Letterpress type, crafted by H. Th. Wijdeveld, founding editor and chief designer of the legendary Dutch art and architecture magazine Wendingen, provided the inspiration for this typeface. The original design graced a 1925 issue examining the work of Frank Lloyd Wright, and Wijdeveld created his typeface by assembling bits of standard brass rules. This version features several of the meanders typical of Wijdeveld’s graphic design in the dagger, double dagger, ASCII tilde and ASCII circumflex positions. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

The vast resource of hand lettered vintage sheet music titles offers many interesting and unique variations on even the simplest styles of lettering. A simple thick-and-thin serif design circa the 1920s-1930s evokes a reminiscence of the Art Nouveau period combined with a touch of what was to come during the Art Deco era. Most charming is the fact this lettering is free of the formal rules and constraints of metal type, where designers are generally forced into conformity with uniform stroke widths, serif placements and character shapes.

Forest Shaded is the work of Martin Wait. It is reminiscent of the countless eccentric advertisement typefaces at the turn of 20th century. The industrial revolution in England saw the beginning of business advertisement and demanded ever more new and showy typefaces. Forest Shaded is an ornamental outline font and its thick figures have lively, even eccentric, forms, whose shading makes them look three dimensional. Forest Shaded is reminiscent of display window and metal sign typefaces of the late 19th and early 20th centures and is perfect for headlines in large point sizes.

ITC Binary was designed by Mauricio Reyes in 1997 as a semiserif font with a pronounced stroke contrast. A distinguishing characteristic of this font is that many of the lower case letters seem to be missing a small piece of their forms, either at the base line or x-height. Setting the letters together makes an impression of waviness which draws the attention of the reader. Binary is a reserved, elegant font which should be used in point sizes of 10 or larger and only in headlines and short to middle length texts.

What if Platt R. Spencer and Charles P. Zaner were born in mid-20th Century? What if they were fans of The Beatles or The Mamas & Papas? Beatle is what those masters would have made. Letters shouting for peace, like a true hippie does, with a lot of elegance. With Beatle I wanted to mix the delicacy of engrossers script with the exuberance of flower power. The result is a font designed with freedom, full of provocative alternates and fat tails. Enjoy it and of course, let it be.

Foundry Fabriek was inspired by the concepts behind industrial fabrication, where and how parts of materials or structures are united. The systematic grid, formed by stencil shapes, is indicative of the work of Wim Crouwel, consultant on the development of this typeface. The compact character widths of Foundry Fabriek are consistent over the five weight progression, giving flexibility for a variety of applications. The characteristic letterforms have an extra dynamic in large scale, perhaps in cast concrete or laser cut metal, to form integrated components in architectural or signage projects.

"Precolombina" consists on a series of graphic symbols native to South America, decorative trims, and a minimal set of typographic characters. The signs were taken from ceramic pottery, clothing, and petroglyphs from the southern cone of South America. We try to select a varied range of signs representing shamans, jaguars, rheas, monkeys, birds, and mythological beings. The decorative trims are taken from the same places and occupy the set of numbers. Finally, it contains the minimum characters of a font to achieve a brand or a title. They take place in the OpenType resources.

Chivertta combines elements of casual and modern aesthetics. The font is inspired by a logo discovered on the streets of Buenos Aires. One of Chivertta’s distinctive features lies in its careful design and its wide repertoire of ligatures and stylistic alternatives. This extensive collection offers a wealth of options, allowing designers to enhance their creative output, imbuing their designs with a greater sense of authenticity and realism. In essence, Chivertta transcends convention, offering a powerful tool for designers and resulting in designs that come out with authenticity and contemporary style.

Hesperides is based on samples of Colonial period calligraphy. Rather than being directly derived from any one sample, some common characteristics have been emphasized to give it a more coherent and distinctive look, with the accentuated single-looped strokes on many of the characters suggesting a fully flourished style, but showing a bit of restraint. The ultimate effect is really striking, in the tradition of our Queensland and Allegheny fonts, but even more distinctive. The full version includes alternate versions of many of the key characters designed to reduce loop interference and add variety.

Last year I walked half of Offa’s Dyke path, a long distance trail on the Welsh/English border. Walking the trail, I came across a beautiful stretch of forest with a lovely name: Cadora Woods. Cadora Woods font was made with a Japanese brush pen. It sort of looks medieval and a friend of mine suggested it would be the font of choice for maps of ‘The Shire’. I guess that is true, but I am convinced you can come up with some innovative uses for this font!

Vegetability: “The quality or state of being vegetable”. Yes, I know: it’s kinda weird, but I quite like the name of this font! I am trying to become a vegetarian (I am a ‘flexitarian’ right now) and I was trying to find a good veggie recipe for dinner, when this name crossed my mind. Vegetability is a handwritten font with a dash of roughness, a splash of attitude and a pinch of class. Comes with a whole bunch of diacritics and double letter ligatures for the lower case letters.

I‘d like to introduce “Charlonka“ to you. When my daughter finished high school, she wanted to get rid of her entire school stuff. So I saved a few sheets of her beautiful handwriting and promised her to create a typeface out of it. That‘s how the idea of Charlonka was born, a typeface family out of Charlotte‘s handwriting (by the way: that‘s her name). Some characters of Charlonka have extended crossbars, like in upper case A or H, and reduced descenders, like in lower case g or y.

Gold Spur is a spurred version of the FontMesa Gold Rush set of fonts. Each version includes many extended characters for Western, Central and Eastern European countries. The Gold Spur Trail OpenType version has alternate double letter pairs included in the font and will automatically be substituted when used in Adobe CS products or other software that takes advantage of OpenType features. The $20.67 price of each font reflects the price of an ounce of gold in 1865 which was the year that the original Gold Rush font was created.

SK Clumster Sans is an extravagant multilingual geometric grotesque, developed under the impression of the unique and exciting aesthetics of font design. Its structure is enlivened by an innovative combination of geometric and organic shapes that transform the familiar letter pattern. SK Clumster Sans creates a unique visual impression through a combination of shapes, a large symbolic and weights set, in addition to lively and dynamic angles and lines. The font is suitable for creating original design works that reflect the creative potential of the author and his bold experiments in the field of design.

Gundrada ML was inspired by the lettering on the tomb of Gundrada de Warenne. She was buried at Southover Church at Lewes, Sussex, in the south of England in 1085. The Latin inscription on her tomb, STIRPS GUNDRADA DUCUM, meaning “Gundrada, descendant of the Duke” may have led to the speculation that she was the daughter of William, Duke of Normandy and bastard son of Robert the Devil of Normandy and Arletta, daughter of a tanner in Falaise. In 1066 William defeated Harold at the Battle of Hastings and was crowned William I of England. More commonly known as William the Conquerer, he commissioned a string of forts around the kingdom and charged trusted Norman Barons to control the contentious Anglo-Saxon population. William de Warenne, husband of Gundrada, was one of these Barons. There has also been the suggestion that Gundrada may have been the daughter of William’s wife, Matilda of Flanders, by a previous marriage. According to the Dictionary of National Biography (Oxford University Press, Oxford, England 1921-22), both of these contentions are in dispute. Searching the past of a thousand years ago is like wandering in a heavy fog: facts are only dimly in view. Regardless, I know that I found these letterforms immediately engaging in their simplicity. Unadorned and unsophisticated, they have a direct honesty that rests well in the company of humanistic sans serifs like Franklin Gothic or Gill Sans, appealing to a contemporary sensibility. The lettering on the tomb is in upper case only. Although Gundrada does not sound Norman French to me, her husband certainly and her father probably were Norman French. Nonetheless, the man that carved her tombstone was probably Anglo-Saxon, like most of the people. For that reason, we are quite comfortable with a fairly generic lower case from an Anglo-Saxon document of the time. The time was a time of transition, of contending language influences. This font reflects some of that tension. Features 1. Multi-Lingual Font with 389 glyphs and 698 Kerning Pairs. 2. OpenType GSUB layout features: onum, dlig, liga, salt & hist. 3. Tabular Figures and Alternate Old-Style Figures. 4. Alternate Ruled Caps (line above and below, matching to brackets). 5. Central Europe, Western Europe, Turkish and Baltic Code Pages. 6. Additional accents for Cornish and Old Gaelic. 7. Stylistic alternates A, E, y and #. 8. Ligatures ST, Th, fi and fl. 9. Historic alternate longs. The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Brioso Pro is a new typeface family designed in the calligraphic tradition of the Latin alphabet. Brioso displays the look of a finely-penned roman and italic script, retaining the immediacy of hand lettering while having the scope and functionality of a contemporary composition family. Brioso blends the humanity of written forms with the clarity of digital design, allowing designers to set pages of refined elegance. Designed by Robert Slimbach, this energetic type family is modeled on his formal roman and italic script. In the modern calligrapher?s repertoire of lettering styles, roman script is the hand that most closely mirrors the oldstyle types that we commonly use today; it is also among the most challenging styles to master. Named after the Italian word for ?lively,? Brioso moves rhythmically across the page with an energy that is tempered by an ordered structure and lucidity of form.

Some typefaces are more deserving of the reference "original typeface design" than are others. Such a typeface is Steve's Safefont GD. It is indeed safe to say that this design has caused some controversy. However, the management of Galapagos Design Group believes that the message of the typeface, even before its characters are used to form words in print, is important enough-and the design itself compelling enough-to warrant the risk of any unintended offense it might cause. Safefont GD is made up of condoms, in various shapes and sizes. The design originated as a lampoon of contemporary-punk- and -garagefont- designs of the nineties. It soon evolved into the quintessence of socially conscious design. Steve suggests this typeface could be "useful as a public service font aimed at important health and social issues." In addition, Safefont GD lends itself to a wide range of fun uses.

Belda Didone: the elegant strokes of Belda, now with higher contrast. A sleek Didone fusing graceful motion with an elegant typeface, this family offers new versatility. Belda Didone is a refined gem of a font that provides an unmatched level of luxury. Belda Didone is the child of Belda, offering new opportunities for a brave new world. The high contrast strokes reference the delicate shapes, curves, and sharp serifs of the original. The design of Belda Didone represents a unique balance of harmony and elegance. The architecture is robust and elegant. Belda’s forms have an intense luster and sparkle that captivates the reader’s eye. Belda Didone has plenty of OpenType alternates, including small capitals, titling, and a wealth of weights and widths. This font has the potential to serve as both text and titling. It’s an excellent choice for book jackets, advertising, packaging, and other luxury applications.

Introducing the cutting-edge Excelancer Extra font, a modern masterpiece born from the rich heritage of classic sci-fi typography. Our inspiration? The boundless allure of outer space. And bestseller — the Excelancer font! https://www.myfonts.com/collections/exelancer-font-popskraft Excelancer Extra font is a harmonious blend of sleek, contemporary design, drawing from the timeless elegance of its predecessor. What sets Excelancer Extra apart is its captivating fusion of bold, ornate uppercase characters with meticulously crafted lowercase letters that maintain exceptional readability, even in extensive text. With Excelancer, you possess an all-encompassing font toolkit, designed to tackle every facet of forward-looking design. But that's not all. This font isn't just for intergalactic tales; it's also a striking choice for anything related to technology, innovation, progress, and even the world of sports. In essence, Excelancer embodies the pure essence of the future—an infusion of dynamism that knows no bounds!

The Cavolini™ typeface family, by Carl Crossgrove, is unique to handwriting fonts. It is a family of several designs, and it was developed for imaging on small screens. While drawn for a specific use, the family is also equally at home in many interactive and print applications. Cavolini has all the casual charm and immediacy of handwriting, while maintaining high levels of typographic clarity. Cavolini’s large x-height, open character spacing, clearly defined apertures, and easily differentiated forms enable high levels of legibility and readability at small sizes, while the family’s multiple designs of roman, bold and italic in regular and condensed proportions enable breadth of choice for creating emphasis, hierarchy, and typographic diversity a wide variety of environments. A large character set enables the setting of most Western European and many Eastern European languages, including Cyrillic and Greek – and adds to the family’s broad range of uses.

Introducing Pauline Didone Variable, a flawless blend of Art Deco elegance and contemporary script. Inheriting a splash of femininity from its lineage, Pauline, it’s the perfect choice for eye-catching logos, standout headings, and memorable snippets of copy. Dive into a 10-font family arsenal, complete with 5 distinct weights, italics, and a treasure trove of OpenType alternates. Reflecting the allure of retro scripts, its geometric silhouette, paired with bold brush contrasts, commands attention. Pauline Didone’s contemporary high-contrast design ensures your artwork isn’t just in Kansas anymore but in the vibrant world of modern design. Enhance your projects with over 150 alternate characters, including a set of whimsical ball terminals reminiscent of Toto's playful spirit. Access these Oz-inspired elements with advanced software like the Adobe Suite or Quark. Step into a realm of enchantment with Pauline Didone and let your designs shine like the Emerald City.

Rue is an organic, casually ornamental, narrow-faced sans serif. It is a display type structured with random traces of calligraphic tendencies. It does not begin with any noble ideals, other than to mediate between the muse of imagination and the act of realization. The spirited and exploratory design is the materialization of a feeling about fonts as a family of organisms taking on a life of its own, in work and play. Rue is the epitome of vanity and indulgence which seems to purpose itself well in aesthetics, wellness and botanicals. Its whimsical quality also suggests applications in the form of gifts and ornamentation. In retrospect, Rue was conceived as a typeface, used as an image and discovered as an ornament. It comes in 5 weights of light, regular, medium, semibold and bold, and their matching italics. Rue Display was published in 2010 by TypeTogether. http://www.behance.net/gallery/Rue/373854

Informative is a typeface consisting of a whole family of sans fonts and a collection of thematic pictograms. This combination of two different types of communication reflects the current need for using text and images as means of conveying information in a complementary way. The family comes with a text version of 7 weights (with matching italics)—Thin, Light, Regular, Medium, SemiBold, Bold and Black, and includes 7 thematic icons sets which allude to elements related to alimentation, city, energy, people, politics, sports and work. Each set contains 88 glyphs and includes both outline and black versions. The text font contains a set of 423 glyphs that support 207 different languages. Informative is a clean, simple and versatile typeface well-suited for a wide range of graphic design and visual communication projects. This font has especially been designed for infographics, maps and digital applications.

Typographer and graphic designer Pavel Teimer (1935-1970) designed a modern serif roman with italics in 1967. For the drawing of Teimer he found inspiration in the types of Walbaum and Didot, rather than Bodoni. He re-evaluated these archetypes in an individual way, adjusting both height and width proportions and modifying details in the strokes, thus effectively breaking away from the historical models he used as a starting point. Teimer's antiqua has less contrast; the overall construction of the characters is softer and more lively. The proportions of the italics are rather wide, making them stand out by their calm and measured rhythm. This was defined by the purpose of the typeface, as it was to be utilised for two-character matrices. The long serifs are a typical feature noticeable throughout the complete family of fonts. In 1967, a full set of basic glyphs, numerals and diacritics of Teimer's antiqua was submitted to the Czechoslovak Grafotechna type foundry. However, the face was never cast. At the beginning of 2005 we decided to rehabilitate this hidden gem of Czech typography. We used the booklet "Teimer's antiqua - a design of modern type roman and italics", written by Jan Solpera and Kl‡ra Kv’zov‡ in 1992, as a template for digitisation. The specimen contains an elementary set of roman and italics, including numerals and ampersands. After studying the specimen, we decided to make certain adjustments to the construction of the character shapes. We slightly corrected the proportions of the typeface, cut and broadened the serifs, and slightly strengthened the hair strokes. In the upper case we made some significant changes in the end serifs of round strokes in C, G and S, and the J was redrawn from the scratch. The top diagonal arm of the K was made to connect with the vertical stem, while the tail of Q has received a more expressive tail. The stronger hairlines are yet more apparent in the lower case, which is why we needed to further intervene in the construction of the actual character shapes. The drawing of the f is new, with more tension at the top of the character, and the overall shape of the g is better balanced. We also added an ear to the j, and curves in the r have become more fluent. To emphasise the compact character of the family, the lining numerals were thoroughly redrawn, with the finials being replaced by vertical serifs. The original character of the numerals was preserved in the new set of old-style figures. To make the uppercase italics as compact as possible, they were based on the roman cut rather than on the original design. The slope of lowercase italics needed to be harmonised. The actual letter forms are still broader than the characters in the original design, and the changes in construction are more noticeable. The lower case b gained a bottom serif, the f has a more traditional shape as it is no longer constricted by the demands of two-matrice casting, the g was redrawn and is a single storey design now. The serifs on one side of the descenders of the p and q were removed, the r is broader and more open. The construction of s, v, w, x, y, and z is now more compact and better balanced. Because Teimer was designed to make optimal use of the OpenType format, it was deemed necessary to add a significant amount of new glyphs. The present character set of one font comprisess over 780 glyphs, including accented characters for typesetting of common Latin script languages, small caps and a set of ligatures, tabular, proportional, old style and lining, superscript and fraction numerals. It also contains a number of special characters, such as arrows, circles, squares, boxed numerals, and ornaments. Because of its fine and light construction, the original digitised design remained the lightest of the family. Several heavier weights were added, with the family now comprising Light, Light Italic, Medium, Medium Italic, Semibold, Semibold Italic, Bold, and Bold Italic.