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

Audrey is an elegant monolinear Script and Sans font family. Audrey is great for designing headlines, packaging or as a logotype online or offline. Audrey has three weights of Script and Sans and a set of Ornaments. The weights go following: Regular is twice and Bold is three times as wide as Thin so if you want to have an Ornament example with same stroke width as Script you can set the Script in 36pt Regular and Ornament 72pt Thin -and they’ll have exactly the same width. Audrey Script is packed with OpenTtype features: Keep Standard Ligatures on for smooth connections and try Swash, Stylistic or Titling Alternas for more showier letters or seek for even more alternates from the Glyph Palette. Script also has Lining numerals as default and Old Style numerals as an OpenType alternates. Audrey is a close relative to widely popular Cosmopolitan released earlier by Fenotype. Compared to Cosmopolitan Audrey has more geometric forms and bigger lowercase characters with larger x-height.

Quimbly was designed to shine! This hand-drawn font family comes in three weights (light, regular and bold) and was carefully created with coordination in mind. Warm, balanced letters pair very well with just about every modern calligraphy typeface. And unlike many other hand drawn fonts, Quimbly's thoughtful kerning means your text is easy to read at all point sizes! You'll find this versatile family is equally at home in everything from large-scale signage to wedding invitations. Rich Opentype features include decorative swashed capital letters, stylish proper titles, old-style numerals and a full set (uppercase & lowercase) of small caps. Multi-language support is also included in the font.

CONCEPT/CHARACTERISTICS
 The curly, pixelated, edgy and futuristic cha­rac­ter, gives the type­face a high reco­gni­tion value and uniqueness. APPLICATION AREA 
The fancy, videogame like, vintage and sci-fi font „india snake pixel labyrinth game“ would look good at logos, dis­play size for poster, flyer, comics and gra­phic novel let­te­ring, head­lines in maga­zi­nes or web­sites, packa­ging, music covers or webbanner etc. TECHNICAL SPECIFICATIONS 
Head­line Font | Dis­play Font | Sci-Fi Font „india snake pixel labyrinth game“ OpenType Font with & 275 gly­phs & 4 styles (regu­lar, bold, light & 3d). Alter­na­tive let­ters, symbols and liga­tures (with accents & €) KONZEPT/BESONDERHEITEN
 Der ausgefallene, videospielartige, retro und futuristische Cha­rak­ter, geben der Schrift eine hohe Wiedererkennung und eine gewisse Einzigartigkeit.

Crossell is a display typeface inspired by linoleum cuts and old comic strips. It comes in three weights and can be purchased solo or as a family. Take it home and give it a spin today.

A bold spur serif design found within the pages of the 1934 French lettering instruction book “L'Art du Tracé Rationnel de la Lettre” provided the inspiration for Railway Depot JNL, which is available in both regular and oblique versions.

The Dear Sans Collection is comprised of four widths ranging from Condensed, Regular, Expanded, and Wide; each of which are comprised of a three font family of weights: Book, Regular & Bold. Cleanly readable, with just a slight hint of silliness, the Dear Sans Collection brings adds the perfect level of lightheartedness to your designs. The Dear Sans Collection comes with: - Approx. 367 Character Glyph Set per font - including standard & punctuation, international language support, and basic “fi fl” ligatures per font. - 3 Weights per family including: Book, Regular, and Bold. - Loads of Personality for your designs.

Nauticus Sans is a hand-drawn, all caps, sans serif family. It features 4 different font weights: Thin, Regular, Bold and Bold Press. Every lowercase letter has three variations. When the font is used in OpenType-savvy applications, the 3 variants of glyphs are automatically alternated to achieve a random-like effect. Nauticus Script is a handwritten, fully connected script with ligatures and contextual alternates to help with flow and readability. Language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages.

Rock it! is a type family that let's you create instant graphic design for any ROCK, PUNK, HARDCORE, HORROR and so on -gig, poster, logo, and whatever you need. Just type your texts and combine all the tree versions for authentic look! Rock It! includes three ultra condensed sans fonts with different eroded textures and partially different letter shapes. Different versions of Rock It! are set as "Light," "Regular," and "Bold", where Light and Regular have eroded holes in them whereas Bold has "dirty print stains" all over the characters.

Super Ultra Supra - Futuristic Font is a bold, rigid, and thick typeface that exudes a distinct sci-fi or futuristic vibe. Its ultra-modern appearance carries a powerful impact, making a bold statement in design. With three versatile font versions at your disposal, you can easily adapt this font to suit your specific design or thematic needs. Additionally, the inclusion of ligatures adds an extra layer of uniqueness and versatility to this font. Ideal for logos, branding, posters, titles, magazine layouts, sports-related designs, and any projects that demand a strong and modern font.

Bonning is a Roman face full of the spirit of the 1920s. It was inspired by a (real)estate agent's For Sale board seen in an old sepia photograph from that era and combines visual flair and period with good clear legibility. A range of Opentype features including alternate forms, old style numbers and fractions, as well as discretionary and standard ligatures are included. Three weights are offered, including a shadowed black form are offered, all in a choice of three widths. It's the ideal face for signage with a period feel, as well as posters, headings and feature paragraphs.

Working at American Type Founders from a Bruce Foundry recutting, Morris Fuller Benton worked out the dramatics of the English Fat Face, and in 1928 produced Ultra Bodoni, a headline spectacular. Using Benton’s 1933 Ultra Bodoni Extra Condensed, Richard Lipton digitized Bodoni FB Bold Condensed, then took compression even further and designed Bodoni FB Bold Compressed, a real technical tour de force; FB 1992

Flyers, Intros from James Bond films and PlayStation games as well as the typeface Senator from Zuzane Licko inspired the Dutch designer Paul van der Laan to create his font Linotype Rezident. To its design, van der Laan says, I was designing a business card for a friend and I had a certain mood in mind for the typography. I tried to capture this mood in a couple of sketches, drew a few characters directly onscreen and just expanded them into a typeface." And so began Linotype Rezident, with its cool, technical and constructivist appearance which brings to mind computers and virtual reality. And the name? " The name of the font comes from the game Resident Evil. One of the main characters in the game is called Leon and the typeface was initially drawn for a friend of mine called Leon. It also refers to the city of The Hague - where I live and got my education - since it's often called 'de residentie'", where the queen and parliament of The Netherlands are seated."

Veronika is a semi-serif text face, available in three styles: Regular, Italic, and Bold. All three faces are available in OpenType format, with both lining and old-style figures. Grüger, a German artist and designer, first began the design of her typeface by writing out its letterforms with a wooden stylus. She wanted to create a new semi serif face that had uniform stroke widths, but still maintained some aspects of calligraphy. Veronika achieves this; the terminals that begin the first strokes of most letters are round and bulbous, as if the writing instrument added extra emphasis on that spot. This adds a dynamic, movement-like quality to texts designed with Veronika. Aside from some sans serif-ness, Veronika appears similar to old style typefaces from the renaissance: classical inscriptions inspired the proportions of the capital letters, and the lower case letters stem from Carolinian minuscule. These proportions allow Veronika to function very well in text and at small sizes. However, only when you design larger headlines, logos, or other elements with Veronika, will you notice all of its special qualities, like its weight distribution and stroke characteristics.

Shabwa is An Arabic typeface for Print And screen. this font family is from Kufi style and contains 3 weights: Regular, Medium and bold. Shabwa is simple and a little detailed font and its three weights are fully harmonized, one letter with one length on the line, and words with a uniform length on the line, gives a comfortable reading look.

The Stomp Family is a set of three different fonts, Swirl, Flowers and Circles which are designed to be used with Stomp Black to create dual colored type for bright and exciting images. Metrics and Kerning information for the four faces are identical so that they overlay perfectly. Stomp Black is also very usable on its own for bold, high impact type.

CCS Noken is a sleek and versatile sans-serif display typeface family that comes in three weights with ligatures and alternate letters. Its extended width makes it perfect for creating attention-grabbing typography, whether you're designing for print or digital media. CCS Noken is an excellent choice for designers looking to add sophistication and style to their designs with bold and unique typography.

Introducing Lumiere Rosie – A Gorgeous modern sans serif with ton of stylistic alternates to choose. Its bold clean and simple. Works wonderfully on its own for logos, headlines, posters, packaging and many more! And with Three different weights to choose, your option to create more unique and versatile design is a lot wider. Have fun and create more. Your Imagination only your limit!

The Voyager is a sans serif display font with a retro look. With over 100 ligatures, small caps, and swashes, The Voyager is perfect for logotype design, magazine layouts, in titles and short texts. It includes: Three weights: Light, Regular and Bold & Italics 100+ ligatures for both the lowercase characters and the caps Small caps Swashes A set of frames

Way back in 1996, three student letterers went into the forest looking for the mysterious fonts used to letter Spawn: Blood & Shadows. They never returned. A year later, these fonts were found. And now, over 20 years later, we've updated Wiccan with separate Regular & Bold Special weights, Central Europe & Cyrillic characters, automatically cycling alternate letters and fan-favorite Crossbar I Technology!

Dvarlin Staves is a collection of 512 rune glyph's divided into six font family's. The three main font's are Root, Caber and Bole, while Remnant, Branch and Blossom are taller versions of the main set. They all come in four weights: Light, Regular, Semibold and Bold. As well as a Italic and a Slant style for the purpose of adjusting letters on a curved line. It also features codex:437 glyph set and an extended array of letters and corner alternatives, including the default runic glyph's. The collection stands at 72 styles that contains a total of 36 864 glyph's. For extra supporters consider gifting some Staves away to a crafty friend.

BeachBar is a modern bold script with a sunny mood. It is inspired by, well, Beach bars, the summer and the sea, the hot afternoons with a cocktail in your hand and the sound of splashing waves. Beachbar turns our love for summer into a dynamic and vivacious font that comes in three different styles to choose from: BeachBar (connecting small letters, disconnected basic caps, ideal for text), BeachBar Alt (all letters are disconnected) and last but not least BeachBar Script (connecting letters, script-like caps and a bold set of swash capitals for more eye-catching designs). All three styles come in six weights making the font versatile and useful both for web and print; think websites, posters, menus, logotypes, cards, signage, packaging and whatnot. BeachBar is friendly, sturdy and it makes a statement, but most of all, it is fun to play with.

The Garamond family tree has many branches. There are probably more different typefaces bearing the name Garamond than the name of any other type designer. Not only did the punchcutter Claude Garamond set a standard for elegance and excellence in type founding in 16th-century Paris, but a successor, Jean Jannon, some eighty years later, cut typefaces inspired by Garamond that later came to bear Garamond’s name. Revivals of both designs have been popular and various over the course of the last 100 years. When ATF Garamond was designed in 1917, it was one of the first revivals of a truly classic typeface. Based on Jannon’s types, which had been preserved in the French Imprimerie Nationale as the “caractères de l’Université,” ATF Garamond brought distinctive elegance and liveliness to text type for books and display type for advertising. It was both the inspiration and the model for many of the later “Garamond” revivals, notably Linotype’s very popular Garamond No. 3. ATF Garamond was released ca. 1918, first in Roman and Italic, drawn by Morris Fuller Benton, the head of the American Type Founders design department. In 1922, Thomas M. Cleland designed a set of swash italics and ornaments for the typeface. The Bold and Bold Italic were released in 1920 and 1923, respectively. The new digital ATF Garamond expands upon this legacy, while bringing back some of the robustness of metal type and letterpress printing that is sometimes lost in digital adaptations. The graceful, almost lacy form of some of the letters is complemented by a solid, sturdy outline that holds up in text even at small sizes. The 18 fonts comprise three optical sizes (Subhead, Text, Micro) and three weights, including a new Medium weight that did not exist in metal. ATF Garamond also includes unusual alternates and swash characters from the original metal typeface. The character of ATF Garamond is lively, reflecting the spirit of the French Renaissance as interpreted in the 1920s. Its Roman has more verve than later old-style faces like Caslon, and its Italic is outright sprightly, yet remarkably readable.

New Millennium Sans is one of three font families that share a common name, a common design philosophy, a common x-height, and basic character shapes. (The others are New Millennium and New Millennium Linear; all three work well together.) New Millennium Sans is a "humanist sans" in the Optima vein -- but without certain quirks (e.g., the "waisted" strokes) of the latter. It has proportional lining numerals whose height comes midway between the lower- and uppercases. (The bold styles are identical to those of New Millennium.) New Millennium Sans might be used in books, periodicals, or any large text blocks where a legible sans is desired.

Galavant will take you anywhere you want to go! Enjoy three font looks in one; a fun, chunky lower-case, a bold, animated upper-case, and in all-caps with discretionary ligatures turned on, Galavant is tightly interlocking. To explore the interlocking possibilities, turn some ligatures off and others on until you settle on the best combo. There are over 260 two, three, and four-letter ligatures available. Discover interlocking ligatures featuring lower-case "i" along the road as well. In sentence-case, turn discretionary ligatures off, except to add more handmade variation in double-letter pairs and to access a fine "ft". However you roam, Galavant aims to entertain.

Rough and ready, bold and urgent. Or playful and fun in bright colours. The original letters were cut from actual potatoes, then scanned in and converted to vector outlines. Lighter and more heavily inked versions were used for the three variants. Using Opentype character-substitution technology, Salvation rotates through three versions of each letter to create a naturally uneven printed effect. Unlike hot metal type, the potatoes were cut the right way around. This produced reversed prints, which were then flipped back in Photoshop. Originally produced for Hughes' Get Lettering activity book, the font was then extended to cover numbers, punctuation and full European language support.

Winnie the Hoop is a bold, friendly and round display family inspired by a certain well known teddy bear. The family consists of three styles; Roman, Italic and Script, which are designed to be combined together. You can use any of the three styles as your main style and use the others to create multilayered typography that all share the same aesthetic. The typeface is well suited for branding and packaging design, advertisements, posters and even editorial design as a headline style. The Script is packed with ligatures and has Swash alternates that make it easy to customise your design. All styles include two sets of numerals.

Introducing Magnetic Script, a bold stylized font family that is not only eye-catching and assertive, but highly legible at both display and text sizes. The heart of this font's usefulness is the three-layer setup that allows you to quickly copy a text block twice, then reassign the main layer, the extruded shadow underlayer, and the top highlight layer to three different colors. Magnetic Script is massively versatile, and appropriate for many uses including university / collegiate logos, sports team logos, graphics for motorcycle clubs, automotive rallies, microbrewery labels, and vintage & retro styles of all kinds. It's the ultimate branding and logo design font suite.

An old narrow Grotesque from Stempel’s early days (possibly Information Bold Condensed) revived and revised for photocomposition.

The Samba family was inspired by the lettering art of J. Carlos, a Brazilian illustrator during the early 20th century. Turned into a workable series of fonts by the contemporary Brazilian designers Tony and Caio de Marco, Samba is especially recommended for use in logos, flyers, posters, and tattoos! This family offers the user a chance to mix three different styles of lettering into one coherent design, which can be very useful in solving certain design problems. While the regular Samba face is made up of mono-line letters, the style of Samba bold offers much more of a thick to thin contrast. The Samba Expert set displays lavish swash endings, which were inspired by Brazilian metal work. The Samba family was one of the winners selected during the 2003 International Type Design Contest, sponsored by Linotype GmbH.

Kathleen Serif is a geometric serif display font and works best in text and display applications, such as posters, headline, magazine, logos, titles, product branding, corporate branding and publishing. Kathleen Serif font has three weights: Light, Regular, and Bold, each available in italic, making a total of six styles. Each style has a full upper and lower-case, accents, punctuation and a selection of monetary symbols.