency and with its incremental variation in widths gave poster printers unprecedented flexibility in fitting copy while using consistently harmonious fonts. This HWT release is the first ever digital version of these fonts. Each font contains 600 glyphs including Greek and Cyrillic character sets as well as alternate characters which are based on the actual special character production patterns from the Hamilton Wood Type Museum collection. HWT Unit Gothic system features: •HWT Unit Gothic 716 - 50% wider •HWT Unit Gothic 717 - 25% wider •HWT Unit Gothic 718 - (Standard width which others are based on) •HWT Unit Gothic 719 - 25% narrower •HWT Unit Gothic 720 - 50% narrower •HWT Unit Gothic 721 - 62.5% narrower •HWT Unit Gothic 722 - 75% narrower

This typeface is based on lettering by Carl Marx (1911?1991), designed during his first semester at the Bauhaus in Joost Schmidt?s class, in 1932. Although the letter proportions are based on Schmidt?s teachings, the forms are not constructed from compass and ruler, but drawn with brush and marker, lending the words a warm and lively touch. Hidetaka Yamasaki redrew the letters from scratch and added all missing characters for today?s needs. A set of hanging figures, alternates for some critical letterforms (such as f, r, and t) as well as several ligatures make CarlMarx especially suitable for use in body text. As suggested by Marx, Yamasaki captured two weights from the original drawing and perfectly adjusted light and bold to highlight words and create hierarchy in headlines ? without losing or adding space. True to the original, Yamasaki captured the wobbly contour in CarlMarx, preserving warmth in the condensed geometric style of the early 1930s.

Please welcome Frock! It is a sans serif typeface for broad range of usage. It is designed with a slightly slanted oval shaped counters, medium contrast and based on American gothic typefaces with "not so formal" feel. The italic styles are flowy and almost true italic. Swash alternates for some uppercases and lowercases are useful for logo, display and poster. This family comes with 16 styles, uprights and matching italics, consisting of 8 weights from thin to ultra. It is also equipped with useful OpenType features such as Ordinals, Superiors, Stylistic Sets, Proportional Lining Figures, Standard Ligatures, Discretionary Ligatures, Fractions, Numerators & Denominators. Each font has 770+ glyphs including swash alternates which covers Western & Eastern Europe, and other Latin based languages – over 200 languages supported! Frock will be suitable for many creative projects. This typeface will be perfect for logos, packaging, greeting cards, presentations, headlines, lettering, posters, branding, quotes, titles, magazines, headings, web layouts, mobile applications, art quotes, advertising, invitations, packaging design, books, book title, and more!

D.I.Y. Time is a hand drawn type system designed by Luciano and Coto inspired by the DIY philosophy which has been transformed into a whole global counterculture movement, identifying the new generations that reprice the handwork, paying attention to quality, processes and materials used in the manufacture of goods and objects, food, clothing, furniture etc. This beautiful philosophy inspires us every day. Is present in our homes, in our lifestyle and this time we have given him way through a typeface family that mixes different styles but integrates them through language handmade. The result is a typeface based on hand lettering drawing with different brushes and pens on paper. With versions ranging from organic proposals as DIY time hand to other based on the classic proportions of Gill as DIY time sans. To accompany a set of compound words designed on the needs of small farmers and a set of ornaments illustrated, everything you need to begin to make your own.