The long-awaited Rust Bundle addition to our Panton type family has arrived, featuring the headliner Panton Rust and its trusted partner Panton Script Rust. Start your engines and get ready for 72 fonts, grouped into five weights ranging from SemiBold to Heavy, and including multiple Base combinations with different Shadows and Grunge Textures. All of the above is also a part of the accompanying Panton Rust Script, whose natural flow is further emphasized with specifically adjusted Contextual Alternates. The list of OpenType features wouldn’t be complete without localizations, figures, fractions, superiors and inferiors, numerators and denominators, as well as tabular numerals for Panton Rust. The Rust Bundle includes Extended Latin and Cyrillic coverage, providing support for more than 130 languages. This handcrafted package was created to bring about authentic and original vintage type, making it especially suitable for any design that speaks of craftsmanship, a sublime human touch, and a mature signature with undeniable flavor. In Rust we trust! Features: • Textures, Shadows and Inline versions of the fonts which can be combined for a multicolor effects • 72 styles in total, including 42 fonts for Panton Rust and 30 fonts for Panton Script Rust; • 5 weights from SemiBold to Heavy; • Extended Latin and Cyrillic coverage with support for more than 130 languages; • A broad set of contextual alternates and ligatures for Panton Script Rust

An elegant duo of fonts and floral illustration extras - designed to work together in harmony, to produce a plethora of beautiful, sophisticated & feminine designs. The luxurious modern calligraphy script works perfectly together with the delicate hand-drawn florals - ideal for elegant branding projects, greeting cards, packaging, social media, logo design and of course, wedding invitations. Also included is Serenity Serif, a rustic serif font, with a touch of imperfection as you'd find in old printed press inks - to contrast with and therefore compliment the more refined luxurious contemporary flow of the script font . Serenity Script includes handy OpenType features that makes the font look more natural - it includes a universal beginning swash for lowercase letters , a full set of lowercase letters with ending swashes, a beginning swash that can be added via OpenType Ligatures by typing either { } or ( ), and a full set of alternate lowercase letters , as well as 70 beautifully crafted ligatures . A more slanted, and heavier version of the script is also included for you. OpenType capable software is required to access these features - The most popular of which is and Photoshop CC, any version of Illustrator, Indesign, Word (new versions).  The Serif font comes in 4 versions: Regular, Bold, Heavy and Italic - when used together with different tracking settings and weights, they produce beautiful looking type designs to compliment the Script.

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.

Inspired by the Indonesian island’s laid back feel and easy going culture, Bali Script is a tribute to the hand-lettered signage on beach bars, surf shacks and cafes. The swell of the stroke endings and the bolder-than-your-average gooey look convey a cool, contemporary take on baseball scripts. Overlay Bali Script Highlight for a cartoonish, glossy finish. Perfect for logos. This font is jam-packed with OpenType features that make smooth flowing text a doddle. Contextual alternates and ligatures are best left on by default. The alternates especially work a subtle magic that helps letters connect with an even rhythm, and automatically substitutes letters with the best fit alternatives based on their context, such as at the end of words, or adjacent to certain other letters. There are four stylistic sets (or all grouped together in the stylistic alternates feature for those without easy access to them) which do the following: SS01 - changes the r to a script form SS02 - makes certain caps more ‘scripty’ SS03 - capital I (and accented versions of it) get serifs SS04 - underline function. typing two or more underscores extends on underline beneath the previous word. Also included for your pleasure - oldstyle figures, automatic fractions, superior and inferior numbers, ordinals, some discretionary ligatures, swash alternates and extended language support.

I’d been thinking for a while about making a serif font with ball terminals: big fun round ends to the letters anywhere I can squeeze them in. So I made Breakfast Pastry! I started with a hand-drawn set of basic letters, then went hog-wild making alternates and ligatures galore with fun swirls, curls, and even more balls! I’ve cleaned the letters up significantly to make them smooth and easy for any cutting or printing you may want to do, but I’ve also left in some of the hand-drawn character so that the letters are warmer and not too formal. Then I took the first font, and made a second solid version without the cutouts. After that I thought: I tend to make plumper fonts ... why not make an even thinner version? So I did! All three versions have the same character set (over 700 glyphs total), which means they all have the same extras and alternates. All three fonts have over 300 extended Latin characters for language support, as well as over 200 bonus items: alternate letters, letters with swashes, two-letter ligatures, small caps, catchwords, and even some bonus ornaments and elements to make the fonts even more flexible. (After all, if one swash on a letter is good, two or three might be great!)

History is always in sight; it is constantly being reconsidered and reformulated in the context of now. We see approaches to art, fashion, textiles, homewares, furnishings … not to mention music, graphics and everything else that culturally enriches our daily lives, revisited and made anew for today.    Address Sans indulges in the spirit and aesthetics of mid-century Modern – Italian industrial design, sleek coffee makers, stylish cars, seductive jazz pressed on vinyl – with a charm and charisma that defies time. It evokes history but is decisively created for today.    Its design, in reality, is rooted in the condensed structure and block modulation of early 1950s German lettering intended for use in street signage, but when we started to work on the various weights and widths, the result was a set of fonts in a style similar to the typographic work developed by Butti and Novarese in the 60s. The multitude of potential applications for Address Sans then became clear.    In a range of 3 widths and 8 weights each, Address Sans includes little verses, true italics, small caps and numerous alternative signs for a total of 48 fonts. The result is a functional typeface that is effortlessly seductive, with geometric features and design details that ooze cool, and take it away from mere reinterpretation towards typographic forms that adapt perfectly for contemporary use.

A few bold caps drawn by Albert Du Bois for the 1906 Henderson Sign Painter book started me in the direction of looking at how sign painters approached slabs after the industrial revolution. The usual happened from there. My exercise in the early lettering roots of what eventually became the definition of geometric typography ended up having a life of its own. The majuscules led to minuscules, one idiosyncratic bold weight led to six more, and uprights led to italics. What was kind-of-interesting in the early twentieth century persuaded me to make it interesting enough a century later. This of course meant alternates, swashes, the standard baggage that keeps calling my name. Henderson Slab is a family of seven weights plus italics, all full of open features and extended Latin language support. Part of this family’s appeal is its coverage of nearly the entire of the slab serif through the last 100 years — the basis is the manual, humanist origins, the swashed forms come right out of the phototypesetting era, and the alternates and mostly modern constructs of contemporary ideas. The result is a set with the ability to function in modern spaces, from corporate to editorial, in text or display, while both winking and nodding at the roots of what is now considered a geometric endeavor. (Basic version do not include alternates, swashes, etc).

The Yorkten family of fonts is back with another satisfying addition to its clean style. The rhythmic, new Yorkten Slab expands Yorkten’s basic, contemporary form of geometric and simple lines and adds a level of self-confidence and elegance to your work. Slab's basic structure is compact. It’s more condensed than most slabs, so you can save space yet still have clear, consistent readability. The added serifs create a fresh text color, too, that syncs well with the new font’s inherited features. Like its predecessor, Yorkten Slab offers its natural, simple structure with more than fifty fonts in the family and three different widths - extended, normal or condensed. Each group has eight weights from a lean thin to tough looking black, giving Yorkten Slab plenty of bragging rights among its peers. And like Yorkten, too, Yorkten Slab’s greatest value is the ability of its members to work easily and well together and with a variety of other fonts. Yorkten Slab ensures that you have the necessary tools for any challenge. In combination with its superior functionality and excellent readability, this versatile font can be effectively used for many print and screen operations: e-books, applications, headlines, banners, posters and websites to name a few options. Don’t wait any longer. Start tapping the possibilities that Yorkten Slab offers your work.

Neo Contact is the typeface used on the packaging of Marlboro cigarettes (Marlboro “Reds,” the main line of the brand). The typeface is bold and condensed, designed in the Egyptienne style. Egyptienne types were first designed in the 1800s, as type founders - especially in the westward-expanding United States - began to dream up newer, bolder styles of letters for advertising usage. During the 1800s, it became increasingly important for businesses to set themselves, and their products, apart from competitors. This desire has remained with corporations, as well as with advertisers and designers, into the 21st century. In addition to cigarette packaging, Neo Contact (as part of Marlboro’s branding efforts) can be seen on numerous items, including Ferrari’s F1 racers, and at Formula 1 race tracks. The letters in Neo Contact are filled with personality. Their forms display two distinct weights of line, and the serifs are made up of tiny, strict slabs. Ball terminals round out the design. Neo Contact is a complete font, with a complete western character set. Typefaces in the Egyptienne style preceded the development and distribution of larger, crazier wood typefaces, but also share many similarities with these descendents. More traditional, text faces in the Egyptienne manner are also available from Linotype GmbH (e.g., Adrian Frutiger’s Egyptienne F). On the opposite end of the spectrum, we offer interesting, personality-filled wood display types, like Ponderosa as well.

Volta is a robust typeface from the 1950s. A revisit to styles that were en vogue at the turn of the century, Bauer type foundry designers Walter Baum and Konrad Bauer designed this type family in1955. The form of Volta's letters are similar to those in New Transitional Serif typefaces, like Cheltenham and Century. Developed after the Didone (i.e., Bodoni) style types, New Transitional Serifs speak more to the zeitgeist of the late 19th Cntury, and were typographic adaptations to it's newer technologies. Already in the period of mass production, typographers and printers at the dawn of the 20th Century had to cope with larger print runs on cheaper materials. The robust letterforms of New Transitional Serifs were designed to compensate for this, but they were also ingenious little inventions in their own right. Form the beginning, the new, peculiar forms of New Transitional Serif letters were adopted for use by advertisers. Their robustness also allowed them to be used in virtually all sizes. Volta was designed especially with advertising display usage in mind. The x-height of Volta's letters is higher than average for serif faces. It is recommended that Volta be used exclusively for shorter tracks of text, above 12 point. Headlines look dashing set in Volta. Four different font styles are available for the Volta typeface: Regular, Medium, Medium Italic, and Bold."

The Farfa fonts were designed for institutional use, commissioned by the City of Fara in Sabina, Italy. This project started from the study of the manuscripts found in the Abbey of Farfa, penned in a variant of the lower case of “Carolingian” typical style of that area. The Capital, ligatures and Small Caps, however, are based on the uncial writing that often appears in those codes and manuscripts. Farfa Abbey is a territorial abbey in northern Lazio, central Italy. It is one of the most famous abbeys of Europe. It belongs to the Benedictine Order and is located about 60 km from Rome, in the commune of Fara Sabina The origin of the Abbey is still unknown. Archaeological discoveries seem to prove that the first monastic establishment was built on the ruins of a pagan temple. The Vandals destroyed the first monastery in the fifth century. Only a few documents from the sixth-century prove the early presence of the monastic community. It had the heritage of Charlemagne (S VIII), the Lombard chiefs, and later the Carolingians, succeeded in withdrawing Farfa from obedience to the Bishops of Rieti, and in securing many immunities and privileges for the monastery. Farfa was at this period the most important monastery in Italy both from the point of view of worldly possession and ecclesiastical dignity.

While sketching for a music project logo, Donald DBXL Beekman looked at several wood type alphabets as a starting poing. One of these was No.120, patented in 1880 by William Hamilton Page. With its distinct diagonally cut serifs and round shapes cut off at top and bottom, it bore just the right feel for the project. DBXL digitized the alphabet, adding all characters needed for a full set. During this process all shapes were widened, tweaked and streamlined to enhance consistency and rhythm along the whole font. VLNL Bonen is an all-caps display font with a very specific western cowboy or circus look. For instance burger or barbecue grill restaurants would do well with this one. We can easily see it shine on a festival flyer or poster as well, and not just country & western festivals. VLNL Bonen is suitable for any ‘big’ use that needs to stand out of the crowd. Bonen is the Dutch word for beans, a world wide source of nutrition and proteins it comes in a multitude of shapes, colours and sizes. Beans are also the most eaten foods in a cowboy’s diet along the trail. Available in abundance and easily preserved and transported, many recipes on the cattle drives in the American Wild West used beans. Think of chili, mashed beans with biscuits and bean soups. “Keep them doggies movin’, cowboy!”

Brahma V2 is here. The new version has been three years in the making. It has multiple new updates and improvements based on user feedback. The focus for this version has been improved readability while maintaining the unique, modern identity of Brahma type family that has received so much love since V1 was launched in Dec 2020. Brahma is a modern geometric sans-serif font family with weights ranging from Thin (100) to Black (900). Features: Available in 9 weights Over 550 glyphs supporting extended Latin Ideal for display texts: Titles, Logos and Headlines etc. Perfect for branding and rebranding Supports OpenTypes features like Ligatures and Stylistic Alternates Tabular Numerals included Symbols for 10 major currencies including Bitcoin provided in all weights Description: The name comes from Brahmā who is known as the god of creation. And manifesting the same spirit, the Brahma font family focuses on modern creativity. Every character effortlessly integrates with current design standards and interfaces. The fonts are professional yet have a hint of informal personality in them. This makes Brahma perfect for use in modern apps and websites. Brahma is built for the designing and marketing squads. It has a trendy geometric characteristic which is ideal for any branding and rebranding. Brahma has lot of OpenType features (like ligatures and tabular numerals) and the Extended Latin character set supports over a hundred languages. Start Creating!

Since many years I live in Munich and read the daily newspaper Abendzeitung. One morning they had redesigned the paper, using Eric Gill's Joanna for the body copy and a tweaked version of Franklin Gothic for the headlines. Since both typefaces are my all-time favorites, I was very pleased. The old hand-lettered title lettering designed by in-house designer Ernst Friedrich Adler around 1947 or 48 was untouched as it always was. Adler had worked for the newspaper an incredible 47 years! Ernst Friedrich Adler celebrated his 100th birthday in the summer of 2007 looking very healthy. But someone had adapted his title lettering for use in the chapter headings, and I did not like the way that was done. Every morning I saw those letters and thought "one day I have to clean that up". About 15 years later I finally did it! Being at it, I designed the whole typeface and added a second fancy cut. And, what do you know, the people at the Abendzeitung called me up and said they liked what I did and started using it. So since that day in 2005 I can read my morning paper without having to wonder about the chapter headings. Well maybe one day they will do another redesign and maybe they will use another one of my fonts. Your editorial typeface designer, Gert

And the day in which I introduce my second typographic family has arrived. In order to do this, I borrowed several passages from this beautiful book by Maurice Maeterlinck, “Life and Flowers”. His poetic observation of Nature made me reflect about the small discoveries behind the flow of my pen on paper. About that quick, spontaneous, overwhelmed stroke, with some awkwardness as well as certainty in it. About the writing that looms line after line. About the mischievous stains of ink flooding my writing tool. Lady Dodó was born as a product of these drawings, pieces of writing and reflections. Following the steps of its ancestor and friend, Lady René, it takes advantage of the goodness of the Open Type technology to propose a systematized as well as a personalized writing font. Both friendly and challenging. Due to the large number of alternate characters (both for lower and upper case as well as for numbers) and to its precise programming, it proposes to design diverse and rich typographical sets with multiple strokes in a simple way. However, Lady Dodó is not just made of typographical signs; it also proposes a set of modules to make patterns and another one to design frames. From the combination of these modular signs, an infinite universe of possibilities for decoration arises. Here is Lady Dodó, ready to get started and write its destiny. July 2015.

Ivy Tiles was designed as a set of 62 seamless, endless patterns accompanied by font map(s). They well might be a base for designing your own wallpapers, textiles, glass wall opaque foil privacy screens or even wooden fancy trellises - the choice is yours :) The font features simple, fancy, intricate patterns in three variants (Fill, Outlines and Stencil). - Outlines were designed with an idea of serving as an unobtrusive pattern on its own, or as a playful addition to the Fill pattern. - Fill pattern was designed to give more statement to Outlines, which in some cases may be too subtle for the job you have to be done. - Stencil has the most robust shapes. I have thrown this one in just in case you might want to do some DIY stencils. You may also use this file as a starting point for some CNC cut fancy trellis, however please do match pattern to the cutting method (ie. CNC, bolt cutter etc.) to the pattern and the material you intend to cut. -By overlaying Outlines & Fill (or Stencil & Fill) and manipulating those two layers you may get “more flat” or “more 3D” look. Have fun! Note: Please be aware that you may need to prepare those patterns in order to work with them in CAD-CAM or if you intend them for bolt cutter etc.

Stone and steel FS Benjamin is a flared serif typeface designed by Stuart de Rozario. Consisting of 12 styles ranging from Light, Book, Regular, Medium, SemiBold and Bold with Italics it has clear, delicate letterforms, punctuated with brutal chiselled angles. With a pure and crafted feel to the forms the typeface has traditional roots but has been designed to work in a contemporary setting. Archetypal proportions in terms of x-height to cap height and ascender to descender ratio, allow the typeface to feel familiar and be legible in all platforms. Delicate brutalism Inspired by the contrasts of London and named after Big Ben, FS Benjamin was designed by Stuart de Rozario and founder, Jason Smith. Walking around London Jason was inspired by the juxtaposition of the old and the new. Glass and steel architecture can often be found amongst traditional signage and coats of arms seen around the City. These surroundings sparked an idea to create a modern design based on an alphabet that would traditionally be carved from stone. “Much of the typography we see today is so similar. I thought what if we created a typeface with traditional roots but modernised it to sit amongst the punk and noise of the streets of London? Old with new. Business with busyness. This is what London is all about.” Jason Smith

OkayCursive began over coffee, in a local flower shop, where my wife takes a floral arrangement class. I discovered a book there, with old photographs from Paris of flower shop displays. What caught my eye in the background of one of these photos, was the hand-painted lettering on a sign. Inspired, I quickly sketched some of the letters on a napkin and stuck it in my pocket. I began to sketch more over the next few days, looking to construct a full-out cursive font with this distinct French look. I wanted my design to be creative & free flowing, but I also wanted it to be at least somewhat proper. So, I consulted some schoolbooks for reference on the correct cursive forms. After more drawing, I began to create the final vector art. Gradually, these ideas -- plus many hours of careful kerning and metrics -- came together to form OkayCursive. Use OkayCursive any time you want fancy, legible, and luxurious text. Works great if you are designing a logo, or use it to create some beautiful titling. Use it for advertisement copy, or even for short to medium-length bodies of text -- go ahead and have fun with it. OkayCursive is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications.

With its extended sans-serif style, Dienstag boasts a sleek and sophisticated look that's perfect for a wide range of projects. Whether you're designing a website, creating branding materials, or producing print publications, Dienstag's refined elegance is sure to make a lasting impression. Compared to Montag, Dienstag has a slightly more formal feel, thanks to its lack of rounded terminators. But that doesn't mean it's any less versatile – in fact, Dienstag's four original weights have now been expanded to ten, giving you even more flexibility in your designs. With OpenType features that include simplified versions of many characters, you can easily create unique and eye-catching titles that stand out from the crowd. But Dienstag is just one part of the larger Montag superfamily, which also includes Mittwoch, and Donnerstag. Each font in this collection offers its own unique style and flair, giving you a wealth of options to choose from when it comes to your next project. Whether you're looking for a bold and dynamic font or a more refined and understated style, you're sure to find the perfect fit in the Montag family. So why wait? Check out Dienstag and the rest of the Montag superfamily today, and start creating designs that are sure to captivate and inspire! With its elegant style and versatile functionality, Dienstag is the perfect choice for designers who demand the best.

Since 2010 I started my research and experimentation in layered fonts, and I immediately understood that the future of creative graphic fonts is precisely the exploration of it. Over the years I have tried different expressions on the use of the layered system ... but I realized that my propensity to use colors in the font led me to the creation of BILYA. The real creative cue of BILYA is the wonderful childhood memories where nostalgia for them generated the creation of it, which I dedicate to all lovers of glass marbles classic game and beyond. BILYA Base, Outline, Color One, Two, Three, Four, Five and Color Six is a 8 font system that can be layered in different ways to create infinite title effects used commonly in poster and logo design, in flat gradient color style for spectacular 3D emboss styles or realistic 3D logos design projects. BILYA’s layer combinations give you complete control in producing styles like, modern, 3D, beveled. It can be used alone and/or in layered and allows you adjust leading and kerning. Each font contains the similar metrics, so when your title is set, copy and paste in same position to create different layers styles combinations to build out your desired effect. BILYA works great in any graphics application that allows you to utilize layers or 3D graphics effects.

STF Eclectic Two contains more of the useful and the sublime. Alarm clock time icons and many characters which connect add extra usefulness to this dingbat font. Stuff you'll need someday for a graphic element, bullet or dingbat application. Perfect for website icons! The Eclectic family is legendary, with a cult-like following among the inititated. With over 100 characters in the complete set, you'll find yourself using Eclectic Two almost daily to add spice to your otherwise san-serif typographic existence. This font is essentially a soap opera of typographic image elements, created for projects when I couldn't find the "thingbat" I needed. Almost more of a collection of illustrations, there are many characters which connect to form patterns, and of course it's like a "small neutral European country" army knife for the creative community. EcTwo features an complete architecturally-inspired alphabet, more of those smiley face variations, the eight ball, alarm clocks for the hours, the bouncing ball (with connecting dotted lines!), the paper airplane (flying and crashed!), the work dog, the chainsaw, Dorothy's slippers, the sideways arrows again, a handicapped symbol, chicken feet tracks, male/female symbols, gears, polynesian-inspired ornaments for patterns, a lighthouse, a torch, and more. Sounds twisted, eh? Make your own juxtapositionsof characters for funky borders. Available in Mac and PC formats. License it today!

Rotis is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher was a long-time teacher of design with many years of practical experience as a graphic designer. He named Rotis after the small village in southern Germany where he lived. Rotis is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design.

Introducing Antoine — is a vintage retro display typeface. The three font combinations I launched are very compatible if for the victorian classic design concept. As for if the font was worn by itself, without combinations are also brave!! In addition to many get unique character, luxury, brave and elegant. You also have a collection ornament, very suitable if in the gradient. This font is also very easy to use with other design programs or with out design program. Antoine Typeface is perfect for beverage label design project. coffee label. logotype design, badges, classic wedding concept. victorian design concept and so on. gig poster, letterhead, droop cap, titles, and any artworks. Now it’s your time to go crazy and explore the uniqueness of this typeface!! I invite you to familiarize yourself with the preliminary images and hope that you will be imbued with my vision of this creative font, which, I am sure, will be suitable for all the interesting projects you are working on. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop. Made with love and magic ♡ Thank you for reading it, and do not hesitate to send me a message if you have any questions! ~ Anastasia

Le Havre. It's a family with no lack of characters diverse, yet none are as deep or tested in their appearance as the weathered, hand-drawn texture of Le Havre Hand. Tall and lean, the well-aged face carries with it the stories of a thousand miles. Starting with a sans as its origin, this handwritten font's layered structure has been shaped through time and trial, ultimately capturing the simple beauty of a wise, experienced character. This layer-based font family includes style variations and new layering solutions. Le Havre Hand includes 21 font files. It also includes an outline, crosshatched versions and five inline variations, several extruded variants including a unique wireframe options. There are two extruded fonts and two drop shadow fonts. For users that have Opentype programs, such as Adobe Illustrator, Photoshop, InDesign, Microsoft Publisher and Quark, each font also comes with an established set of art deco alternatives. Le Havre Hand's alternate characters come together to exhibit a clear sensitivity to the art deco style. Use them on their own or increase your options by using them with any of the other members of the Le Havre family. Take time to look deep into the soul of Le Havre Hand. It's often the tested, weathered hand that is most reliable to guide you to success.

Add some old fashioned charm to your designs with the distressed alphabets in the new BLINCtype Letterpress Fontpak, a brand new font collection containing 8 letterpress-inspired fonts from the creative minds at Blinc Publishing in St. Paul, MN. The BLINCtype Letterpress Fontpak contains a handy concise assortment of old-school display fonts. From the old Western "WANTED" poster look of Prospect Modern, to the no-nonsense all-caps classic Goshen and its lowercase companion Gideon, these fonts are inspired by wooden letterpress blocks and other archaic technologies. It's like having your own letterpress print studio! Except it's all instantly downloadable right now as easy-to-use fonts! Designers love working with the Cheltenham-esque Gomorrah and its grittier, grungier counterpart, Sodom. The bouncy Golgotha has a rough and tumble readiness that exudes a hand-made charm, while Hamilton Offset has a cryptic, experimental look and feel that gives the impression of double-vision. You also get the newest member of the Blinc font family, Player Piano, which was based on punch-cut stencil letters on an old player piano paper song roll. Purchase the BLINCtype Letterpress Fontpak today and you'll be able to download and start using these 8 great fonts right away! The BLINCtype Letterpress Fontpak contains the fonts: Gideon, Golgotha, Gomorrah, Goshen, Hamilton Offset, Player Piano, Prospect Modern and Sodom.

The "Tichy" typeface is intended for use in titles, headlines and in short text blocks, like citates. However, the typeface is legible even in larger text blocks. It's strong appeal allows the typeface's usage mixed with other graphic elements of the layout without compromising it's readability and it's presence. The typeface's simple initial module (double braked at 135 degrees straight line), the strict rules of forming the letters lead to an unique typeface - masculine, strong and still legible. The Cyrillic glyphs are influenced by the work of the great Bulgarian typographers Boris Angelushev, Vassil Yonchev and Alexander Poplilov, who developed Cyrillic further in 60-s and 70-s of the XX century. Western, East European, Cyrillic, Baltic and Turkish codepages are supported. The font file contains all the basic ligatures, alternate glyphs and kern pairs. It can be used both on Windows and MacOS based computers. The history of "Tichy" typeface began many years ago with a project for logotype design for a small company. It was a kind of designer's game to try making some letters just using one single module. Development of the other glyphs of the latin alphabet was for many years a mandatory exercise for the young colleagues in our studio. Suddenly we realized that this project matured and creation of a new typeface started.

Phoenician/Canaanite The Phoenician alphabet developed from the Proto-Canaanite alphabet, during the 15th century BC. Before then the Phoenicians wrote with a cuneiform script. The earliest known inscriptions in the Phoenician alphabet come from Byblos and date back to 1000 BC. The Phoenician alphabet was perhaps the first alphabetic script to be widely-used - the Phoenicians traded around the Mediterraean and beyond, and set up cities and colonies in parts of southern Europe and North Africa - and the origins of most alphabetic writing systems can be traced back to the Phoenician alphabet, including Greek, Etruscan, Latin, Arabic and Hebrew, as well as the scripts of India and East Asia. Notable features Type of writing system: abjad / consonant alphabet with no vowel indication Writing direction: right to left in hortizontal lines. Sometimes boustrophedon. Script family: Proto-Sinaitic, Phoenician Number of letters: 22 - there was considerable variation in their forms in different regions and at different times. The names of the letters are acrophonic, and their names and shapes can be ultimately traced back to Egyptian Hieroglyphs. For example, the name of the first letter, 'aleph, means ox and developed from a picture of an ox's head. Some of the letter names were changed by the Phoenicians, including gimel, which meant camel in Phoenician, but was originally a picture of a throwing stick (giml).

Introducing Raqib, a distinctive and eye-catching font that gives any project a robotic, sci-fi edge. Raqib is ideal for creating futuristic and intriguing designs due to its bold font shape and distinctive robot style. Raqib is the ideal option if you’re working on a project with a sci-fi theme or want to incorporate robotics into your branding. Because of its bold design, it’s perfect for headlines, posters, and social media graphics, and its distinctive font shapes give your text a standout, memorable appearance. For those looking to stand out in the modern era and add a touch of innovation and futurism to their designs, the Raqib font is ideal. This font is a must-have for anyone looking to create designs that really stand out. Don’t miss this limited-time offer, get the unique and versatile Raqib font today and start creating designs that will be remembered. With Raqib, you can create stylish and professional designs, with a futuristic robotic look that’s sure to stand out. What’s Included : - File font - All glyphs Iso Latin 1 - Alternate - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

SYLVIE is a very stylish font with letters that seem to dance and harmoniously intertwine with each other, creating a unique and elegant typographic design. This font is in my collection, inspired by France. French architecture, vintage fonts, modern forms, fashion and their unique lifestyle have all had an impact on this font. Thanks to the contrasting lines and curves, it will give your design the chic and modernity that you are looking for. It is perfect for logos, branding, posters, social media and all other creative projects. It will also highlight your brand. SYLVIE will definitely add attractiveness to your design! I invite you to familiarize yourself with the preliminary images and hope that you will be imbued with my vision of this creative font, which, I am sure, will be suitable for all the interesting projects you are working on. Font Features: A-Z; a-z character set; 1 language (English); numbers and punctuation marks, symbols. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop. Made with love and magic ♡ Thank you for reading it, and do not hesitate to send me a message if you have any questions! ~ Anastasia

Antikor is "mono geometric sans" family consist of 3 styles, 55 fonts with real italics... All fonts of family contains 800+ glyphs, and equipped with many typographic features. (Styles: Mono, Text and Display) Antikor Text is designed for those who prefer to use monospaced fonts not only in coding but in many different media of graphic design. The idea came from creating a typeface with monospaced aesthetic without disturbing aspects of monospaced typefaces . Antikor text has proportional spacing and precise kerning to avoid poor rhythm and track in reading text. It also provides wide range of useful features with extended glyph sets and opentype features. Antikor Mono is geometric sans monospaced typeface with all typographic features except spacing and kerning. As other styles it has many opentype features and extended character set including SmallCaps, Stylistic Alternatives, Scientific Numbers, Fractions, Oldstyle Numbers, Case Sensitive Forms, Arrows, Circled numbers and etc... It is designed to meet all the needs of the monospaced text medias... As Antikor is a versatile family, Antikor Display is a very alternative typeface with playful calligraphic curves. It is designed with the idea of creating a contrast and eye catching touch in display use of typography. It creates tasty contrast against the serious and solid monospace look. Each style has 11 weights ranging from Hairline to ExtraBold + real italics, consist of 22 fonts.

FF Bauer Grotesk is a revival of the metal type Friedrich Bauer Grotesk, released between 1933 and 1934 by the foundry Trennert & Sohn in Hamburg Altona, Germany. The geometric construction of the typeface, infused with the art deco zeitgeist of that era, is closely related to such famous German designs as Futura, Erbar, Kabel and Super Grotesk that debuted a few years earlier. However, FF Bauer Grotesk stands out for being less dogmatic with the geometry, lending the design a warmer, more homogenous feeling. The oval “O” is a good example of that, as well as characteristic shapes like the capital M or the unconventionally differing endings of “c” and “s” which make for a less constructed look. The design was started by Thomas Ackermann, and he collaborated with Felix Bonge to evolve his original ideas into this fresh, modern geometric typeface family. FF Bauer Grotesk contains 6 weights with accompanying italics, and a wide range of OpenType typographic features including small caps, figure styles, fractions and contextual alternates. NEW: the new FF Bauer Grotesk W1G versions features a pan-European character set for international communications. The W1G character set supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet including Vietnamese, and also several based on Cyrillic and Greek alphabets.

Pauline Script is a Vintage inspired Monoline script. It's a contemporary script inspired by the past, now available to the Instagram era. Pauline Script is a follow up to the popular Pauline typeface. Pauline was one of my first typefaces, all the way back in 2008. Inspired by a variety of influences, from Art Deco signage, to a simple spice label, Pauline Script has very little stroke contrast and was inspired by Retro connected scripts. Over the course of its evolution, it started to take on more influence from geometric sans serif typefaces and lost the connectors. There's a strong geometric streak, derived from 1930s sans serifs like Futura. Tall ascenders and descenders give it a unique look. Now, this script version has now come full circle, utilizing the original sans serif face design and adding connectors back in, with an optically corrected dynamic slant. For invitations, signage, logos or other applications, Pauline Script is there when you need something that stands out with a touch of class and a sense of uniqueness. Turning on Contextual Alternates (non connecting ending forms) and Discretionary Ligatures (better letter connections) is highly recommended. There's a wide range of weights available. It's a playful typeface with options to either have everything connected, or alternate forms which allow for letter connections that still maintain the sense of flow of a script. Includes plenty of ligatures!

Another variation on the Renaissance-Baroque Roman face, it extends the selection of text type faces. In comparison with Jannon, the contrast within the letters has been enhanced. The dynamic elements of the Renaissance Roman face have been strengthened in a way which is illustrated best in the letters "a", "b" and "s". These letters contain, in condensed form, the principle of this type face - in round shapes the dark stroke invariably has a round finial at one end and a sharp one at the other. Another typical feature is the lower-case "g"; the upper part of this letter consists of two geometrically exact circles, the inner of which, a negative one, is immersed down on the right, upright to the direction of the lower loop and the upright knob. The vertical strokes slightly splay out upwards. Some details of the upper-case letters may seem to be too daring, but they are less apparent in the text sizes. It has to be admitted that typographers tend to draw letters in exaggerated sizes, as a result of which they stick to details. Serapion Italic are italics inspired partly by the Renaissance Cancelleresca. This is obvious from the drop-shaped finials of its lower-case descenders. The type face is suitable for illustrated books, art posters and short texts. It has a rather ugly name - after St. Serapion.

The engraver Jean Jannon ranks among the significant representatives of French typography of the first half of the 17th century. From 1610 he worked in the printing office of the Calvinist Academy in Sedan, where he was awarded the title "Imprimeur de son Excellence et de l'Academie Sédanoise". He began working on his own alphabet in 1615, so that he would not have to order type for his printing office from Paris, Holland and Germany, which at that time was rather difficult. The other reason was that not only the existing type faces, but also the respective punches were rapidly wearing out. Their restoration was extremely painstaking, not to mention the fact that the result would have been just a poor shadow of the original elegance. Thus a new type face came into existence, standing on a traditional basis, but with a life-giving sparkle from its creator. In 1621 Jannon published a Roman type face and italics, derived from the shapes of Garamond's type faces. As late as the start of the 20th century Jannon's type face was mistakenly called Garamond, because it looked like that type face at first sight. Jannon's Early Baroque Roman type face, however, differs from Garamond in contrast and in having grander forms. Jannon's italics rank among the most successful italics of all time – they are brilliantly cut and elegant.

This font began as an attempt of draw alternatives to the images of Microsoft’s Wingdings, but then grew beyond that. This new version from late 2010 has over 1400 characters, including almost all of the geometric shapes in unicode 2500 and 2B00 ranges, almost all of the arrows in the unicode 2100, 2700, 2900, and 2B00 ranges, almost all of the dingbats and symbols in the unicode 2600 and 2700 ranges, many of the pictures, symbols, and emoticons in the 1F300 to 1F600 ranges, and a few of the miscellaneous technical items in the 2300 range. There are also pictures on the standard open type letters, most of which can be accessed from the keyboard. However, most of the characters in this typeface have to be accessed using their unicode designation. In Windows this is done with the alt key and the unicode hex number. On the Macintosh the easiest way (and for the five digit unicode characters, perhaps the only way) is to use the “Special Characters” window under the Edit Menu in the Finder. A unicode index of the font is provided in a pdf file that was generated using FontLab. However, it only has four of the unicode digits for the five-digit elements. Almost all of the unicode numbers starting with F should have a 1 in front of the F.

Techarí comes from a commission in which the brief consisted of the creation of a typeface family to be used for the design of the third disc of the band called Ojos de Brujo based in Barcelona. This disc was called Techarí, which means “free” in Caló, the language of the Spanish gypsies. The starting point of the design was the music of this band, the meaning of the disc 's name, and three words given by the band as key concepts: ethnic, baroque and graffiti. Techarí is a mixture of lots of influences, which give it its unique personality. From its technical viewpoint designing Techarí was a challenge, on the one hand it had to have lots of personality, and on the other it had to work in text at 9 or 10 pt size. Its goal is precisely that, while keeping a strong personality it works in text size. The typeface also contains a Stencil version for use in display sizes which keeps Techarí's innovative spirit. The way it has been “cut" is unconventional, it has been carefully done to keep the freshness of the typeface by taking advantage of the letterforms' flow. Techarí extra complements the typeface by taking a classical typographic form, the ornament, and making it a contemporary graphic tool, vindicating this wonderful typographic element.

Lc Trinidad is the result of a series of wonderings regarding geometric Sans Serif typography design, in particular; Futura of Paul Renner. A “conversation” arose between me and the designer – actually there was no conversation, it is an euphemism for “I saw his designs, I draw them and discussed with myself some of his decisions – that ended up being the origin of this font firsts glyphs: A, H, N, O, R and S. I started with uppercase letters, and here is when Rudolf Koch with Kabel and his “Das schreibbuchlein” joined the conversation. This is how I could develop some alternative lowercase letters so as to illustrate this imaginary discussion. The result is a sans serif, geometric, modern typeface with classical Roman proportion in the uppercase letters; two stylistic sets for lowercase letters (setKoch and setRenner), rational, open and sharp ends. It is ideal to form titles, medium length texts, branding, exhibitions and animations. The family consists of 9 weight variants and their corresponding oblique versions and small caps. With more than 900 glyphs, it covers more than 190 Latin languages and together with its Opentype functions it creates a modern and versatile family. Besides, it has powerful OpenType features for each style, including stylistic sets, extended language support, ligatures, contextual alternates, lining figures, oldstyle figures, small caps numbers, arrows, fractions, superscripts, subscripts and many more.

NOMAD —Regular is a stand alone font. Nomad -Regular is a clean, interesting revival font. It is a Display font. Nomad, now exclusively in OpenType .oft by Joseph V Coniglio of Coniglio Type. It is a narrow boldfaced font. Its analog source was comprised of an extremely limited die cut, truly generic, craft, peel-and-stick vinyl set of capital letters of ascenders and numbers. It was purchased at a five & dime stores, hardware department from the 1970's. My father owned an original set of characters: Nomad-Regular is nicely expanded to meet the needs of OpenType. The original adhesive labels adhered to the bows of that small boats so fisherman wouldn't get turned away at the Canadian border for not having their vessels tagged and listed with the appropriate license name and numbers, recorded by customs. It was a required serialization of letters and numbers marked on the side of their vessels. On the other hand, most beer and whisky drinking fishers, card players and bait casters would rather not deal with it, but the boat could not cross over the border without them. (Once part of Market LTD from the 1990's, a collection of limited faces, mostly alpha-numeric and some just plain numeric, used primarily in retail and display situations and titling.) Designer: Joseph V Coniglio Author: Coniglio Type

Kubrick is an experiment in extremes. The Light font is very tall and slender, the Black font is very massive, and Kubrick's slender counters push some of its glyphs to the edge of recognition. The thin counters and negative spaces also give text set in Kubrick a definite visual sparkle, especially in all-uppercase settings. Because of its extreme letterforms, Kubrick is recommended only for large display use. The default letterspacing is set fairly wide to keep text legible. Kubrick was a double-experiment. One part of it was to see how heavy and massive a typeface I could make while still keeping it legible. The other part was to develop a Multiple Master font. Multiple Master fonts were a format developed by Adobe that allowed the user to change things like the weight and width of a typeface. Monollith started as just such a Multiple Master typeface, but when Adobe discontinued the Multiple Master format, I stopped work on the typeface. Later I decided to continue work on it, but as five separate font weights: Light, Medium, Bold, ExtraBold and Black. Very rectilinear letterforms with extremely narrow counters and negative spaces. The five fonts go from very thin and condensed to very heavy and extended. Use in large display settings where unornamented high visual impact is desired.

»COSMA« is an old greek word that stands for »beauty« and »order«, I thought it a very befitting name for my new font-family. My »Cosma« has that special high-contrast Renaissance beauty but is very orderly in appearance. »Cosma« is a classical beauty with modern touches that make it unique. You will love this font. It is a great everyday workhorse with seven weights from UltraLight to Bold and all the necessary weights in between. Great for body copy and headlines! With 964 Glyphs it is a truly European font designed for all Central European and Latin using countries. »Cosma« has a set of Cyrillic that is also good for Serbia, Macedonia and Ukraine. Sorry, no Greek! But it has oldstyle- and lining-, tabular- and tabular-oldstyle-figures, many alternative letters and ligatures. On top I designed two sets of alternative, decorated caps each in normal and oblique. »Cosma« comes in Normal, Italic and Oblique, sometimes you just don’t want to use Oblique instead of Italic that would be too playful for the occasion. »Cosma« doesn’t come cheap, but I start off with an 80 % reduction, so that is a good chance to get all 49 cuts for a phantastic price. Oh, I almost forgot, If you buy the whole family, you get the variable fonts to go with it for free, that’s a good investment into the future. Enjoy!