Project Soft is the more playful version of our 2017 release, Project Sans. The font features the same 10 weights and matching italics but while the Sans version was more structured, the Soft version shows a cheeky side that creates a vast array of potential. The font still features substantial language support as well as specifically designed italics that feature a unique look for certain characters.

Secca is a fresh and versatile typeface series. With its workhorse qualities, Secca is perfectly suited for a wide range of applications - especially where legibility and economy are important factors. Secca is rooted in the tradition of early German Grotesk typefaces, but is tailored for the needs of today, with a wide language support and many typographic features and extras. » pdf specimen « The core family comes in nine weights from Thin to Ultra Black plus another three Hairline weights - each with italics, small caps and italic small caps. While the weights from Light to Bold perform well in text sizes, the more extreme styles give extra freedom for Headlines & Signage. For setting tables and charts, Secca offers tabular figures, fractions, currency signs and mathematic operators which share the same fixed width throughout the entire range of weights. This special feature is called “weight duplexing” and is a time saver for designers of annual reports and other figure-heavy texts.

The story begin from Condensed, Standard & Expanded style. Saint Regus built and designed with a super family typeface in mind. Its still growing and growing by uniquely bold charismatic persona. The family itself have total 8148 glyphs with a standard glyphs and multilingual context.The possibilities are have a huge prospect in various design project, digital and print. Saint Regus development tried to explore the impact by its proportional display form. The project started from a Standard weights (Roman) and then it become a big families with 21 styles that you can use for a large design assets in any kind of design works.

A font with a strong graphical appeal, based on the logotype lettering for the comic magazine of the same name, designed by Dutch illustrator Joost Swarte. Both versions of this font contain the Unicode 1252 Latin and Unicode 1250 Central European character sets, with localization for Romanian and Moldovan.

Close Together was designed to alternate convex and concave letter sets, with convex letters on the upper-case keys and concave shapes on the lower-case keys. The OpenType feature of contextual alternatives (calt) does this automatically. Individually some of the letter shapes are strange and unsightly. They have the shapes that they have so that they fit snuggly with adjacent letters. The family has three weights: regular, bold, and extrabold. The letter spacing is set very tight and the user may want to loosen it by altering characters spacing. (Either the convex or concave set the letters can be used alone if the character spacing is adjusted.) The typeface has four OpenType stylistic sets of alternates, one for numbers and the others for letters D, T, and Y.

Macho has a complex nature. He’s a true “gentle giant”. He kicks asses as a splendid fighter, but also, being a gentle lover, leaves girls breathless. You can count on him in any situation and it’s always good to have him by your side. The brave Macho supports all Latin languages, as well as Cyrillic. His família consists of nine weights plus matching italics. It is stuffed up with various OpenType features such as small capitals, fractions, local forms, ordinals, alternates, ligatures and a full set of superscript and subscript glyphs. A good buddy of Clavo, Servus and Sharik.

It's too much fun! Of all the fonts I have designed, this is my favorite. Thin strokes and delicate embellishments really do it for me and I hope it's for you too! You won't find curves like this in regular fonts. This is modern meets the classic, minimally meets the decorative. Look at the numbers ... then, look again. They have curves of all kinds of unusual places. If you want to stand out then this is the font for you. Logo or title, fashion distribution to masthead, monogram or Instagram, create beautiful art with this font. Rollgates Victoria can do it!

New York vibes FS Irwin was born in New York while Senior Designer, Fernando Mello, was studying an intensive 5 week typeface design course at the Cooper Union. His brief was to design a perfectly clear typeface that could communicate well, without loud or overtly mannered design features. Fernando was influenced by the subway font in New York: ‘It is very in your face and clear, always in bold. It doesn’t shout much but at the same time is very present and unique. The design is completely different but it was this spirit I wanted to capture for FS Irwin.’ And the vibe of the city: ‘In a similar way to London, New York is so mixed and so cosmopolitan. I was amazed by the different styles and identities I saw there, and tried to encapsulate this essence to create something new, relevant and very now.’ Incisive quality Rather than focusing on quirks or distinctive characteristics, the key to FS Irwin is the quality of its design and spirit of simplicity. The design, proportions and details are usable and authentic and it is suitable for countless situations, without running the risk of being instantaneously noticeable. Families like this can be used on nearly anything, from more playful designs to serious corporate IDs. ‘Extensively tested and precisely drawn text-oriented typefaces are what I enjoy designing the most. There is a beauty and a different approach, a different way of making them interesting, sellable and usable rather than adding flicks or unexpected details.’ Inscriptions and calligraphy FS Irwin’s origin lies in Fernando’s studies in inscriptional lettering and writing-calligraphic exercises at the Cooper Union. Mello started the process by digitising his explorations and adapting them into a more workable sans serif structure. The traditional forms of writing which gave the basis to Latin type as we know it today were the perfect place to start. This influence can be seen in the proportion of the capitals and in slight writing-calligraphic details in the lowercase, such as the slightly angled, chiselled spurs and their open terminals.

The origin of Quirky lay in the Duke Ellington number It don't mean a thing if it ain't got that swing. For some time I had wanted to create a font from expanded stroked lines. I wanted to produce a light-hearted font, but with some classic touches. One day, whilst doodling in Adobe Illustrator, Quirky’s letterforms just appeared on screen as if from nowhere. First I drew the test word ‘hamburgefonts’ and then just kept going, unable to stop. Character after character appeared as if by magic. From the start, Quirky had a life of its own. The letterforms are rather more sophisticated than merely outlined stroked lines. Subtle adjustments to compensate for optical effects have been been incorporated. For example, horizontal stems have thicknesses slightly less than vertical stems and where stems join together, the thickening effect has been reduced by cutting into the joint. Being almost monoline, Quirky works well reversed out of a solid background and for TV credits. The Quirky fonts are fun fonts, so set, laugh and enjoy! I hope Quirky will give you as much pleasure in using it as I got in creating it! Shortly after the roman version was born, an italic version and then a thin version were created to form a family of three fonts.

Hypnerotomachia Poliphili, which can be translated in English as “Dreaming Love Fighting of Poliphilus”, is a romance about a mysterious arcane allegory in which the main protagonist, Poliphilo, pursues his love, Polia, through a dreamlike landscape. In the end, he is reconciled with her by the “Fountain of Venus”. The author of the book is anonymous, however, an acrostic formed by the first, elaborately decorated letter in each chapter in the original Italian reads “POLIAM FRATER FRANCISCVS COLVMNA PERAMAVIT”, which means “Brother Francesco Colonna has dearly loved Polia”. Despite this clue, the book has also been attributed to many other authors. The identity of the illustrator is less certain than that of the author. It was first published in Venice, in December 1499, by Aldo Manutio. This first edition presents an elegant and unique page layout, with refined woodcut illustrations in an Early Renaissance style and a refined Roman font, cut by Francesco da Bologna, which is a revised version of the type used in 1496 for the De Aetna of Pietro Bembo. The print quality is very high for the time, but nevertheless it presents many inconsistencies and imperfections due to the non-ideal inking and adherence of the matrix to the paper. For that reason numerous samples of the original have been used to create every single glyph which will result in an appropriate reconstruction and not a mere and humble reproduction. Some letters like \J, \U and \W were extrapolated, because they are not part of the original alphabet of the period. Some letters like \Q, \X, \Y, \Z and \h have been updated to more modern variants, but the original shape is accessible by Stylistic Alternates Opentype Feature, which also changes the shape of the \V and the \v. The original numerals \zero, \one, \tree, \four and \six have been accompanied by reconstructions of the missing numbers and extended by modern figures. Finally, swashed lower cases and original scribal abbreviations were also included. The font has joined by a matching Italic variant, closely inspired from Aldo Manuzio's 1501 "Vergilius", the first book printed entirely in Italic type by Francesco da Bologna.

Sugar Cane by Uniontype is a fresh and light multilingual script inspired by vintage monoline fonts. It provides advanced typographical support with contextual alternates, ligatures and swashes. That way, you’ll have automatic access to the dozens of extra glyphs in each of the fonts. This font is good for menu, signs, packaging, posters, letterings and logos.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. Carol Twombly designed this Caslon revival for Adobe in 1990, after studying Caslon's own specimen sheets from the mid-eighteenth century. This elegant version is quite true to the source, and has been optimized for the demands of digital design and printing. Adobe Caslon? makes an excellent text font and includes just about everything needed by the discriminating typographer: small caps, Old style Figures, swash letters, alternates, ligatures, expert characters, central European characters, and a plethora of period ornaments.

Blank Manuscript allows you to produce sophisticated musical scoresheets even on basic Word Processors - anything from simple plain staves to complex full-page orchestral scores of your own design, to write in the notation yourself. The basic stuff is really easy and straightforward, but there's some quite advanced things you can do as well. So Copy and Save these Instructions. • The main stuff is simple and tends to follow the initial letter. Treble, Bass and Alto clefs are on upper case T B A (there are more clefs, below). The 5 Lines for the clefs are on L or l. • A small v will give a small vertical line (like a bar line) and a Big U will give a Big Upright - these can start or end a line or piece. • Time Signatures - type the following letters: Think of W for Waltz and it's easy to remember that 3/4 time is on W. Then from that they go up or down together like this: V=2/4 W=3/4 X=4/4 Y=5/4 Z=6/4 Compound Times are on H I J K like this: H=3/8 I=6/8 J=9/8 K=12/8 Common Time and Cut Common symbols can be found on semi-colon and colon respectively (all begin with Co- ). 2/2 3/2 are on lower case a and b, 7/4 and 7/8 are on lower case c and d, 5/8 is on small k (think POL-k-A) • Flat signs are on the numbers. Flat signs on LINES 1 to 5 are on numbers 1 to 5. Flat signs on SPACES 1 to 5 are on numbers 6 to 0 (space 1 being above line 1, space 5 being above the top line of the stave). Sharp signs are on the letters BELOW the long-row numbers. Which is q w e r t for the sharp signs on Lines 1 to 5, and y u i o p for sharp signs on spaces 1 to 5. Doing it this way means it works the same for all clefs, whether Treble, Bass, Alto, Tenor or any other. Sharp and Flat Signs always go in this order, depending on how many sharps or flats your key signature requires: Treble Clef Sharps t i p r u o e Flats 3 9 7 4 2 8 6 Bass Clef Sharps r u o e t i w Flats 2 8 6 3 1 7 = Alto Clef Sharps o e t i w r u Flats 7 4 2 8 6 3 1 • Guitar Chord Boxes are on G and g (G for Guitar) Upper Case G has a thick line across the top Lower case g has an open top, for chords up the fretboard TAB symbols are available: Six-string Tablature is on s & S for Six. Four-string Tablature is on f & F for Four. (Lower case has the "TAB" symbol on it, Upper Case has just the lines to continue.) Five-string tablature, is on lower case "j" (as in BAN-j-O) and of course L or l will continue the 5 lines. •RARE CLEF SIGNS including Tenor Clef, are on various punctuation marks, i.e. dollar, percent, circumflex, ampersand & asterisk, above the numbers 4 to 8. NOTE: The important symbols were kept on the letter and number keys, which are fairly standard all over, but some of the less important symbols are on various punctuation keys, which in different countries are not the same as on my keyboard. If it comes out wrong on your system, all I can say is it's right on the systems we've tried, and they'll be in here somewhere, probably on a different key. CLOSING THE ENDS OF THE LINES and BAR-LINES is done with the 3 varieties of brackets - brackets, brace and parentheses - Left/Right for the Left/Right end of the line. Parentheses L/R () which are above 9, 0 give a clef with a small vertical upright (the same as a bar line). Brace L/R and Brackets L/R (both on the 2 keys to the right of P on my keyboard) will close off a staff line with tall upright bars. Brace gives a double upright - one thick, one thin. Brackets give a single tall upright. A Big Upright is on Big U, (Big U for Big Upright) and a small vertical line is on small v (small v for small vertical). The Big Upright is the maximum height, and the small vertical is exactly the same height as a stave. And there's a tall upright Bar, on Bar (which is to the left of z on my keyboard, with Shift,) which is the same height as the bar on upper case U but twice as broad. • There's a staff intended for writing melodies, which is a little bit higher up than an ordinary treble clef giving a space underneath to put lyrics in - on m and M for Melody line. Lower case has the Treble Clef on, Upper case M has just the higher-up staff lines with no clef. (Use mMMMMMMM etc.) However this clef will be in the wrong place to put in sharp and flat signs, key signatures and so on, so if you use this clef you'll have to write the sharps, flats and key signature yourself. There's also a clef that's smaller (less tall) than the ordinary clef, but with the same horizontal spacing so it will align with other standard-sized clefs - on slash (a plain clef) and backslash (with a Treble Clef). • There are some large brackets for enclosing groups of staves, such as you'd use on large orchestral scores, on Upper Case N O P Q R, which can aid clarity. N and O on the left, Q and R on the right. P is a Perpendicular line to be used on both sides to increase the height of the enclosure, in this way but with the staff lines in between: N Q P P P P P P O R OTHERS —————————————— • Repeat marks are on comma (left) and period/full stop (right). • Hyphen is left as a sort of hyphen - it's a thin line like a single staff line, with the same horizontal spacing as ordinary staff lines - in case you want to draw a line across for a Percussion Instrument, or a Title or Lyric Line. • Space is a Space, but with HALF the width or horizontal spacing as ordinary staff lines, so 2 space symbols will be the same width as a clef symbol or line. • Grave (to the left of 1 on the long row, or hold down Alt and type 0096 then let go) gives a staff line that is one eighth the width of an ordinary staff line. • If you want manuscript in a clef and key which requires a flat or sharp sign in the space underneath the 5 lines, they’re on = equals and + plus . SYMBOLS • Many of these symbols will only be useful if you have worked out in advance which bars will need them, but they are here in case you've done that and wish to include them. • Symbols for p and f (piano and forte) are on 'less than' and 'greater than' < > (above comma and full stop) and m for mezzo is on Question, next to them. They can be combined to make mp, mf, ff, pp, etc. These signs -- and other signs and symbols like Pedal Sign, Coda Sign and so on -- can be found on various punctuation mark keys, including above 1, 2, 3 in the long row, and others around the keyboard. There's a sort of logic to their layout, but in different countries the keys are likely to give different results to what is stated here, so it's probably best to just try the punctuation and see if there's any you might want to use. (But on my keyboard a Coda sign is on circumflex - because of the visual similarity. Pedal sign is on underscore. A "Sign" symbol is on exclamation mark.) They were only included in case you really need them to be printed rather than handwritten. • However, a Copyright symbol is deemed necessary, and also included are a "Registered" symbol and a TradeMark symbol. They are found in the conventional places, and can be accessed by holding down ALT and typing 0169, 0174 or 0153 respectively in the numberpad section and letting go. • Staff lines with arco and pizz. above are on capital C and D respectively ---C for ar-C-o. • An empty circle above a staff line (to indicate sections by writing letters A, B, C or 1,2,3 inside for rehearsal marks) is on n. The actual signs for an A, B, C and D in a circle above the staff line can be produced by holding down ALT and typing 0188, 0189, 0190 and 0191 respectively and letting go. • The word "Page", for indicating page numbers, is on the numbersign key. • The two quotes keys, (quote single and quote double) have symbols representing "Tempo is", and "play as triplets", respectively. • INSTRUMENT NAMES There's a whole lot of Instrument Names built in (over a hundred) which can be printed out above the clef, and you do it like this. Hold down Alt and type in the given number in the numberpad section, then let go. For Piccolo it's 0130, for Flute it's 0131, Cornet is on 0154, Violin is on 0193, and the numbers go up to over 0250, it's a fairly complete set. There's also a blank which is used to align un-named clefs on 0096. Put them at the very beginning of the line for the best results. Here they are: WOODWIND Piccolo 0130 Flute 0131 Oboe 0132 Clarinet 0133 Eng Horn 0134 Bassoon 0135 Soprano Sax 0137 Alto Sax 0138 Tenor Sax 0139 Baritone Sax 0140 Saxophone 0142 Contrabassoon 0145 Recorder 0146 Alto Flute 0147 Bass Flute 0148 Oboe d'Amore 0149 Cor anglais 0152 Pipes 0241 Whistle 0242 BRASS Cornet 0154 Trumpet 0155 Flugelhorn 0156 Trombone 0158 Euphonium 0159 Tuba 0161 French Horn 0162 Horn 0163 Tenor Trombone 0164 Bass Trombone 0165 Alto Trombone 0166 Piccolo Cornet 0167 Piccolo Trumpet 0168 Bass Trumpet 0170 Bass Tuba 0171 Brass 0172 VOICES Vocal 0175 Melody 0176 Solo 0177 Harmony 0178 Soprano 0179 Alto 0180 Tenor 0181 Baritone 0182 Treble 0183 Bass 0197 (see also PLUCKED STRINGS) Descant 0184 Mezzo Soprano 0185 Contralto 0186 Counter Tenor 0187 Lead 0206 BOWED STRINGS Strings 0192 Violin 0193 Viola 0194 Cello 0195 Contrabass 0196 Bass 0197 Double Bass 0198 Violoncello 0199 Violin 1 0200 Violin 2 0201 Fiddle 0252 PLUCKED STRINGS Harp 0202 Guitar 0203 Ac. Gtr 0204 El. Gtr 0205 Lead 0206 Bass 0197 Ac. Bass 0207 El. Bass 0208 Slide Gtr 0209 Mandolin 0210 Banjo 0211 Ukelele 0212 Zither 0213 Sitar 0214 Lute 0215 Pedal Steel 0216 Nylon Gtr. 0238 Koto 0239 Fretless 0244 KEYBOARDS + ORGAN Piano 0217 El. Piano 0218 Organ 0219 El. Organ 0220 Harpsichord 0221 Celesta 0222 Accordion 0223 Clavinet 0224 Harmonium 0225 Synth 0226 Synth Bass 0227 Keyboards 0228 Sampler 0249 PERCUSSION and TUNED PERCUSSION Percussion 0229 Drums 0230 Vibes 0231 Marimba 0232 Glockenspiel 0233 Xylophone 0234 Bass marimba 0235 Tubular Bells 0236 Steel Drums 0237 Kalimba 0240 OTHERS Harmonica 0246 Mouth Organ 0247 FX 0251 Intro 0243 Verse 0245 Refrain 0248 Chorus 0250 un-named 0096 (this is a small spacer stave for aligning clefs without a name) ALSO copyright 0169 registered 0174 TradeMark 0153 Rehearsal marks 0188-0191 (giving A, B, C, D in a circle, an empty circle is on n ) Clef signs for Treble Bass Alto without any staff lines 0253-0255 An Alphabetic List of all signs: a 2/2 time b 3/2 time c 7/4 time d 7/8 time e sharp sign, centre line f Tab sign for 4-string tab g Guitar Chord Box, no nut h half-width stave I sharp sign, third space up j Tab sign for 5-string tab k 5/8 time l Lines - 5 horizontal lines for a stave m Melody Clef - a standard clef but placed higher up, with Treble sign n Stave with an empty circle above o sharp sign, fourth space up p sharp sign, space above stave q sharp sign, bottom line r sharp sign, fourth line up s Tab sign for 6-string tab t sharp sign, top line (fifth line up) u sharp sign, second space up v vertical line (bar-line) w sharp sign, second line up x Fretboard, four strings y sharp sign, first space up z Fretboard, five strings A Alto Clef B Bass Clef C “arco” above stave D “pizz.” above stave E Double Vertical Lines F Four Horizontal lines (for 4-string tab) G Guitar Chord Box with nut H 3/8 time I 6/8 time J 9/8 time K 12/8 time L Lines - 5 horizontal lines for a stave M Melody Clef - a standard clef but placed higher up, plain N Bounding Line for grouping clefs - top left O Bounding Line for grouping clefs - bottom left P Bounding Line for grouping clefs - Perpendicular Q Bounding Line for grouping clefs - top right R Bounding Line for grouping clefs - bottom right S Six Horizontal lines (for 6-string tab) T Treble Clef U tall, thin Upright line V 2/4 time W 3 / 4 time X 4/4 time Y 5/4 time Z 6/4 time 1 flat sign, first line up (the lowest line) 2 flat sign, second line up 3 flat sign, third line up 4 flat sign, fourth line up 5 flat sign, fifth line up (the top line) 6 flat sign, first space up (the lowest space) 7 flat sign, second space up 8 flat sign, third space up 9 flat sign, fourth space up 0 flat sign, space above stave

Along Serif BSC is a elegant font family, which designed by Ryul Davidson of the Brenners Template. It is designed to blend classic delicacy with modern rhythm of glyphs to suit elegant design works. And the waves of the rhythmic stems make funny designers with sharp swords in light-weight styles. These Italic lowercase glyphs are redesigned to get this rhythm and they are shining through the contrast of each style. Enclosed glyphs are often used by professional designers like you. Please Check it out through the glyphs Window of Adobe apps.

Influenced heavily by the work of Erik Spiekerman, Axiom came out of a desire to capture Spiekerman's simplicity and elegant style. Axiom seems to work well when extended.

Inspired by the stroke movements of brush lettering ‘Summer Display’ is an energetic family featuring high-contrast and well-proportioned letter shapes suitable for large displays and headlines.

Once upon a midnight dreary, this Comicraftsman pondered, weak and weary, For a name synonymous with Mighty and Marvelous comics lore. Solid, Outline, Inline was the nameless font I'd crafted, I nodded, nearly napping o'er the work I'd grafted When suddenly came a tapping, As of someone gently rapping, rapping at my cubicle door. "'Tis some visitor," I muttered, "tapping at my cubicle door-- Calling out "EXCELSIOR!" Then an Amazing Vision beguiled my sad fancy into smilin', By the Spectacular decorum of the countenance it wore, "Though thy crest be shorn and shaven," he said, "thou art sure no craven, And thy font should not remain nameless here forevermore!" Eagerly I wished the morrow; vainly I had sought to borrow From comic books surcease of sorrow, letters that called out "EXCELSIOR!" Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking of the nominative neuter singular thing Like Some Silvered Surfer wandering from the Nightly shore-- The Vision shrieked, upstarting--"Tell me what thy lordly name is thus!" Quoth the Craftsman: "EXCELSIUS!"

Orgovan is based on calligraphic script models lettered with a flat brush, which have been a mainstay in the sign makers' and display artists' handbooks since the beginning of the 1960s. Careful adjustments to the construction of the character shapes made the glyphs more open. This ensures that the face is well legible in small sizes, making it suitable for more demanding typographic applications. The Punk and Rounded variations of the base model offer an even broader range of possible applications, while the Fat Cap, Flower Power and Hairy cuts are contemporary decorative alternatives.

An old favorite from the venerable Letragraphica series, named Yankee Shadow and designed by Tony Geddes, provides the pattern for this sporty font. For this version, the outlines have been beefed up, and the shadow has been moved in an easterly direction. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon, a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon , a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

This set of initial decorated letters was inspired by a font in use in the beginning of 1500s in Paris. Exactly, we have used the set that Barthélémy Verand employed for the printing of Triumphus translatez de langage Tuscan en François, (from “Triumph” of Petrarque) in the year 1514. Some letters, lacked, have been reconstructed to propose a complete alphabet. It appears that the printer used some letters to replace others, as V, turned over to make a A, or D to make a Q. The original font’s letters were drawn in white on a black background only, but it was tempting to propose a negative version in black on white. It is used as variously as web-site titles, posters and flyers design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, as a very decorative, elegant and luxurious additional font. This font supports strong enlargements remaining very smart and fine. It’s original medieval hight is about one inch equivalent to about four lines of characters. This font may be used with all blackletter fonts, but works particularly well with 1543 Humane Jenson, 1557 Italic and 1742 Civilite, without any anachronism.

Father's Day, or June 17 of this year, is in the middle of Argentinian winter. And like people do on wintery Sunday mornings, I was bundled up in bed with too many covers, pillows and comforters. Feeling good and not thinking about anything in particular, Father's Day was nowhere in the vicinity of my mind. My eleven year old son, Matías, came into the room with a handmade present for me. Up to this point, my Father's Day gift history was nothing unusual. Books, socks, hand-painted wooden spoons, the kind of thing any father would expect from his pre-teen son. So you can understand when I say I was bracing myself to fake excitement at my son's present. But this Father's Day was special. I didn't have to fake excitement. I was in fact excited beyond my own belief. Matí's handmade present was a complete alphabet drawn on an A4 paper. Grungy, childish, and sweeter than a ton of honey. He'd spent days making it, three-dimensioning the letters, wiggle-shadowing them. Incredible. A common annoyance for graphic designers is explaining to people, even those close to them, what they do for a living. You have to somehow make it understandable that you are a visual communicator, not an artist. Part of the problem is the fact that "graphic designer" and "visual communicator" are just not in the dictionary of standard professions out there. If you're a plumber, you can wrap all the duties of your job with 3.5 words: I'm a plumber. If you're a graphic designer, no wrapper, 3.5 or 300 words, will ever cover it. I've spent many hours throughout the years explaining to my own family and friends what I do for a living, but most of them still come back and ask what it is exactly that I do for dough. When you're a type designer, that problem magnifies itself considerably. When someone asks you what you do for a living, you start looking for the nearest exit, but none of the ones you can find is any good. All the one-line descriptions are vague, and every single one of them queues a long, one-sided conversation that usually ends with someone getting too drunk listening, or too tired of talking. Now imagine being a type designer, with a curious eleven year old son. The kid is curious as to why daddy keeps writing huge letters on the computer screen. Let's go play some ball, dad. As soon as I finish working, son. He looks over my shoulder and sees a big twirly H on the screen. To him it looks like a game, like I'm not working. And I have to explain it to him again. This Father's Day, my son gave me the one present that tells me he finally understands what I do for a living. Perhaps he is even comfortable with it, or curious enough about that he wants to try it out himself. Either way, it was the happiest Father's Day I've ever had, and I'm prouder of my son than of everything else I've done in my life. This is Matí's font. I hope you find it useful.

Sausage is unapologetically bold and bulbous. Influenced by magnetic fridge letters, hot dogs and 70s phototype fonts, it is retro, but not cloyingly so. It was a deliberate plan to make Sausage only a single style typeface. The freedom that not having to think about how the font should relate to other weights allowed me to push the glyphs to places they might not otherwise have been able to go. There isn't a single corner in the entire font, and you'd be hard pushed to find a straight line. This is as soft and friendly as they come, and still equipped with numerous ligatures, alternates and arrows for sophisticated typography.

Stonetype is a typeface that was used by stonemasons in the 70s & 80s of the last century. When I was starting as a stonemason, these were the first characters I had to draw, by hand, back then on grave monuments and memorial plaques. The idea was born to digitize all the material, to be saved for eternity. By digitizing all and fine tuning, plus the addition of some main characters, Stonetype has now grown into a user-friendly typeface that can, now still, be used by stonemasons, to improve their creation process times. But Stonetype can also easily be used in modern and contemporary designs. Stonetype is the perfect fit for graphic design, editorial design, magazines, posters, logotypes, brands and corporate design. Stonetype is designed by Coert De Decker in 2019 and published by Kustomtype Font Foundry.

FINALLY! We’re telling you for The Last Time! This is not a Threat! This is not a Negotiation! Refusal to cooperate with the terms of this font will be considered an Act of War! There can be no Dispute! The Crisp, Sharp hooks and corners of this typeface are Not To Be Reasoned With! Gosh Darn it, we have grown tired of asking and this is merely a formality precedent to the outbreak of hostilities. It’s a little corporate, it’s a little bureaucratic, but our lawyers insisted that we propose a settlement of compromise. Ipso Facto.

Birch was designed in 1990 by Kim Buker Chansler, who based her forms on the designs of the turn of the 20th century. The new age needed new typefaces for an ever-increasing commerce and its advertisements. This time period therefore saw a profusion of new typefaces, all of which were meant first and foremost to catch the eye of consumers. To this end, style elements of past ages were reused, changed, and combined. Birch is modelled after a woodtype, a style made famous by its use on wanted posters in western movies. The narrow and space-saving Birch is perfect for headlines in display point sizes.

This font should be used with all three formats. It is recommended to use it in big font sizes due to the thin hairline of Fansy A. Have fun playing with the new modern and fancy display font designed by Jörg Schmitt.

This font was drawn by the artist, Lisa Congdon. Design23 and Lisa Congdon have formed an amazing type partnership... Lisa draws her beautiful fonts for her series, 365 Days of Hand Lettering and Design23 programs and edits the series, bringing it to life!

Tulip Algarve font family showcases elegant and trendy glamour through a bold contrast between horizontal and vertical stems. The basic glyph design was inspired by the beautiful silhouette of a tulip flower, and a classical beauty was added to the typeface system. With a modern display sans serif personality, this type system will interact well with any layout design.

Nulram is the first typeface to be released by Blonde Typefoundry. Focusing on the relationship between contrast and balance it proved to be an interesting experience to create. This sans-serif display typeface is perfect for anyone looking for a modern typeface that looks clean and sharp, but also has the traditional aspects of a well drawn typeface.

The set of vintage brass alphabet stencils that inspired Stencil Mark JNL was manufactured by the Chicago Firm of Meyer and Wenthe. Pete Skoglund of Unadilla, NY was selling a set of these stencils on Ebay, and was nice enough to provide Jeff Levine some images to use as models for the design of this typeface.

A typographic conundrum presented itself with the hand lettered title on the cover of the 1919 song "I Am Always Building Castles in the Air". The capitalized portion ["Castles in the Air"] was a hybrid mix of a few Art Nouveau-influenced rounded letters, yet along with this were squared letters with rounded corners (reflecting the upcoming Art Deco movement to take place in about another decade). As a complete alphabet, it didnít mix as well as in those few short words. What to do? It was decided to go with the squared look and save the rounder characters for a future project. The end result became Last Date JNL; available in both regular and oblique versions.

The PIXymbols™DecoGlass font is designed to create black (or single color), and two-color titles, initials as well as decorative characters. It is available in a choice of two weights. Each package includes a document showing the character sets and key codes for the fonts. The font packages include both TrueType and PostScript versions, and are available in either PC/Win or Macintosh format. In order to avoid serious problems, be sure not to install the same fonts in both TrueType and PostScript on the same computer. The font offers opportunities for various color treatments in your application programs.

Festivo Font Family is a handmade layered font which includes several textures, shadows. Different font types can be created using various combinations of Festivo Fonts and colors. All fonts of Festivo letters are created as hand-drawn design based on F.L. NO:8 Font's Letters. The fonts No:16, No:17 and No:19 have the same metric and kerning structure than the other Festivo Fonts except No:18. So each one of these 3 fonts are a layer. But they can also be use as wide spaced fonts. No:18 is specific with its metric and kerning structure which was formed by No:17 but No:18 is its bold version. It was designed as a supplemental font. The fonts No:12 and No:15 can be used as shadows. This font family also includes a few ornaments. For your convenience, the files of the fonts were termed by their numbers. The various possibilities of the Festivo Font Family allows you to create a lot of great works such as posters, magazines, printings, t-shirts etc.

Prospect Park JNL was inspired by inline lettering found on some vintage sheet music from the Art Deco era entitled "By My Side". The font's namesake is located in the Crown Heights section of Brooklyn, NY. Prospect Park is famous for its zoo as well as its tree lined paths, historic carousel and the expansive park area.

Makalu is a funny flower font inspired by the lovely drawings of the famous illustrator Zdeněk Miler (best known for his small mole). His flowers are at the same time cartoony and realistic. Enjoy this choice of 27 original and distinctive illustrations while creating your designs.

Sweet Titling No. 22 is part of the Sweet Collection of engraved lettering styles from the 20th Century, published by MVB Fonts. This obscure, art deco design would have been used for engraved letterhead, business cards, etc., and likely first appeared in the 1920s or ’30s.

The 2nd installment of the Enchanted Land family takes us on another medieval adventure, opting to completely rebuild instead of refining the legacy script. More emphasis was put into the undulating nature of the Uppercase characters and how they keep your eyes flowing. For this reason, straight lines and right angles are rarely used in favor of flamboyant terminals and wispy swashes. Lowercase characters, by contrast, adhere to a consistent model defined by its straightened edges and sharp corners. This script flirts with several old world styles but seeks only to borrow elements rather than completely emulate them. German Blackletter, Old English, Uncial, Victorian, it’s in there! Enchanted Land DS would work well in a book, video game, or medieval signage. This family is equipped with Basic Latin, Extended Latin, ligatures, punctuation, a few alternates, and kerning.