Piano Keybuild is a small font designed for creating piano keyboard layouts. It was inspired by my Yamaha CLP-840, a wonderful digital piano. The face consists entirely of keyboard keys that can be combined to form realistic keyboards. These keys come in four styles: basic outlined keys, filler keys (for adding a second color inside the outlines), keys with note names, and pre-made sets of keys. Keys of a given kind will kern with one another, but only in the order that they would naturally occur on a keyboard. (This makes it easier to spot incorrect key sequences.) It also includes digits 0 through 9 inspired by numerals used in traditional music notation. The user guide (PDF under Gallery tab) demonstrates the locations of all the glyphs as well as how to use them together effectively.

Bourgeois Slab is built upon the framework of Bourgeois, our popular geometric type family. As with the sans-serif Bourgeois, Slab’s letter forms are thoroughly contemporary in look and feel. Echoing mid-century modernism in style, Slab’s overall look is friendly and businesslike, more expansive and expressive than Bourgeois’s pared-down asceticism. The slab-serif’s development and vigorous uptake during the early-Victorian-era Industrial Revolution, means that we endow slab-serif faces with characteristics of sturdiness, durability and trustworthiness. At the same time, we appreciate the slab-serif’s raison d’etre: They’re made to grab your attention. Bourgeois Slab and Slab Condensed when combined, offer 24 styles suited for text of all kinds and sizes. Both are particularly good for for text-heavy projects and for designers seeking a robust, authoritative-but-genial voice for branding and logo work.

Bile is a Classy serif typeface Unique alternate , multilingual support with perfect kerning. This typeface is perfect for an elegant & luxury logo , classy editorial design, women's magazine, fashion brand , cosmetic brand, fashion promotion , modern advertising design, invitation card, art quote, home decoration , book/cover titles, special events, and much more. This elegant font needs to be in your collection and is perfect for your next luxury design project. Bile Features: · Uppercase & Lowercase · Alternates & Ligatures · Numerals & Punctuation · Accented characters · Multilingual Support · Unicode PUA Encoded If you want the SVG version please contact me. While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to drop us a message. We'd love to hear your feedbacks in order to further fine-tune our products. Thanks and have a wonderful day .

Ovink is a rounded type family designed for great distance legibility. Named after the legibility researcher Gerrit Willem Ovink, in its early stages was subjected to experimental legibilty investigations of distance and time threshold methods. The results of this heavily influence the design. The high regularity of the letters also makes the typeface suitable for running text and the wide span of weights motivates a broad usage for the setting of both display and text. Ovink is also loosely inspired by Knud V. Engelhardt’s work for the street signage, designed around the years 1926-27 for Gentofte in Denmark. Being rooted in the Danish typography tradition, Ovink has a sturdy unpretentious look to it, yet compared to its predecessor the curves are tighter, and characters have a higher level of differentiation. Details include 9 weights with matching italics.

Hellenic Typewriter is a slab serif for text and display, combining the typewriter aesthetic's balance of elegance and pragmatism with some of the extended western flavour of Hellenic Wide. Rounded strokes, some unorthodox slab details and playful, looping tails all add to Hellenic Typewriter’s warmth and approachability, while its typewriter-inspired proportions and clean forms provide rythym and an honest, confident voice. The lightest weights, laying bare the simple, partly-geometric and optically-monolinear construction, embody an assertive elegance. Ball terminals feature extensively throughout the design, in both lower and uppercase. This miroring of details creates a greater harmony between the cases and ensures that the true character of Hellenic Typewriter is not lost when setting in all-caps. Expressive true italics elaborate upon and emphasise some of the freer, more decorative elements of the roman styles.

Once upon a time, Mestre Patau, the «Black» magician, concerned about children´s typefaces historical ugliness, decided to settle the matter and using his vector powers, made letters embellished to be used in that stories so that they were according with the great genius all children have inside. Well done face but happy, goodness is not incompatible with joy. A solid construction, smooth, rounded, vibrant, generous curves and even more generous x-height and general proportions, give to the letter the vitality and freshness needed for use in projects where formality is not a requirement. Naughty but welldone, although not heeding the overshoots or the formal alignments, no symmetry in the horns is, despite this, or because of it, a fresh, cheerful but perfectly legible type. A full menu of freshness in your tales and stories!

The Stamnaki Greek Font is a 100% hand-drawn decorative font with which you can achieve a handwritten-type lettering feeling. Of course, the fun font supports a full set of Greek characters and an extended Latin character set with diacritics. Therefore, this multilingual font supports all the European languages. In addition, Stamnaki includes over 20 ligatures so you can achieve a hand-lettering aesthetic on the spot. Cleary, this font can cover from “hand-written” quotes to food packaging, merchandise, and branding projects. Also, it can be used on social media content, for poster design, and any other kind of graphic design that requires a hand-crafted feeling. The style of the font is perfect for your modern graphic design needs. Again, if you are into art and crafts, this is a fun font for you!

Goudy Forum is a revival and dramatic expansion by Tom Rickner, type designer at Ascender Corporation, of Frederic W. Goudy’s 20th typeface design, "Forum Title". The Pro font began twenty years ago while Tom Rickner was a student at the Rochester Institute of Technology (RIT). Tom printed a type specimen using the Forum Title foundry hot metal types. Then in 1993 Tom began to digitize the font from that specimen while working as an independent type designer. Fifteen years passed before Tom dusted off the digital data and began working in earnest on font with a full Latin 1 character set. Steve Matteson, type director at Ascender, encouraged Tom to take this font further still, and soon the glyph repertoire and feature set blossomed to a robust Pro font with a myriad of advanced typographic OpenType features.

Varisse spans over two centuries of type design and draws its inspiration from well-loved classics that are as fresh today as they were when they were created. The range stretches from a quintessential 18th century transitional serif to an uncompromising 20th century sans. Think Baskerville, think Gill. The idea was to create a family that shared similar forms and the same vertical metrics, allowing them to be mixed to provide impact and readability as required. With a generous x-height and a host of options, the Varisse family is ideally suited to branding, packaging, magazines and editorial. It also provides a wealth of opportunity in website presentation. The fonts are divided into five subfamilies by degree of ‘serification’. Varisse Sans Varisse Soft Sans Varisse (normal) Varisse Soft Serif Varisse Serif Each subfamily contains six weights and accompanying italics.

A vintage lettering stencil manufactured by the E-Z Letter Stencil Company of Baltimore, Maryland was the model for Schoolyard Stencil JNL, available in both regular and oblique versions. Re-drawn digitally and following the actual bend of the steel rule dies used to cut the stencils, this typeface has not been cleaned up from its original design. Upon close examination, you will find straight angles and slight curves in the most unusual places. This was representative of the difficult work involved in bending steel cutting rule material and fitting it into small areas. For many years, E-Z Letter was the main competitor to the Stenso Lettering Company; the originator of the oil board stencil lettering guide complete with automatic spacing holes. Anyone over 40 will well-remember lettering their science fair posters, report covers and ring binders with these stencils.

Dear Dolores has had its name from the latin word dolorem, meaning sorrow or grief. When I started working on this display font I found myself trying it out using the latin requiem texts. The capitals somehow sat well with the monumental and solemn words of mourning. The broken hairlines suggested stone cuttings where the fine details had been worn down and obliterated over time and it felt at home in a churchyard or in a monument park. Adding lowercase gave the font a more personal and friendly appearance and opened up new possibilities for use. The name itself is a fictional message to someone long missed or perhaps lost too soon. Dear Dolores comes in a cut and an uncut version where the fine details are left intact. Both are excellent for headlines or memorable quotes.

Campione Neue was designed to be a true work horse. It is powerful and versatile thanks to its two styles Sans and Serif. It's perfect for logotypes, sports branding, social media edits, posters, apparel design, magazine headlines, labels and so much more. Campione Neue is spanning from Thin to Black in both Sans and Serif. The Variable Fonts can be used in Adobe Photoshop and Adobe Illustrator and other applications that supports this feature. They make the process of designing more flexible and easy. For those who prefer fixed weight fonts we've included nine weights for each style in the package. Campione Neue comes with a character set supporting most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili, Swedish and many more...

The 1990s was a time of creativity, experimentation and exploration into the world of digital typography by amateur and professional alike. Ray Larabie [through his Larabie Fonts] offered dozens upon dozens of wide-ranging (and often most unusual) freeware fonts. Ray was the driving force of encouragement and a behind-the-scenes “mentor” who helped Jeff Levine Fonts get underway in January of 2006. As his focus changed to high-quality commercial type with the launch of Typodermic, Inc., many of Ray’s “less than perfect” font experiments were withdrawn. He eventually turned those typefaces into a bundled zip archive released into the public domain through Creative Commons. “Webster World” resembles a fusion of Techno and Western styles. With Ray's permission, the original characters have been cleaned up and re-made as Space Traveler JNL, which is available in both regular and oblique versions.

By chance I stumbled upon an unfinished font in my fonts folder (while looking for something else). It had a stupid working name, but when I opened it, the font looked really nice! I have no idea why I never finished it. I renamed it Ukiyo Mind, because the font looked a bit like Japanese brush strokes. Ukiyo is a Japanese term which roughly translates as ‘the fleeting/transient world’. In mediaval Japan, the word was associated with Buddhism, but later it was used to describe the urban lifestyle and the pleasure seeking aspects of it. Nowadays it refers to a ‘living in the moment’ state of mind. Ukiyo Mind is a really nice brush font, which I probably made using Chinese ink and a brush. It comes with extensive language support and a set of alternates for the lower case glyphs.

Glorify SH is a Modern vintage serif typeface with Unique alternative , multilingual support with perfect kerning. This typeface is perfect for an elegant & luxury logo , classy editorial design, women's magazine, fashion brand , cosmetic brand, fashion promotion , modern advertising design, invitation card, art quote, home decoration , book/cover titles, special events, Tote bag, T-shirt, Advertising and much more. Glorify SH Features: · 4 Weights font (Regular, Italic, Outline, Semi Bold) · Uppercase And Lowercase · Alternates · Numerals & Punctuation · Accented characters · Multilingual Support · Unicode PUA Encoded If you need another format of this font, such as TTF, WOFF and WOFF2, please contact me. While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to drop us a message. We'd love to hear your feedbacks in order to further fine-tune our products. Thanks and have a wonderful day .

Two years ago I went on a camping holiday in England with my wife and (then two) small children. The first stop was a nature campsite near the village of Bodiam in East Sussex. My son wanted to see a real castle, so I figured Bodiam Castle was the 'realest' of them all! He loved it, as the castle had a moat, crenellated walls, a bunch of towers and a guy dressed up as a knight. Bodiam font is a rough didone-ish affair. It is all caps, but you can freely mix upper and lower case. It would be ideal for book covers, posters and maybe even for castles. Comes with a treasure chest of diacritics.

Ok. Another font with cats in it. I asked my son, Sam (age 4), to draw some cats and I have to say: I'm very proud of what he created. The tiger I asked him for became a spinosaurus mom with her baby and I also got some happy hearts thrown in for good measure. The Cat's Whiskers is a very legible hand made font. Nice and loose, not too messy and with just a hint of childishness. Comes with a litter of diacritics. Oh… and a big thank you to Jakob from pizzadude.dk for suggesting I should post more pics of cats on FB - which eventually led to the name of this font.

Rebus Script is a fun, lively font that lets you create rebus puzzles by automatically replacing certain words or syllables with pictures. This font is an advanced OpenType font that requires an application that supports Contextual Alternates. The font was created by Terrance Weinzierl and is based on the Louisville Script handwriting font designed by Steve Matteson. To use the font you simply type a word like 'sun' or 'son' and those letters will automatically be replaced by a picture of the sun. There are over 70 pictorial symbols in Rebus Script that make up the 'vocabulary' for automatic substitution based on over 300 different syllable/word combinations in various cases (lower, upper, titling) in the English language.

In a specimen book from Stevens, Shanks & Sons, Ltd. of London (circa1930s) “Royal Gothic” was their version of a classic grotesk sans that had been in use as far back as 1899 when the Keystone Foundry called it “Charter Oak”. The terms "gothic" and "grotesk" were equally applied to early sans serif typefaces – at first not well embraced by printers as being too ugly (grotesque) for use. One familiar characteristic of early grotesk fonts (such as this one) is the numerous variations of character widths and shapes. By combining those two terms into a font name, the digital version of this design is called Gothic Grotesk JNL, and is available in both regular and oblique versions.

Bristol and Bristol Adornado (also known as Greco) was first released by Fundición Richard Gans of Madrid, Spain, in 1925. The Richard Gans Foundry is a defunct Spanish foundry which existed from 1888-1975. Throughout its existence, types were designed by a number of people including José Ausejo Matute (d. 1998), Antonio Bilbao (who created Escorial in 1960), the son Ricardo Gans, and Carl Winkow. GroupType's versions of this font pair have been with FontHaus since the mid 1990s. Bristol is a charming and strong period design. Its structure is masculine and vertical. A great poster font and the Adornado style is an excellent choice for an eye-catching large drop cap.

La tipografía “Tipo Metro CDMX” fue desarrollada por Lance Wyman como parte del proyecto “Metro” desde los años setenta, y es uno de los elementos clave de la cultura visual del transporte del Sistema de Transporte Colectivo Metro (STC Metro). Este estilo se ha convertido en el icónico fundamental del trasporte público para los residentes de la Ciudad de México. En esta edición, los tipos minúsculas son una adaptación “no oficial” para el Tipo Metro CDMX, enriqueciendo la tipografía a un estilo visual de altas y bajas, por lo que se prescinde del diseño base como trabajo propio para enfatizar los tipos minúsculas exclusivamente, además de que se han añadido algunos caracteres de acentuación extendiendo su uso a otros lenguajes. Los tipos son una nueva propuesta por Ixipcalli en el presente año 2023. The “Tipo Metro CDMX” typeface was developed by Lance Wyman as part of the “Metro” project since the 1970s, and is one of the key elements of the visual culture of transportation of the Metro Collective Transportation System (STC Metro). This style has become the iconic fundamental of public transportation for the residents of Mexico City. In this edition, the lowercase types are an “unofficial” adaptation for the Tipo Metro CDMX, enriching the typography with a visual style of highs and lows, so the base design is dispensed with as my own work to emphasize the lowercase types exclusively, In addition, some accentuation characters have been added, extending their use to other languages. The types are a new proposal by Ixipcalli in the current year 2023.

Julietrose debuted in May of 2006 and was quickly embraced by members of the graphic design community, who found it as charming as its name. The playful, full-bodied script began to show up in all forms of graphic communication. However, it soon became apparent that a bold weight would add more versatility to the design. Martin Wait, Julietrose’s designer, happily obliged by drawing a new and more forceful weight of the typeface. Where Julietrose is vivacious and lighthearted, Julietrose Bold is assertive and speaks with authority. They are clearly sisters, though – both weights feature flamboyant swashes and elegantly long ascenders and descenders. Both designs also offer a suite of swash and alternate characters, and are available in OpenType format The Julietrose family is small but irresistible. This pair can easily charm their way into such diverse uses as posters, restaurant menus, social announcements and even product brochures.

A few days ago, my good friend David from Hanoded.com visited me for a few days. We drank a lot of coffee and walked the streets of Copenhagen - we even took a trip up in Rundetårn! :) Well, on one of our walk (of course looking for inspiration for new fonts) we spotted this handmade sign. We agreed to make a font of the 7 letters available, using our own imagination and style! I called my font Mundbind DK and David named his Mundbind NL - of course it is the landcodes of Denmark and Holland. As you can tell, the font is uneven and somewhat unpredictable - following only the "rules" of the person who handprinted that sign ... and not many of the rules of the good old and respected painter who make beautiful signs ... however, this sign had it's beauty in a natural and innocent way.

Mailuna Pro is a family of gothic typefaces of weight and oblique stature, finding themselves on a line between modern and historical gothic styles. Originating as a revival and elaboration of a limited lettering specimen from a series of old loose spanish specimen book pages, it finds itself in the visual company of vintage transportation roll signs, wood type gig posters, financial publications, etc. What began as just Capitals, Lowercase and Numerals was expanded to a rich pro glyphset including small caps, unlimited fractionals, superiors & inferiors, ordinals, tabular & proportional figures, a Caps to small caps feature and an expanded language glyph set. From modern letterpress back to historical adverts, book covers, headlines, or anything else you want to give a dash of vintage authenticity to, the Mailuna Pro Family is here to fill your needs. Be sure to download and take Mailuna Pro AOE - Book weight for a spin for free.

Eclectotype's continuing battle against whitespace continues full cream ahead with Duckie, and fat-bottomed script that packs a whole lotta weight into the softest of punches. The forms feel familiar, like they're straight from funky disco album covers, but this is a 100% original face. Don't let its retro charm dissuade you from taking it for a spin in more contemporary settings; it might just surprise you! Now for the features bit: OpenType features include ligatures, swashes, contextual alternates and stylistic sets. The stylistic sets are 1. swap the script r swap to a normal r, 2. swap the script upper case i to a more familiar seriffed version, 3. the number four changes to an open form, and lastly, 4. loopy ascenders in the lower case close in and lose the hole. You should not use this in all caps settings. Pretty please.

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.

Ico Weather is a set of 115 symbols depicting weather, temperature, weather forecast and astronomy. To name a few, there are sun, clouds, rain, snow, thermometers, wind socks, tornados, volcanoes, weather warnings as well as symbol for raining fish. The style of Ico is inspired by the look of symbols used on the classic monochrome LCD displays. The symbols are monolinear with rounded corners, composed of a smallest possible number of elements. In addition, the rounded style is accompanied by a second style with sharp corners and more detailed drawing. All symbols of Ico share the same width, making the font compatible with the LCD typeface ION. Together, they are the perfect sollution for LCD style typography. Ico Weather is a part of a larger set. Have a look at the other available Ico fonts and don't forget to check back soon for even more additions.

Ico Time is a set of 115 symbols depicting time, clocks, watches and rhythm. To name a few, there are alarm clocks, binary watch, moon phases, calendars, 7-segments digits, hourglasses, sun dial as well as infinity symbol. The style of Ico is inspired by the look of symbols used on the classic monochrome LCD displays. The symbols are monolinear with rounded corners, composed of a smallest possible number of elements. In addition, the rounded style is accompanied by a second style with sharp corners and more detailed drawing. All symbols of Ico share the same width, making the font compatible with the LCD typeface ION. Together, they are the perfect solution for LCD style typography. Ico Time is a part of a larger set. Have a look at the other available Ico fonts and don't forget to check back soon for even more additions.

P22 Graciosa is a five font family based upon designs for a metal type by Carlos Winkow (1882–1952), a German type designer who lived and worked in Spain in the early 20th Century. Graciosa is a sort of hybrid blackletter/text font, with simplified blackletter caps and a serifed lowercase with subtle script flare. There is a Regular, Black, an open version called White, and an engraved version called Gris. The version called Multi serves as a fill font to allow for multi-colored layering options. A revival of these designs was initiated by Matthias Beck in 2015. The character set was expanded for use in 21 languages (OpenType Standard). The digitization and reintroduction of these old fonts—created in Spain and practically forgotten—makes them regain a new life. This project was subsidized by the Spanish Ministry of Education, Culture and Sport.

Elpy is a friendly rounded sans serif workhorse family inspired by all things music! Spanning 22 Condensed and Regular weights with true italics, Elpy will fit right in with your record collection and your font collection! The Elpy family includes language support for Western and Eastern European languages, Greek and Cyrillic. Ian Lynam dreamt up Elpy one day when he visited a record pressing plant outside Tokyo, watching vinyl pellets being melted down and a fresh batch of 7-inch records get pressed. Despite the smell, a seed was planted that would be extruded into Elpy's rounded forms half a year later... Elpy Light and Regular function as highly readable text typefaces, while the bolder and lighter weights are perfect for display work. Elpy's rounded terminals make the family perfect for screen-based work, as well as for print conditions of any resolution—from offset to Risograph.

Handcrafted signs line the stoned walkways of old Italy. Some a century old, these often forgotten works of unknown artists remain etched across cities and villages. But now, they make their inviting impressions once again as the inspiration for insigne design’s Gineso Soft typeface. Gineso Soft absorbs the personality of northern Italian posters, headlines and logotypes, providing a type especially nice for signs and titling with its condensed qualities. The font contains matching italics for the the eight weights and three widths. We’ve also included small features along with fractions and superior / inferior characters to broaden your options. Even more, Gineso Soft is ready for all applications and features a large character set for the languages ​​and literature of Europe. So add a soft touch the next time you’re in a tight spot. Add Gineso Soft and make your project a work to be remembered.

Filistique is gracious, flexible, and stylish. In the first sketches of this typeface, the one-line drawing principle was the rule. This principal had to perish soon when more complex characters came up. But still the one-line rule was kept in tradition to maintain the behavior of the natural course of the drawing line. Once writing, the characters joined fluidly into words and slipped easily into sentences like they had always belonged there. They have these natural features maybe somewhat familiar on the first sight. Filistique approaches handwriting but likes to be straight up as well. Please, no Christmas card writing with this character! She is best in shape for finger licking good menus of classy restaurants, lyrics on an album cover of a renowned and utterly cool artist, for a letter to your precious loved one and of course for making a hell of an impression anyway!

Mountain is a digital revival and extension of Teutonia, an old metal typeface released by the Roos & Junge type foundry (Offenbach am Main, Germany) in 1902. Teutonia’s design was popular during both the Art Nouveau and the Constructivist eras, where similar letterforms could be seen as far away as the Soviet Union. Although it slipped under the radar during the 1930s and 40s, this style feels extremely contemporary today. Mountain’s underlying geometric feeling is reminiscent of pixels and grids, suiting it for application with music and art, as well as history. Yet this typeface is not as static as it seems at first glance; playful diagonals—like those seen on the capitals D, L, P, and W—enliven the otherwise stern horizontal and vertical motion. Teutonia was a simple upper and lowercase display type. Mountain adds upon these by adding small caps and obliqued italic companions, rounding out this typographic toolkit.

Winner Sans™ and Winner™—Classic athletic aesthetics, finally as a versatile contemporary super family. Just when you thought there was nothing left to add to the classic sports design, we lifted it to a whole new level. Whatever you want to set in whatever space, with seven weights in seven widths both with or without serifs, you’ll definitely find the right proportions for it! Winner Sans supports not only most Latin-based languages but also Greek. Its extensive character set also contains currency signs, arrows, as well as a wide range of numerals from small figures to Roman numerals. Furthermore, its sophisticated OpenType layout features give you access to alternative letter shapes, fractions, tabular figures, and contextual alternates. With more than 24,000 glyphs in 49 fonts, Winner Sans leaves nothing to be desired. Grab Condensed Regular for free and give it a spin! (Stadium illustrations by Oskar Strauß)

Introducing the stunning modern serif font family, Aroxima Serif. This font family takes the traditional serif design and puts a fresh, contemporary spin on it. Avenir Serif features clean, crisp lines and sharp edges that give it a sleek and sophisticated look. Its high contrast between thick and thin strokes create a beautiful visual rhythm that draws the eye in and makes for easy reading. Aroxima Serif comes in a variety of weights, from Regular to Black, making it a versatile option for any design project. Its elegant and refined appearance makes it the perfect choice for branding materials, editorial layouts, and websites. Avenir Serif also includes a range of special characters and ligatures for added flair and customization. Overall, Aroxima Serif is a modern serif font family that combines classic design elements with a contemporary twist, making it a timeless choice for any design project.

Hebden is a ‘Northern’ font. Inspired by the town Hebden Bridge in Yorkshire, the family is a mix of a grotesque and an incised serif. The grot is based on Victorian train station signage and the serif is style that can be spotted in and around the Yorkshire Dales region. Hebden has a nostalgic twist and is ideal for labelling, signage and memorable messages. The grotesque face with its robust angles and warm circular curves recalls the style of traditional English sans-serifs like Caslon’s 2-Line Egyptian. The incised face has strong but sophisticated and natural forms and is based on a wood carved style popular in the early 20th century. The weight of the two faces are are drawn to complement each other creating an evenly balanced combination. Both faces come with caps, lower caps across letters and numerals, and have Western, Central and Eastern European language support.

Annlie™ Extra Bold and Annlie Extra Bold Italic are two display faces designed by Fred Lambert in 1966 for the Annlie type family. These two samples from the Annlie family are both fat faces. Fat faces were offshoots of the modern, or Didone, typefaces that were de rigueur during the early 1800s. These fat faces were among the first typefaces to be used solely for advertising purposes. Naturally, they were always used in larger point sizes, in display functions. Annlie could be called an optimization of these old advertising typefaces. With high x-heights, ultra contrast between thick and thin strokes, and perfectly engineered drawing techniques, Annlie is a highly crafted typeface. Give it a spin in your next advertising campaign! Annlie’s fine thin strokes are very graceful in their appearance, and lend a strong, yet soft, feminine feeling to anything they touch.

Nearly a hundred human heads, in three dingbat files. The whole series comes from the sketchbook: the original ink drawings were then digitized and refined to create vector outlines. Rather than perfectly smooth, geometrical shapes, the Entestats, like their close relatives in the Capsbats series, the Entestats retain a handmade look and feel. The Entestats are ready-made illustrations, though of course they will appreciate being enriched with colours, textures, an imaginative layout... and use them for a variety of projects. Use them small, as spot illustrations or as big as a whole page or page spread. The Entestats and their kin, the Capsbats, are a terrific resource for presentations, packaging, logos, brochures and advertisements, to name a few applications. The book 1000 Heads is a compendium of the drawings featured in the Capsbats and Entestats and it gives a glimpse of the limitless applications of this collection.

Yana Klink is an illustrator at Art. Lebedev Studio, whose works are often accompanied by lines of fancy text written in her own recognizable manner with long strokes and “beauty spots.” Once we needed to apply that style to a number of pieces of text, we decided to design a decorative script called Klinkopis. It comes in one weight (regular). Text set in Klinkopis looks best when arranged in waves, like the original. It is recommended to use large sizes—from 24 pt and up—and have no more than just a couple of lines that become an essential part of the artwork. Klinkopis is designed to use OpenType Contextual Alternates. To beautify your project even further, some characters can be manually replaced with their more intricate or plainer variations depending on the neighboring letters. Klinkopis features long descenders and ascenders, which requires large leading to avoid congestion.

CA Oskar came into being as a custom typeface for the international Traumzeit music festival. As a substantial part of the new corporate identity, it had to be characteristic, but also flexible in use. Starting with the design of compressed caps for headlines, the typeface was soon expanded by a condensed weight for setting of text and further developed into a fully functional font with two widths and two weights. Both weights are very space-efficient, which was -- apart from aesthetic considerations -- an important issue in the process of the design. CA Oskar is a mixture of industrial harshness and friendly round forms, reflecting the spirit of fusion, which is basically what the whole festival is about. Its very slim proportions in two widths make it an attractive alternative to fonts like Alternate Gothic, but CA Oskar adds an extra portion of personality and a coherent choice of weights.