Introducing Breeder Font Duo it's a handwritten script. Enjoy this playful font in your designs with Breeder Script & Breeder Small Caps! This playful font consists of a natural handwritten and signature style, so this font is perfect for logos, menu design, social media posts, packaging, poster, name card, birthday card, etc. Breeder Script has a natural flow handwritten signature containing upper & lowercase characters, numerals, and punctuation. This font also has a ligature, stylistic alternate, swashes, multi-languages support, and doodles art for the bonus of this font. Breeder Small Caps comes with a natural & simple handwritten all-caps font. Complete with a-z letters, very charming handwritten font, and perfect for combining with Breeder Script. This font also includes multi-language support. Thank you for checking and visiting our store, and feel free to drop me a message if you had any questions! Visit our Instagram :) www.instagram.com/scratchdesignbali

Very condensed typography, thick line and fun look for headlines and advertising where you are looking for saving space and originality at the same time. The upper inclination of the letters, the combination of horizontal with inclined forms, the ascending and descending short, and the lower elongation of some antlers will allow you to print varied styles with a lot of movement according to the context of the design. I started drawing this font with the intention of creating a new decorative typeface Blackletter style but modernizing the strokes, after drawing several letters imitating the ductus of this type of fonts trying to simplify them, emerged all the DNA of the current Jack Stanislav, finally a retro typography without Serif of linear strokes that mimic the angle of a thick pen. Use the following keys to write the bitcoin symbol and the Jack icon: b #, a #

Introducing our newest Font, the name Gerdingan fonts are made with a script model that is intended to write beautiful names, and beautiful words and sentences of course with typography harmony. This font also offers beautiful abstract typography harmony for a wide variety of design projects, including natural handwriting in digital form for designs, quote designs, for social media business designs, advertisements, trademarks, promotional banners, posts, posters, signatures, and all designs require handwriting or whatever design you want. This font is equipped with uppercase, lowercase, numbers, punctuation marks, swhases and several variations on each character including multi-language. ================================================== This font is best suited for open type friendly applications. How to get alternative glyphs from open type fonts: http://adobe.ly/1m1fn4Y PUA Character Code - Fully accessible without additional design software. do not hesitate anymore start using this font. and Feel free to send any message you want to convey.

There's an appealing quirkiness about Amrys, which offers a confidently unusual alternative to more conventional designs. Its charm lies in its tapering tips, flexing stems, and unexpected notches, which combine to suggest something of the chiseller's tool at work. As a modulated serif, its letter shapes live between serif and sans serif, lending the design a sense of pleasing irregularity – something that's really highlighted at larger sizes. However this is also a typeface that works for text, injecting rhythm and texture into reading. “It's distinctive, idiosyncratic, and weird,” says its designer, Ben Jones. He started designing Amrys while studying an MA at Reading University, creating it in response to a brief for a magazine typeface. Amrys features an extensive and impressive character set. In addition to Latin, Amrys covers several scripts including Cyrillic, Greek, Arabic and Armenian. The family consists of 8 weights, from Light to Black, with matching italics.

Special creative products for you, our products will give you an extraordinary experience that will not be forgotten. A popular and professional script font. Modern and elegant, this typeface is made of beautiful creative strokes. This font is perfect for your creative ideas, both formal and informal. It has a modern style with a touch of creative ideas that is very suitable to be applied anywhere that requires creative ideas such as invitation cards, letterheads, website logos, social media, banners, advertisements, brochures, packaging products, leather products, and any product that requires writing. By using this font, all of your products will look luxurious, elegant, and attractive, please try and see the results. This font includes a complete set of beautiful upper and lowercase letters, numbers, a wide variety of punctuation marks, and ligatures. All lowercase letters include a start and end, providing a realistic style. everything you get.

ITC Flora is the work of Dutch designer Gerard Unger, and is named for his daughter. He started by doing calligraphy experiments with felt-tip and ballpoint pens, and developed these drawings into a formalized script typeface. Swiss typographer Max Caflisch advised the Dr.-Ing Rudolf Hell GmbH technology firm to add a new round-nibbed script face to their Digiset type library, and in 1984, Flora was released by Hell. Unger used a chancery cursive skeleton in this design, which imparts grace and movement. Flora was also intentionally designed to be simple and sturdy, and with its minimal variation in thick/thin stroke ratio, it worked well on the early digital typesetting machines. In 1989, the International Typeface Corporation released the font. ITC Flora continues to work well on current printers and typesetters, and it has an enduring popularity for uses that range from short text passages to display headlines.

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.

Chapman is the result of spending too many hours staring at the often all-capital engraver typefaces from long-gone foundries. The wide serifs, high contrast, and various widths seem to have so much character but also remain so neutral. From these references, Chapman began to emerge. It seemed natural that the lowercase would be based on a Scotch Roman model, much like the original all-capital faces. Chapman does not pull directly from any one source but from the genres themselves. It was, from the beginning, the goal to create a typeface that would be relatively neutral but not boring; an adaptable solution that works anywhere and, depending on the chosen width, can be squeezed or stretched to fit anywhere. The idiosyncrasies of the original designs are tamed in some places and turned up in others. The result is something familiar but unique and contemporary.

Feronica Script is a new modern script font with an irregular baseline. Feminine style and style. Feronica Script looks beautiful in wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and more. Perfect for use in ink or watercolor. Includes start and end letters, alternatives and support for many languages. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. There is an additional way to access alternatives / swashes, using the Character Map (Windows), Nexus Fonts (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternate characters: https: //www.youtube.com/watch? v = Go9vacoYmBwhttps: //www.youtube.com/watch? v = XzwjMkbB-wQhttps: //www.yo … need help or have questions, let me know. I’m happy to help Thanks & Congratulations on Design!

It’s bold, brazen, and irresistibly fun – it’s Hot Mess! A super realistic hand brushed font just raring to get the party started. It’s guaranteed to leave a vibrant, long lasting impression on social media posts, advertisements, posters, products packaging & more. Ligatures • Hot Mess includes 17 ligatures built in to the font. These letter pairs help to create authentic, naturally flowing hand-lettering. Ligatures are supported by most desktop graphics & text software (not just the fancy ones!), including Photoshop, Illustrator, InDesign, Word, Pages & Keynote. Ligatures will automatically be switched on when using supported software. Language Support • English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian. Swashes • Hot Mess includes 4 swashes; use these to underline your script text and add a stylish finishing touch. Simply type any of the square brackets to generate a swash [ ] { }

Sakrale is a modern take on the traditional black letter font. Its unique glyph shape adds a touch of rigidity to its contemporary look, making it a perfect choice for your project who want to add a touch of sophistication to their work. The Sakrale font is designed to be user-friendly, with easy-to-read characters that are perfect for headlines, logos, and branding. This font is ideal for those who want to create a modern, edgy design that stands out. Whether you're a professional designer or just starting out, Sakrale is the perfect font. Sakrale is the perfect font for any design project that requires a touch of elegance and class. Whether you're creating a logo, title, or poster, this font is guaranteed to make your work stand out from the rest. With its clean lines and modern feel, Sakrale is sure to impress.

Some time ago, I started to think about the idea of combining my passionate hobby cooking with my profession as a graphic designer. While browsing through cooking books, cooking magazines and graphic publications I noticed that there were no symbols and drawings easily recognizable for interested cooks (hobby or professional). So I decided to create symbols for all the classical cooking paraphernalia still found in grand mother’s kitchen cabinet. René Menue Symbol contains 99 kitchen symbols of classical design and quality. To complement the symbols typographically, there is René Menue, a fitting linear Sans Serif typeface with plenty of extra characters such as ligatures, figures etc. René Menue is a modern, slightly condensed and economic design with round shapes, very modern but classical at the same time. These features make it perfectly usable in many different publications, not necessarily restricted to cooking… A successful cooking and enjoy your meal!

Near the end of his life, legendary type designer Eric Gill lived in Jerusalem, and became interested in the typesetting of the Hebrew alphabet and the challenges it entailed. He designed his own Hebrew font which has not (to my knowledge) been digitized before. It is sometimes held up as an example of how not to do a Hebrew font: Gill introduced strange serifs and shapes that were jarring to readers used to more traditional fonts. But it is quite readable, and does start to grow on you after a while; extended text in Gill Hebrew is possible. I've added a set of alternate digits that are based on the shapes of the letters (Gill's digits are pretty standard text figures). I've also made some of the Unicode Hebrew symbols that Gill didn't (e.g. New Sheqel Sign, Alef-Lamed ligature, etc.) and also included vowel-points.

Unique and decorative signage for many drive-ins, motels, food stores and other businesses of the 1940s had what was referred to as “privilege signs” provided by one of the major cola brands. Consisting of the brand’s emblem on a decorative panel, the remainder of the sign would carry the desired message of the storekeeper (such as “Drive-In”) in prismatic, embossed metal letters. Inspired by the Art Deco sans serif style of those vintage signs, Privilege Sign Two JNL recreates the type design in both regular and oblique versions. The typefaces are solid black, but adding a selected color and a prismatic effect from your favorite graphics program can reproduce the look and feel of those old businesses. This is a companion font to Privilege Sign JNL, which recreates the condensed sans serif lettering of other privilege signs from the 1950s and early 1960s.

Rahere Roman Display is an elegant design with flared stems and subtle old style features, influenced by Berthold Wolpe’s wonderful Albertus font and (to a lesser extent) fonts based on Roman square capitals. It’s a classic design for the modern age, appealing to serious typographers, graphic designers and anyone looking for a beautiful, multipurpose font that also offers value for money. Originally conceived as a display companion for the Rahere Sans typeface family, Rahere Roman harmonizes perfectly with its sans counterpart: use it for headings, sub-headings or pull-out quotes. Want an eye-catching introduction? The small caps have been sized to optically align with the x-height of Rahere Sans or start a paragraph with a swash drop cap. There are also ornaments and devices on hand to spice things up. Of course, Rahere Roman Display works beautifully as a standalone font too. Although predominantly a display font, with a quick flick of its lowercase switch, Rahere Roman transforms effortlessly into a readable text font. Like a Swiss Army Knife, this is a hugely versatile font, capable of conveying different messages from classic and romantic to historical and modern. It’s suitable for a wide range of applications including: branding, posters, advertising, packaging, labels, signage, wedding stationery, museums, art galleries and book covers. Weighing in at well over 2,000 glyphs, Rahere Roman contains a myriad of alternative characters (mostly capitals) including two sets of small caps that allow certain letter combinations - such as RO, LA, LI, TY, etc. - to mimic ligatures. The advantage of this is that if letter spacing is increased or decreased, the letter combinations aren’t fixed and can move too, which helps the space between letters to remain even. However, for lovers of ligatures there is still a bucketload of goodies to play with, including the obligatory ‘OO’ ligature. If that’s not enough, the font also contains start & end swashes, alternative numerals, seven ampersands, ornaments and devices. .ss01 - Initial swash capitals .ss06 - Superior small capitals (aligned to the cap height) .ss07 - Small capitals (sitting on the baseline)

This all started with a love for Minister. This is a font designed by Carl Albert Fahrenwaldt in 1929. In the specimen booklet there’s a scan from Linotype’s page many years ago. They no longer carry the font. I’ve gone quite a ways from the original. It was dark and a bit heavy. But I loved the look and the readability. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. I needed fonts to show the typography I was talking about. At that point oldstyle figures, true small caps, and discretionary ligatures were rare. More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps—never both. So, I designed the Diaconia family (using the Greek word for minister). It was fairly rough. I knew very little. I later redesigned and updated Diaconia into Bergsland Pro —released in 2004. It was still rough (though I impressed myself). In 2006, I found myself needing a readable sans serif. So I went to Bergsland Pro, and eliminated the serifs. I named the font Brinar. I kept a flare in place for the serifs and cupped the ends. I was stunned. People loved it. It’s remained my bestseller until very recently. So, at the end of 2016 I decided that Brinar really needed some help. The flares were basically random. The stem width and modulation variances all needed to be fixed. My old OpenType feature code was quite limited and clumsy. So, I created the 6-font Biblia family. I cleaned up or redesigned all the glyphs. I updated the fonts to the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. These are fonts designed for book production and work well for text or heads.

It can be tricky to find typefaces that can convey the feeling of personal warmth that comes from a handwritten note, custom brandings, special series of products, especially as we type more and more and write with a pen or pencil less and less. To add some more of that warmth to a font, I’ve made Ronet. A duo font based on the my handwriting. Double eponymous styles of the font —Ronet and Ronet Alternative— each have a unique flavor with its own rhythm and character. It can be used on branding designs, product labels, invitation cards, social purposes which is bloggers, influencers but they were capable of so much more, and I’m happy to share them for general use. Ronet has extraordinary alternative characters, that makes these fonts so impressive. These two styles have dynamic substitution, alternates, and beautiful kerning! Nevertheless, they each support an impressive range of languages using the Extended Latin alphabets and because they were designed to work well in a simple tool, a rare feature of these fonts is that they look just as good no matter where you use them. LOTS of writing, and then even more care once I developed and refined digital outlines from the samples. Ronet and Ronet Alternative each wrote pages and pages of letters to produce lots of examples for comparison and selection, in order to get the most authentic overall texture that captured the spirit of my left hand.. Ronet feels friendly and personal, like a neighbor or local shopkeeper who always seems happy to see you. This will perk up your social feeds in a snap. Start with Ronet and just add in your design to make it perfect. What started with a simple pen and paper has become a diverse and ever-expanding creative outlet that blends hand-drawn creativity with cutting-edge technology — and the end results are popping out everywhere, from advertising to design and decor to art and DIY.

Bound to rules, unbound in the usage. Hyper geometric, and minimal contrast. Circulo V1 is based on a font project I originally started because of a client I had. I wanted to create a display and text font for their product design brand, which is all about reducing the amount of necessary materials and production steps. Before I started the course at tipo-g it was called -“REDUCE“ and was more or less finished. The concept was based on the name. How far can letter shapes be reduced to their core geometric concepts and still be identified as letters? But in a way, it lacked a unique approach and was just a generic geometric Sans Serif with a lack of finesse. There was already a glimpse of characteristics visible which would later define Circulo V1. ‍ The high focus on geometric shapes was not of the same severity, and the angle on the stems was less intense. Those, as I call them, fake serifs turned out to be a significant factor in legibility and the characteristic of the font. Besides those changes and improvements, I decided to implicate a new feature to the concept, a condensed style. I quickly realised that it is impossible to keep my perfect circles and half-circles in this style without breaking my rules for the font. This „problem“ turned out to be the most crucial feature of the condensed set. Circular-based Letters will ignore the rules and boundaries of the condensed style and stay as they are. This feature allows the user to create a unique rhythm in their texts, and if you use the variable font, you can decide how intense this rhythm will be. In this situation, the user can choose which letters are allowed to keep their shapes and which will be put in their condensed corset. All, some or none of them, you decide.

Lettres d’amour! Flirting, fashionable, provocative, emotional, casual, moderate, extremely sensible & beautiful - Liza Pro covers it all. Liza Pro, Underware’s dear creation, is a live-script typeface. Thanks to its extremely intelligent OpenType architecture, she approaches human hand lettering as closely as technically possible. Liza Pro deeply analyzes the text. Out of a stock of 4000 hand crafted characters, Liza creates the most optimal combination. All of this works automatically. All you need to do is start typing your lettres d’amour, and Liza makes the text always look different. She gives your creative piece the impression par excellence. Erotique mais intelligent. She is as clever as we could imagine. She kept all folks at Underware busy for a couple of years. It all started one rainy night back in May 2004 but quickly changed into a fatal affair exceptionnelle. But now, 5 years later we are quite sure: this is something serious. Yes, we are talking about real love. L’amour pour la vie. Liza Pro has Underware’s world-dominating Latin Plus character set, supporting a total of 219 languages (Latin 1 + 2 and beyond). Liza Pro is a package of 4 fonts which work together. Liza Display Pro rocks the script lettering to the max. The build-in Out-of-ink feature, LetterSwapper and Protoshaper makes this font a realtime-digital-calligrapher. She’ll swash up your text drastically, giving long strokes, loops and swashes to letters if their context allows. Liza Text Pro has a more silent, moderate character - she’s well behaving sister of Liza Display Pro, designed to walk long pieces of text in a lively script style. Liza Caps Pro adds more possibilities and functionality to these two script fonts. It bridges the gap in case running script lettering doesn’t do the job, but it also works perfectly on its own. Every capital letter appears in various shapes to obtain the manual lettering feeling. Liza Ornaments Pro is for extra delicatesse et est plus charme. Four heart winning fonts, pour la langue l’amour!

Handy Andy Andy Lethbridge had only just completed his graphic design BA at the University of Portsmouth when he was spotted by Jason, who’d seen Andy’s exquisite hand lettering at his degree show and on Instagram. Keen to push the handwritten theme further, having recently launched a digitally-created, chalky script font (FS Sammy), Jason offered Andy a job and the chance to develop a suite of more stylised, truly hand-drawn fonts. Andy duly got out his pads, pencils and pens, and started experimenting with styles and textures. Magic followed. Imperfection perfected Most ‘handwritten’ typefaces are created entirely digitally. Not FS Shepton. From the start, the intention was to create a collection of alphabets of similar character but different texture and style – 100% hand-drawn and purposely imperfect, with the kind of inconsistent, organic shapes and textures of market stall signs, dashed off in chalk or paint. FS Shepton Regular, drawn with a wet brush pen, is solid with a rough outer edge and a casual but controlled feel. The dry brush used to create FS Shepton Light gives it more inner texture and a more formal, slanted, calligraphic style. FS Shepton Bold, drawn using a wider, looser dry brush pen, has a woody grain in the middle of its broad strokes and greater solidity where the brush moves more slowly. Fresh as a daisy Think of FS Shepton not as a family of three weights of the same font so much as a collection of three fonts penned by the same author. All of them – the light, regular and bold – were created independently as display fonts that offer something different to labelling, packaging, point-of-sale and advertising. Lovingly crafted by hand, they’re a good match for products and settings that share the same artisinal qualities: organic foods, drinks and healthcare products, as well as premium chocolate, coffee and condiments.

Arapix is a 12 pixel high multilingual Latin-Arabic pixel font with incredible capabilities. The Arapix is an almost traditional Naskh. It is elegant and easy to read even in very small sizes. It includes almost every feature you would expect from a high range Naskh font. Its humanistic look and feel fit perfectly to its Latin counterpart. Arapix was originally designed for a web project that didn't see the light a few years back. It started with the idea of fitting both Latin and Arabic into a 12 pixel vertical grid. The latin glyphs fit properly within the vertical limits, but when it came to the arabic glyphs, it proved to be more challenging. Arabic letters with lower diacritic dots like the (Yeh-fina) or letters with accents above like the (Alef-Hamza-above) need much more space than any Latin letter. Add to this the fact that accents needs to be positioned above and below the glyphs. It is technically impossible to fit a (Yeh-fina-kasratan) or a (Alef-Hamza-above-shadda-damma) into 12 pixels. Initially the accents were dropped and not included in the design. Although it seemed impossible at the start, Sylvain found a solution in the end, including as many contextual alternates and contextual kerning as needed to avoid every collision between letters and diacritics, letters and accents, and diacritics and accents. The contextual kerning was added to achieve an even letter and word spacing in longer text. Arapix is amazingly legible in small size on screen and in print. On the other hand, it also works perfectly as display titling font due to its unique and contemporary pixel approach. It can be used for screens with very low resolution as well as for high resolution screens and prints. The new Arapix comes with various new features and new glyphs including Persian and Urdu letters, stylistic set, old style figures, contextual kerning, contextual alternates and a few icons too. Enjoy the new Arapix and have fun with it.

Almoneda: Sale at public auction of movable goods, generally used. And also: private and voluntary sale of jewelry and junk that is made without the intervention of justice. Formerly, it was nothing more than the market or sale of things and spoils won from the enemy in war. Nowadays, the almoneda is practically associated with spaces where the sale of "old things" takes place and, in Madrid, they are usually concentrated in the area of El Rastro, an open-air market that is set up on Sundays and some holidays in the center of Madrid. There, you can find everything and, if you walk around a lot and look hard enough, great typographic finds. It is there where I find a large number of elements (usually from the late nineteenth and early twentieth century) such as boxes, posters, books, etc.. in which appear uppercase letters with a variety of shapes, letters embedded, rare ligatures ... In addition, many elements extracted from street signs, tiles from bars and commemorative elements of Madrid have been used to complete this font design made with care and patience. Thus was born Almoneda, a modern typeface with a marked axis and great contrast, and an uppercase with several sets of characters to play with and enjoy. It also includes a large number of ligatures and discretionary ligatures. A Variable font is included with the full package license. Almoneda, a typeface that will not leave you indifferent. They take it out of my hands, hey!

Mono-Spec is a monospaced family of sans-serif type. At least in default settings, all characters across the typeface share a common width. That fixed setting is condensed, and the aesthetic style of Mono-Spec’s letterforms is very industrial. A sister family, called Mono-Spec Stencil, is also available. Its design strays away from the mechanical nature of Mono-Spec, and it channels the spirit of resistance and street culture. Mono-Spec ships in two different formats. Depending on your preference, you can install the typeface as a single Variable Font or use the family’s five static OpenType font files instead. Those weights run from Light through Bold. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The Mono-Spec Variable Font’s weight axis allows users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Whatever format you choose, the Mono-Spec fonts are equipped with several OpenType features. The most striking of these can be activated via a Stylistic Set. That will replace several letters – like “B”, “E”, “F”, “H”, and “I” with double-width alternates. Those alternates take up as much space as two characters placed next to each other otherwise word. The effect of Mono-Spec’s double-width alternates is striking, and their use strikes a strong chord in any display typography applying them.

Night Light is a specially created collection of seven neon inspired fonts giving designers the power to replicate traditionally hand-made lettering from the comfort of their own computer. Choose from the selection of script, sans serif and outline fonts to set your text. Then apply our custom graphic styles for a life giving jolt of electricity! The appeal of neon lettering lives in its power to display a message in a functional, eye-catching and timelessly cool way. How many times have you stopped in the street to admire a bar sign or shop front blazing with neon colors? It's aesthetic works equally well for a Hot Dog stand or high-end fashion brand, providing a tried and tested technique for grabbing customer attention. I've designed these fonts to make the power of neon accessible to all, investing time to research real neon signs and how they are made, paying attention to their human imperfections and inherent limitations (all of which makes them). This research has been distilled into these essential styles; Script, Outline, Inline, Square and Compressed. These seven core fonts give designers a new opportunity to take advantage of realistic neon lettering in their print and online projects, perfect for music promotion, film titles, YouTube tutorials and gig posters. Ready to be moulded to any requirement, the power of neon is in your hands. Neon Graphic Style Presets Available Here The link above provides access to the graphic styles seen in the visuals with support for Adobe Photoshop, Adobe Illustrator, Adobe After Effects. Simply download and follow the instructions provided.

Want to add an urban touch to your designs? Try using the Shock Graffiti font! This font offers a distinctive writing style and is very suitable for urban and street-themed designs. With Shock Graffiti, you can bring a strong and bold impression to every design you create. Shock Graffiti comes with a complete set of letters and fine details, so you can customize your design better. This font is also very easy to use and compatible with various design applications. Suitable for use in posters, merchandise, or even in t-shirt and hoodie designs. Get Shock Graffiti now and become a daring design creator! Available at an affordable price and with flexible licensing, so you can use it without limits on your future projects. What’s Included : - More than 200 of glyphs ( include Uppercase, Lowercase, Numerals & Punctuations ) - multilingual support - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. - PUA Encoded Characters (fully accessible without additional design software) Support For Language : Albanian, Basque, Breton, Chamorro, Danish, Dutch, English, Faroese, Finnish, French, Frisian, Galician, Italian, Malagasy, Norwegian, Portuguese, Spanish, Alsatian, Aragonese, Arapaho, Arrernte, Asturian, Aymara, Bislama, Cebuano, Corsican, Fijian, French_creole, Genoese, Gilbertese, Greenlandic, Haitian_creole, Hiligaynon, Hmong, Hopi, Ibanag, Iloko_ilokano, Indonesian, Interglossa_glosa, Interlingua, Irish_gaelic, Jerriais, Lojban, Lombard, Luxembourgeois, Manx, Mohawk, Norfolk_pitcairnese, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Potawatomi, Rhaeto-romance, Romansh, Rotokas, Sami_lule, Samoan, Sardinian, Scots_gaelic, Seychelles_creole, Shona, Sicilian, Somali, Southern_ndebele, Swahili, Swati_swazi, Tagalog_filipino_pilipino, Tetum, Tok_pisin, Uyghur_latinized, Volapuk, Walloon, Warlpiri, Xhosa, Yapese, Zulu, Latinbasic, Ubasic, Demo

Rian Hughes’ 15th collection of fonts, “112 Hours”, is entirely dedicated to numbers. Culled from a myriad of sources – clock faces, tickets, watches house numbers – it is an eclectic and wide-ranging set. Each font contains only numerals and related punctuation – no letters. A new book has been designed by Hughes to show the collection, and includes sample settings, complete character sets, source material and an introduction. This is available print-to-order on Blurb in paperback and hardback: http://www.blurb.com/b/5539073-112-hours-hardback http://www.blurb.com/b/5539045-112-hours-paperback From the introduction: The idea for this, the fifteenth Device Fonts collection, began when I came across an online auction site dedicated to antique clocks. I was mesmerized by the inventive and bizarre numerals on their faces. Shorn of the need to extend the internal logic of a typeface through the entire alphabet, the designers of these treasures were free to explore interesting forms and shapes that would otherwise be denied them. Given this horological starting point, I decided to produce 12 fonts, each featuring just the numbers from 1 to 12 and, where appropriate, a small set of supporting characters — in most cases, the international currency symbols, a colon, full stop, hyphen, slash and the number sign. 10, 11 and 12 I opted to place in the capital A, B and C slots. Each font is shown in its entirety here. I soon passed 12, so the next logical finish line was 24. Like a typographic Jack Bauer, I soon passed that too -— the more I researched, the more I came across interesting and unique examples that insisted on digitization, or that inspired me to explore some new design direction. The sources broadened to include tickets, numbering machines, ecclesiastical brass plates and more. Though not derived from clock faces, I opted to keep the 1-12 conceit for consistency, which allowed me to design what are effectively numerical ligatures. I finally concluded one hundred fonts over my original estimate at 112. Even though it’s not strictly divisible by 12, the number has a certain symmetry, I reasoned, and was as good a place as any to round off the project. An overview reveals a broad range that nonetheless fall into several loose categories. There are fairly faithful revivals, only diverging from their source material to even out inconsistencies and regularize weighting or shape to make them more functional in a modern context; designs taken directly from the source material, preserving all the inky grit and character of the original; designs that are loosely based on a couple of numbers from the source material but diverge dramatically for reasons of improved aesthetics or mere whim; and entirely new designs with no historical precedent. As projects like this evolve (and, to be frank, get out of hand), they can take you in directions and to places you didn’t envisage when you first set out. Along the way, I corresponded with experts in railway livery, and now know about the history of cab side and smokebox plates; I travelled to the Musée de l’imprimerie in Nantes, France, to examine their numbering machines; I photographed house numbers in Paris, Florence, Venice, Amsterdam and here in the UK; I delved into my collection of tickets, passes and printed ephemera; I visited the Science Museum in London, the Royal Signals Museum in Dorset, and the Museum of London to source early adding machines, war-time telegraphs and post-war ration books. I photographed watches at Worthing Museum, weighing scales large enough to stand on in a Brick Lane pub, and digital station clocks at Baker Street tube station. I went to the London Under-ground archive at Acton Depot, where you can see all manner of vintage enamel signs and woodblock type; I photographed grocer’s stalls in East End street markets; I dug out old clocks I recalled from childhood at my parents’ place, examined old manual typewriters and cash tills, and crouched down with a torch to look at my electricity meter. I found out that Jane Fonda kicked a policeman, and unusually for someone with a lifelong aversion to sport, picked up some horse-racing jargon. I share some of that research here. In many cases I have not been slavish about staying close to the source material if I didn’t think it warranted it, so a close comparison will reveal differences. These changes could be made for aesthetic reasons, functional reasons (the originals didn’t need to be set in any combination, for example), or just reasons of personal taste. Where reference for the additional characters were not available — which was always the case with fonts derived from clock faces — I have endeavored to design them in a sympathetic style. I may even extend some of these to the full alphabet in the future. If I do, these number-only fonts could be considered as experimental design exercises: forays into form to probe interesting new graphic possibilities.

Adi Stern’s Noam Text shows that typographic progress is often in the small things — in the perfecting of familiar traditions and in staying loyal to the spirit of what came before. It can’t really be called progress unless it honours its history. In this way, TypeTogether is happy to introduce Noam Text: A Hebrew and Latin serif font that builds on its heritage with the twin tools of honour and progress. Since 1908, the Frank-Rühl fonts have dominated the Hebrew book and newspaper market. Noam Text’s design goal was to create a coherent family with both Latin and Hebrew serif text typefaces, each authentic to its own script, and which would serve as an alternative to last century’s predecessor. In short order, users will recognise Noam Text as a source of progress in its bilingual abilities. Hebrew and Latin have opposite reading directions, creating many issues: opposing directionality of the open counters; vertical stress in Latin, but horizontal in Hebrew; fewer extenders in Hebrew; and no Hebrew capital letters. All these have been taken into account in Noam Text’s modern design. Of unique importance — all punctuation marks have a Hebrew version, which makes each script complete and uncompromising. Among other technologically advanced details, Noam Text was programmed for all expected scenarios of mixing Hebrew, Latin, figures, and punctuation. Noam Text is intended mostly for setting long texts, so it strives to achieve maximum legibility in minimum space with its large x-height, short and fairly condensed Latin capitals, large and open counters, and low contrast. Originally derived from the Hebrew, the shallow horizontal curves and strong baseline serifs provide dynamism and enhance the reading flow. Noam Text Latin’s italic is rounded and reading friendly, is condensed to generate a lighter texture than the roman, and has a flowing stance. These virtues help it endure harsh printing conditions and subpar inks and paper. Noam Text’s three total weights provide a proper solution for integrating texts in both scripts, as well as a contemporary alternative for use in books, newspapers, and magazine design. Aligned with TypeTogether’s commitment to produce high-quality type for the global market, the complete Noam Text family displays an impressive amount of discretion, applying to wide use-cases by not edging too close to religious motifs or imbibing in secular indulgence. This means Noam Text can be the go-to family across the board and capitalise on the desire for clear typographic progress in this modern age.

Bitcrusher is not your ordinary typeface. It is a futuristic, ultra-compact sans-serif font that draws inspiration from the sleek design of automobiles and cutting-edge consumer electronics. Its unique compression capabilities allow you to pack more words into a single line than most techno typefaces can ever dream of. Available in five weights and four widths, Bitcrusher is a versatile font that gives you unprecedented control over your typography. If you need to fit more text into a tight space, Bitcrusher Condensed is the perfect choice. And if you want to push the limits of font compression, Bitcrusher Compressed has already reached the standard limit. For those who demand even more compactness, Bitcrusher Crammed has an abnormally small footprint, while Bitcrusher Crushed has an absurdly high density that defies all conventions. But no matter which variant you choose, you can be sure that Bitcrusher delivers consistent stem, space, and gap widths that allow you to break the rules of scaling and tracking. With Bitcrusher, you have complete control over your typography. Want thicker stems? Simply scale a narrower width to a bigger breadth. Need to go even tighter than Crushed? Make it even thinner. Bitcrusher is a font that cannot be broken. It is the ultimate tool for designers who demand precision and control over their typography. Choose Bitcrusher and discover the power of true compression. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond" types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. ITC Garamond? was designed in 1977 by Tony Stan. Loosely based on the forms of the original sixteenth-century Garamond, this version has a taller x-height and tighter letterspacing. These modern characteristics make it very suitable for advertising or packaging, and it also works well for manuals and handbooks. Legible and versatile, ITC Garamond? has eight regular weights from light to ultra, plus eight condensed weights. Ed Benguiat designed the four stylish handtooled weights in 1992." In 1993 Ed Benguiat has designed Handtooled versions.

The Octin Prison font family is a veritable powerhouse of design, boasting seven different weights to choose from, each one exuding an air of rugged toughness that is sure to make a statement. Whether you’re looking to create designs for sports teams, schools, police departments, construction sites, or military units, Octin Prison is the perfect choice for projects that require a no-nonsense, utilitarian aesthetic. What sets Octin Prison apart is its ability to capture the essence of its namesake—the prison system—while also offering a versatility that makes it a great option for a wide range of design themes. The font’s thick, bold strokes and sharp, angular edges create a sense of solidity and permanence, while its sleek, modern lines give it a contemporary edge that is sure to grab attention. With weights ranging from light to black, Octin Prison is a font that can be used for a variety of design purposes. The lighter weights work well for smaller text, providing a clean, legible look, while the heavier weights make for an imposing headline font that demands attention. In conclusion, if you’re looking for a typeface that can capture the essence of ruggedness and durability, while also offering versatility and style, look no further than Octin Prison. It’s a font that is sure to make a statement and leave a lasting impression on anyone who sees it. Check out the rest of the Octin families: Octin Sports, Octin College, Octin Stencil, Octin Vintage & Octin Spraypaint. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Nexus (2004) consists of three matching variants – a serif, a sans and a slab – which makes it a highly versatile typeface. Nexus started as an alternative to Seria, a typeface Majoor had designed some 5 years earlier. But soon the design developed into a new typeface, with numerous changes in proportions and in details and with a redrawn italic. Besides the three connected versions (Nexus Serif, Nexus Sans, Nexus Mix) Majoor designed a monospaced version called Nexus Typewriter. The Nexus family is a workhorse typeface system like Scala, with features such as small caps in all weights, four different sorts of numbers and an extensive set of ligatures. All fonts in the Nexus family come in regular, italic, bold and bold italic. Free bonus: there are more than 100 elegant Swash italics and dozens of arrows and other icons. The Nexus family was awarded the First Prize at the Creative Review Type Design Awards 2006.

Osward Script is a modern typeface with a tasty flow. It features alternate characters, including initial and end swashes, ligatures and international support for most Western Languages. This one should make your designs instantly professional and jaw-dropping! Be a perfect professional in a minute and start creating modern designs like ads, sales, logos, branding, posters, social media text overlays today! To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. and there are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Thank you for your purchase!

These two extra bold fonts are classic slab serif wood type styles with one detail of difference. Columbian is an extra bold Clarendon wood type that was manufactured by many of the wood type manufacturers in the late 19th century. "Clarendons" feature bracketed or rounded serif joins whereas "Antique" was a class of typefaces that features squared off slab serifs. Some type designs have only minor differences from others. The Columbian design is essentially identical to Wm. Page & Co.'s "Antique no. 4", with the difference being the bracketed serifs. In researching material for the digitization of Columbian, we started with a 15 line font identified as "Columbian" shown in the Angelica Press wood type portfolio (printed in 1976). This font is in fact "Page Antique no. 4". Comparing Antique #4 to Columbian specimens from Hamilton and other manufacturers confirms the only real difference is the serif treatments. Therefore, both fonts are presented as a pair. Each font features a full Western & Central European character set.

Supertuba is a :) geometric sans vernacular humanist :) display type family with 6 weights. There's literally dozens of ligatures in this font so It works very well for flyers, package, stickers and posters, also you can use it as a text font if you're looking for something slightly bold. Supertuba has multilingual support and useful open type features. Letter boards that used to be seen in churches, dive bars and butcher shops are the main inspiration for this typeface. The name Supertuba came from an old supermarket that no longer exists in the city of Indaiatuba , I just believe this name is super fun (at least in Portuguese) and wanted to keep it alive. I was in Indaiatuba when I get started designing this typeface so this is fair enough. Supertuba the third piece of a particular trilogy of fonts that Stubby and Stubby Rough take part, from the lazy vernacular drawing to an unusual geometry. Enjoy!

Gloria Monoline is a text serif with an editorial focus designed by Ikhsan Maulana. The idea for a typography job came from a design school letter-making exercise: Get a pair of scissors and some large sheets of paper, and start cutting. The resulting letters and the act of cutting them from paper inform the type design process, resulting in strong, simple shapes and open, inviting textures. The tone is crisp and straightforward. The classic letterforms, with a playful touch, give the design a personality that is both practical and spontaneous. The text weight is capable of adjusting copies at various sizes to print and render clearly on screen. Its lightest and heaviest weights work best at display sizes. Great care has been taken to save typists time with OpenType features including contextual punctuation and symbols to match case-sensitive, lower-case, and all-caps settings, as well as set images set for each use.