HGB Info is a display typeface for my Linotype Nautilus Monoline. This came about while working on the corporate design for the municipality of Weissach im Tal. Shorter ascenders and descenders and a broader letter shape result in more compact word images. The ups and downs are cut vertically. This works particularly well in large degrees. This is the area of ​​application on signage and information systems.

Named after the German Renaissance astronomer, Kepler is a contemporary type family designed by Robert Slimbach in the tradition of classic modern 18th century typefaces. Modern typefaces are known for their cool intellectual quality, but Slimbach's Kepler multiple master captures the modern style in a humanistic manner. It is elegant and refined with a hint of Oldstyle proportion and calligraphic detailing that lends it warmth and energy.

Weirdtopia - is retro, fun, and playful. It really ties together your piece to make it feel retro. Perfect for making any project like header, quote, layout magazine, and others. Even better if used on the 60s and 70s design projects. A mix of psychedelia and groovy, it came with open-type features such as stylistic alternates that you can modify to fit your own style.

Galerie 2 has a narrower styling and less contrast than its sister family but incorporates the same unique characteristics as Galerie within its elegant proportions. The close genetic proximity to Galerie enables dual deployment in text and artwork, each family complimenting the other in combinations of headings and copy. Galerie 2, like the full width Galerie volume, comes in 4 weights from Thin to Bold.

CA Mechano is quite what the name suggests – A mechanical typeface. Pretty straight forward and all-caps as long as you don’t activate the stylistic set "disorder". You will see what happens then: a lot of fun for the typographic eye. A more consumable distraction is offered by the other stylistic set. You will dis­cover peacefully rounded letters in the neighborhood of strictly mechanically constructed glyphs.

TT Marxiana useful links: Specimen | History of creation | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Marxiana: TT Marxiana is a project to reconstruct a set of pre-revolutionary fonts that were used in the layout of the "Niva" magazine, published by the St. Petersburg publishing house A.F. Marx. In our project, we decided to focus on a specific set of fonts that were used in the preparation and printing of the "Niva" magazine in 1887, namely its Antiqua and Italic, Grotesque and Elzevir. As part of the TT Marxiana project, we sought to adhere to strict historicity and maintain maximum proximity to the paper source. We tried to avoid any “modernization” of fonts, unless of course we consider this to be kerning work, the introduction of OpenType features and creation of manual hinting. As a result, with the TT Marxiana font family, a modern designer gets a full-fledged and functional set of different fonts, which allows using modern methods and using modern software to create, for example, a magazine in a design typical of the late 19th century. The TT Marxiana project started in the late summer of 2018 and from the very beginning went beyond the traditional projects of TypeType because of the importance of preserving the historical identity. Since up to this point, we had never before reconstructed the font from historical paper sources and with such a level of elaboration and attention to detail, it took us two years to implement this project. You can read more about all stages of the project in our blog, and here we will briefly talk about the result. As it turned out, drawing a font following the scanned pages of a century-old magazine is a very difficult task. In fact, such a font reconstruction very much resembles archaeological excavations or solving a complex cipher, and all these efforts are needed only in order to finally understand what steps need to be taken so that the resulting font is not just an antiqua, but the specific and accurate antiqua from "Niva" magazine. In addition, due to the specifics of printing, same characters in the old magazine setting looked completely different, which greatly complicated the task. In one place, there was less ink than needed, and the letter in the reference was not well-printed and thin, in some other place there was more ink and the letter had flooded. An important task was to preserve and convey this feeling of typographic printing, but at the same time it was important to identify the common logic and character of the dot gains so that the font would form a harmonious, single, but at the same time lively picture. Since the "Niva" magazine was historically published in Russian, the magazine had no shortage of references for the reconstruction of Cyrillic characters, but there were not many Latin letters in the magazine at all. In addition, the paper source lacked a part of punctuation, diacritics, there were no currency signs nor ligatures at all—we developed all these characters based on font catalogs of the 19–20 centuries, trying to reflect characteristic details from the main character composition to the max. So, for example, the Germandbls character, which is not in the original "Niva" set, we first found in one of the font catalogs, but still significantly redesigned it. We decided that in such a voluminous project, only graphic similarities with the original source are not enough and we came up with a feature that can be used to exchange modern Russian spelling for pre-revolutionary spelling. When this feature is turned on, yat and yer appear in the necessary places (i, ѣ, b, ѳ and ѵ), the endings of the words change, and so appears a complete sensation of the historical text. This feature works in all fonts of the TT Marxiana font family. TT Marxiana Antiqua is a scotch style serif, the drawing of which carefully preserved some of the artifacts obtained by printing, namely dot gain, a slight deformation of the letters and other visual nuances. TT Marxiana Antiqua has an interesting stylistic set that imitates the old setting and in which some of the signs are made with deliberate sticking or roughness. Using this set will provide an opportunity to further simulate the setting of that great time. TT Marxiana Grotesque is a rather thick and bold old grotesk. Its drawing also maximally preserved the defects obtained during printing and characteristic of its paper reference. In addition to pre-revolutionary spelling, TT Marxiana Grotesque has a decorative set with an inversion. This is a set of uppercase characters, numbers and punctuation, which allows you to type inverse headers, i.e. print white on black. As a result of using this set, you get the text against black bars—this way of displaying was very characteristic for print advertising at the turn of the century. In addition, about 30 decorative indicator stubs were drawn for this set: arrows, hands, clubs, etc. TT Marxiana Elzevir is a title or header font and is a compilation of monastic Elzevir that were actively used in the "Niva" magazine for all its prints. Unlike the antiqua, TT Marxiana Elzevir has sharper forms, and the influence of deformations from typographic printing is not as noticeable in the forms of its signs. This is primarily due to the specifics of its drawing and the fact that it was usually used as a heading font and was printed in large sizes. The height of the lowercase and uppercase characters of Elsevier is the same as the heights of the antiqua, but the font is more contrasting and lighter, it has a lot of white and, unlike the antiqua and the grotesque, there are a lot of sharp corners. An exclusive feature of the TT Marxiana Elzevir is an alternative set of uppercase characters with swash. • TT Marxiana Antiqua consist of 625 glyphs each and and it has 23 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, ss05, case. • TT Marxiana Antiqua Italic consist of 586 glyphs each and and it has 22 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Grotesque consists of 708 glyphs and it has 22 OT features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Elzevir consists of 780 glyphs and it has 21 OT features, such as: aalt, ccmp, locl, ordn, frac, tnum, onum, lnum, pnum, calt, ss01, ss02, ss03, ss04, ss05, ss06, salt, c2sc, smcp, case, liga. FOLLOW US: Instagram | Facebook | Website TT Marxiana language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Breton, Bulgarian (cyr), Catalan, Cebuano, Chamorro, Chiga, Cornish, Corsican, Cree, Danish, Dutch, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Galician, German, Gusii, Haitian Creole, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (cyr), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Ladin, Leonese, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Mauritian Creole, Minangkabau, Montenegrin (cyr), Mordvin-moksha, Morisyen, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Samburu, Sango, Sangu, Scots, Sena, Serbian (cyr), Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Taita, Tetum, Tok Pisin, Tsonga, Tswana, Ukrainian, Uyghur, Valencian, Volapük, Võro, Vunjo, Walloon, Xhosa, Zulu.

Barberry is a hand-made brush script typeface equipped with some decorative OTF features, made by Zakhar Yaschin (FontaZY). Barberry font contains stylistic alternates, initial and final alternates (which is duplicated by contextual alternates in the case when ini & fina are not supported), ligatures, titling alternates, small caps and large collection of swashes (additional variants - in Stylistic Set). The Barberry font is essential for hand-made lettering and design. The Barberry family also includes Barberry Vigniette font with over 200 icons and vigniettes in it. Barberry Letters supports most of Western languages (including Central Europian, Baltic and Eastern European languages) and also Cyrillic. Each lowercase letter has three positional versions of the design – basic (if the letter is in the middle of a word), initial (if the word starts with it) and the final (in the end of the word) that makes the set look more alive and expressive. Working with Barberry Letters you can enable and disable if needed such typographic tools as swashes, ligatures, small caps, titling alternates, stylistic alternates, additional swashes and the already mentioned initial and final alternates. If your design software does not support the use of the initial and final alternatives, they can be duplicated by contextual substitutions. There are more than 20 Latin and Cyrillic ligatures in the Barberry Letters. It works by default as the standard ligatures, but you can switch it off for design reasons or to select the more appropriate typographic solution in any particular case. Ornamental font Barberry Vigniette has more than 200 pictograms and vignettes that can decorate your typographic layout. All icons are drawn with a brush in the same style as the Barberry Letters. You can use them inside the text lines, or make the ornamental decoration for text, or use separately, without any letters. OpenType extensions of the Barberry Letters significantly expand the choice of typographical tools to design a better, more expressive layout. Choosing the optimal variant of certain letters in each case, you can receive a unique composition. Whether it is lettering for packaging or magazine headline, logotype or the name in the invitation – just one Barberry font-family gives you the very wide typographic possibilities.

Step right up folks and feast your eyes on the most authentic and pure font to ever grace the pages of your ad campaign. Bristles is the name, and it’s a font that speaks volumes of homegrown authenticity with every brushstroke. As you gaze upon this sun-bleached and weathered sans-serif, you’ll notice how the paint barely holds onto the substrate. It’s as if the letters themselves are just barely hanging on, like they were painted decades ago and left to weather the storm. But that’s what makes Bristles so special. Its wispy, textured lettering gives your message a voice of purity that simply can’t be replicated by other fonts. Each letter has its own unique character, telling a story that only a sign painter’s hand could convey. And with its letter pair ligatures, Bristles breaks up the monotony of blatantly repeating characters in OpenType-savvy apps. It’s a font that’s as versatile as it is beautiful, perfect for any project that needs a touch of old-school authenticity. So what are you waiting for? Give your message the voice it deserves with Bristles, the font that speaks volumes of homegrown authenticity. 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.

In the late 1930s, old Egyptiennes (or Italiennes) returned to the collective consciousness of European printers and type houses — perhaps because political news were front a centre, especially in France where Le Figaro newspaper was seeing record circulation numbers. In 1939 both Monotype and Lettergieterij Amsterdam thought of the same idea: Make a new typeface similar to the reverse stress slab shapes that make up the titles of newspapers like Le Figaro and Le Frondeur. Both foundries intended to call their new type Figaro. Monotype finished theirs first, so they ended up with the name, and their type was already published when Stefan Schlesinger finished his take for the Amsterdam foundry. Schlesinger’s type was renamed Hidalgo (Spanish for a lower nobleman, ‘son of something’) and published in 1940 as ‘a very happy variation on an old motif’. Although it wasn’t a commercial success at the time, it was well received and considered subtler and more refined than the similar types available, Figaro and Playbill. In the Second World War, the Germans banned the use of the type, and Hidalgo never really recovered. Upon closer inspection, Schlesinger’s work on Hidalgo was much more Euro-sophisticated and ahead of its time than the too-wooden cut of Figaro and the thick tightness of Playbill. It has a modern high contrast, a squarer skeleton, contour cuts that work similarly outside and inside, and airy and minimal solutions to the more complicated shapes like G, K, M, N, Q and W. It is also much more aware of, and more accommodating to, the picket-fence effect the thick top slabs create in setting. Basilio (named after the signing teacher in Mozart’s Figaro) is the digital revival and major expansion of Hidalgo. With nearly 600 glyphs, it boasts Pan-European language support (most Latin languages, as well as Cyrillic and Greek), and a few OpenType tricks that gel it all together to make a very useful design tool. Stefan Schlesigner was born in Vienna in 1896. He moved to the Netherlands in 1925, where he worked for Van Houten’s chocolate, Metz department store, printing firm Trio and many other clients. He died in the gas chambers of Auschwitz in 1944. Digital revivals and expansions of two of his other designs, Minuet and Serena, have also been published by Canada Type.

Roundabout is a typeface that is extracted from an ellipse shape. Each and every character started at the same geometrical figure. By cutting it up in sections, twist and rotate the separate characters could be build. The ellipse provides this typeface with evident and smooth looking features. The name Roundabout is misleading, an ellipse is not round. But the word Roundabout has a nice ring to it and it seems to fit this typeface perfectly. The Roundabout as we know it is a place where the traffic circles. Sometimes in the greater metropoles it jams like clotting veins. Various exits are presented for those who know which way to go, for those who don’t it seems an eternal treadmill. Unlike my typeface, that seems rather careless, light weighted and knows her way around. A roundabout in a child’s mind is a playful carrousel or a merry go round. Merry go round has the sweetest sound and a match is found. My Roundabout is a joyful, optimistic and open typeface, which can be used over and over and over again for many or any purposes. ----- Roundabout ist eine Schrift die aus der Form einer Ellipse entstand. So teilen alle einzelnen Zeichen denselben geometrischen Ursprung. Durch das zerteilen, verdrehen und verflechten der elliptischen Grundform konnten die separaten Zeichen so geformt werden, dass sie einen klaren und weichen Charakter erhielten. Der Name Roundabout scheint auf den ersten Blick etwas irreleitend - ist eine Ellipse ja nicht wirklich rund. Er hat aber einen schönen Klang und doch eine tiefe Verbindung zu dieser Schrift. In unseren Gedanken ist Roundabout ein Kreisverkehr: Manchmal, in großen Städten, kann er blockieren, so wie eine verstopfte Ader. Verschiedenste Auswege zeigen sich denen, die ihr Ziel kennen; für alle anderen erscheint dieser Ort wie eine endlose Schlaufe. Dieses Bild widerspricht dem Auftreten meiner Schrift, welche eher sorglos und leichtfüßig ist; sie kennt ihren Weg. In dem Kopf eines Kindes jedoch ist ein Roundabout ein verspieltes Karussell, ein „merry go round“. ,,Merry go round“ klingt bezaubernd und so fiel die Entscheidung. Meine Roundabout ist eine fröhliche, optimistische und offene Schrift, die immer und immer wieder genutzt werden kann, zu jedem erdenklichen Zweck.

Majora is a slab serif typeface which derives its name from a Portuguese historical toy manufacturer. The font comes in 8 styles, ranging from a delicate Thin to a robust Black, with matching italics and an upright version of stencil fonts, resulting in a total of 24 weights. Majora is well-suited to a wide range of design projects which include packaging, editorial design, screen use, etc. Its humanistic features and moderate contrast between thick and thin strokes make it also suitable for long block of texts while having a high degree of legibility. The font includes a set of alternate glyphs which help give your compositions a different and unique look. The Stencil version was specially designed for use in signage, packaging, titles and headings. Majora contains a set of 520 characters that support over 200 Latin-based languages.

Paradox Runa is based on the futhark, norse elder runes. “Missing” characters has been replaced with either other “real” runes, or “new” ones have been “invented” so that the font hold all characters for the latin alphabet (A-Z + swedish Å Ä & Ö) + “Numbers” 0-9. I do not claim that this rune alphabet is totally authentic nor correct! All upper and lower-case letters are the same except for the letter S. “Ligatures” have been created for the th, ng and eo sounds. These are accessed by writing TH, NG and EO (in upper case letters). Space is automatically replaced by a ‘colon’ (':') - if you want a “real” space, write an underscore! (open type version of the font and open type compatible layout application required). Paradox Runa goes perfect with the font Paradox X (regular yet enigmatic hand drawn latin letters)!

This family was inspired by the early Fraktur style font used circa 1530 by Jacob Otther, printer in Strasbourg (Alsace-France) for German language printed books. Although it is an early Fraktur pattern, it is easy to see the characteristic differences with the Schwabacher style (look at 1538 Schwabacher), like in the small d, o or y... and the capitals (look at the H, K, T...). Frequently, Schwabacher and Fraktur were used together in the same book : Fraktur style for the main and Schwabacher for marginalia and comments. This font contains standard ligatures and German historical ligatures (German double s, long s, ts...) and diacritics (special ummlaut "e superscript" and "∞" instead of dieresis with letters a, o and u,) naturally, we have added numerous letters lacking in the original to permit a contemporary use of the font.

The Baksheesh family comes in three weights with accompanying italics and small caps. The catalyst for the development of the typeface came from the desire to create a contemporary family of constructed letterforms built upon a flexible system. The aesthetic of the font is influenced by the characters drawn by Wim Crouwel in 1976 for Olivetti’s typewriter font that could support varying character widths, hence Baksheesh’s faux-monospace appearance. Each of the characters has been designed according to an intricate grid, helping to rationalise the letterforms into a system that can be translated across the various styles. The flexibility of the grid also allows for optical adjustments to be made, for example stroke thinning at junctions and baseline/x-height overshoot for enhanced definition throughout. Baksheesh is suitable for setting small amounts of text as a distinguishable and legible headline font.

**Summer Ocean** Bring a touch of the ocean's breezy energy to your designs with this handwritting flowing script font. Named "Summer Ocean," this font captures the essence of the beach with its relaxed, carefree style. The handwritting script style is accented by a mix of hand-drawn elements, giving it a personal, natural feel. This font will bring a touch of the ocean to your designs. So sit back, relax, and let " **Summer Ocean** " transport you to the beach with its handwritting flowing script style and mix of hand-drawn elements. Its perfect for vacation-themed designs, wedding invitations, or any project that needs a touch of summery charm, and many more! even so contains All Standard glyphs and punctuations --- Thank you for let us be your design partner, If you have any questions please don't **hesitate** to drop me a message

David was promised Saul’s daughter in marriage after he defeated Goliath. However, while Saul procrastinated in delivering his elder daughter for marriage, David fell in love with the younger daughter Mikal (1 Samuel 18:20,28). Mikal was the only wife who was reported to have loved David. Her name, Mikal, meant brook, or stream, a symbol of the water of the word. Mikal is a versatile and elegant script font; well suited in the area of magazines, web pages, packaging, logotypes and advertising, etc. This font can be used as body text for its good legibility and accurate kerning. Mikal font has all the advantages of OpenType technology that allows a variety of combinations: Swash, old style numerals, standard and discretionary ligatures, contextual alternates, word ending and tails. Mikal supports all Central European character set as well as basic Western languages.

Rockyeah is 3 style fonts: brush, serif and sans serif who have strong personalities and work very well in many design projects. - Rockyeah Brush made with fine brush pen with the fastest stroke movement. Comes with over 300 glyphs that will give you a vast possibility to play with each character. - Rockyeah Serif is an interpretation of Rockyeah brush. A serif font that focuses on legible, elegant and unique. With light and bold stroke combination this serif will give a modern-classic vibes on your design project. - Rockyeah Sans a geometric sans serif that focuses on legible, clean and useful for any project. This sans is an interpretation of Rockyeah Serif with the same caps height and bold stroke. This font is suitable for poster, tattoo, tees graphic, headline and etc :) Just play and rock it!

Rotterburg Stylish Display is Serif Display with upper and lowercase is complemented by some of the same alternatives made with love. Access your OpenType features to access the large selection of alternate letters and ligatures, select the letters you like from the large variety to get the display font you like. This font with alternatives, ligatures, and multilingual support. Perfect for editorial projects, Logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image. Features : Uppercase and Lowercase Stylistic Alternates & Ligatures Numerals & Punctuation Multilanguange PUA Encoded Web Font Included 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. Contact me with an inbox message If you have any question. Thank you! Happy Creating.

One would think the whole hippy thing would have died out after the knighting of Mick Jagger and the selling out of the The Who. Not at Canada Type. We still occasionally read Burroughs and Ginsberg, listen to Dylan and Hendrix, and use the backyard to pretend (um, like run barefoot with the dog). And we're always happy to make another psychedelic font. This one is based on an early 1970s film type that went by the names Hoopla and Scorpio. Doobie is a typical hippy font that uses the simplest elements of the art nouveau genre. Bubbly and wavy, Doobie exudes an almost child-like innocence, the ever laid back, optimistic simplicity of flower power. It is right at home alongside the many other psychedelic fonts that make Canada Type the definite home of the groovy alphabet. Far out!

Your purchases include the Hello Darling Script, conjunctive handwritten script, and printed, handwritten, and printed script fonts. Hello Darling is made side by side to work together. All lowercase letters are placed to receive a connecting tail from Hello Darling. You can mix and match the same words to your heart's content! Hello Darling is also made with the crafter in mind: there are no closed counters on either type, meaning they can easily be used for stencils and electronic cutters such as the Cricut line and the Silhouette. The Hello Darling package includes: - More than 300 glyphs in the Hello Darling font, designed to work together! - No closed counters - useful for stencils and vinyls! - More than 200 accented characters in each font. - Double letter binder staggered for a hand drawn look! - PUA-encoded for easy character map access! Enjoy and thank you.

I was in a bit of a gloomy mood just before I created this font. I had no inspiration whatsoever (which always affects me in a bad way). I was trying to create a font using broken satay skewers, as using those gives the letters a unique look. I broke about 25 skewers and they all broke ‘the wrong way’. Yes, it’s pathetic, I know, but that’s how it is. I decided to go to the gym and do a little workout, hoping my dark mood would pass. When I came back, I broke one more skewer and lo and behold, it broke exactly the right way! I made this font in one go, using that fantastic skewer and lots of Chinese ink. Darkness Rising comes with all the diacritics you’ll need, plus double letter ligatures and some cool underlined alternates.

Naïve Inline is a layered serif handwritten font designed by Fanny Coulez and Julien Saurin in Paris. Our goal was to draw a font with finely irregular lines that give a human and whimsical feeling. We designed three weights to assure a good readability whatever the size. They can be enhanced with five different interior patterns and three shadows to improve your designs and bring a charming and unusual feeling. To do so, you can simply superimpose the layers with a compatible software like Photoshop, the weight above and the pattern(s) below, then choose a color for each. This font is part of our Naïve superfamily that contains lot of variations: Line, Inline, Serif, Sans Serif, and a special Art Deco one. Just click on our foundry name to see them all! We hope you will enjoy our work. Merci beaucoup!

The font is the soft version of the Queulat basic and condensed families, but keeping the same features as the original typeface. Queulat Soft is a hybrid font that combines different styles, reflecting charm, freshness and, especially, a strong personality. The font is inspired by Modern and Grotesk styles. The former is shown in some characteristic features such as teardrop terminals, which give the typeface an attractive unique look, making it an ideal choice for logotypes and labelling. The latter, with its rationality, makes Queulat Soft a stable and strong face for headings and subheadings. The combination of styles can be clearly seen by comparing the Regular with the Alt version. The Regular version is more simple than the Alt one. Differently, the alternative version possesses more features of the Modern style, like teardrop terminals in ‘k’ and ‘v’.

Looqie - Beauty Display Sans Serif Is my new elegant with Regular and Italic serif font that will bring in your projects a touch of Beauty Looqie - Beauty Display Sans Serif will work perfectly for fashion, e-commerce brands, trend blogs, wedding boutiques or any business that wants to appear upscale. Flip through all the previews and get inspired like I was while creating this font Looqie also Suitable for Logo, greeting cards, quotes, posters, branding, name card, stationary, design title, blog header, art quote, modern envelope, book design any DIY project to make your art/design project look pretty and trendy. Features : Uppercase & Lowercase Numerals & Punctuations (OpenType Standard) Accents/Multilingual characters PUA Encoded 29 Ligature Check my other Font here : https://gilarstudio.com/ Give it a try! You will surely love it! Thanks and have a wonderful day, Gilar :)

Latim es una tipografia inspirada en el esitlo románico latino La fuente amplía su uso proporcionando 4 pesos desde delgado hasta negrita; mientras que los pesos más delgados han reducido el contraste y las correcciones ópticas para crear una apariencia cálida y suave. Los tamaños de letra grandes, puede apreciar las formas de las letras, mientras que la misma moderación y enfoque crean una textura uniforme para tamaños de letra pequeños y lectura larga. ------- Latim is a typeface inspired by the Latin Romanesque style The font expands its use by providing 4 weights from thin to bold; while thinner weights have reduced contrast and optical corrections to create a warm, soft look. Large font sizes, you can appreciate the shapes of the letters, while the same restraint and focus create an even texture for small font sizes and long reading.

A Trollkatt in Norwegian myth, is the cat associated with witches. The last few days a stray ginger cat seems to have adopted us - she comes into the house, lies down on the carpet and loves the cat food we bought her. We have posted some ‘found a cat’ messages online and hung op some flyers - just in case someone is missing a cat. Because of the stray, I decided that I should name this font something cattish, so Trollkatt is what popped up. The font is quite nice; I made it with my Chinese ink and a brush, from which I cut most of the hairs. This font won’t catch mice, but it will put some magic into your designs! And the stray cat… well, if she isn’t chipped and no one comes to fetch her, we will keep her. #happyending

The Sunshine Group is a series of four closely related fonts that combine a visual rendition of a bright noonday sun with Page No. 508, a wood type designed by William Hamilton Page of Norwich, Connecticut in 1887. Page No. 508 was released in a digital version by HiH and is available from Myfonts.com. Woody Sunshine is the simplest. The name alludes to its wood type roots. The sun shines on the upper case letters only (and the ampersand, which is considered lower case). Double Sunshine has the sun on both upper and lower case. Smiley Sunshine adds a smiley face to the first font. Double Smiley adds it to the second font. Warning: immoderate use of Double Smiley may expose the user to charges of overly aggressive cuteness. Please be careful. The Culture Vultures are lurking in the treetops.

After releasing the Rumble Brave font with a vintage elegant style successful in the market. Now we are launching a vintage font that is plump, looks fat, strong, heavy but still elegant and unique. "Braton Composer typeface" falls into the bold serif font category, but it also has italic options. This impression is perfect for design that has a firm and elegant concept. Braton Composer typeface is very worthy of your collection, because Braton Composer is very unique when combined with swash and alternative of the character options. In addition to "Braton Composer Regular" also has 2 other styles, namely "Braton Composer Rough"and "Braton Composor Stamp Rough". Braton Composer 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.

In Egyptian mythology, Seshat was the Ancient Egyptian goddess of wisdom, knowledge, and writing. She was seen as a scribe and record keeper, and her name means she who scrivens, and is credited with inventing writing. Miss Seshat font is a fun, charming and expressive handwritten font with 900 glyphs. They have many advantages of the OpenType futures to choose from: stylistic alternates, contextual alternates, and a full set of standard and discretionary ligatures, Swatches, Beginnings and endings, as a rich set of 120 ornaments, connectors and catch words. Miss Seshat Pro version supports all diacritics for CE languages. They've been specially thought to obtain endless possibilities of composition and to help to make each creation unique and interesting. Miss Seshat font can be used in packaging design, children books, advertising, logotypes, greeting cards, web sites and much more.

Have you got a dream? I dream of visiting Peterhof. The palace and park ensemble with beautiful architecture, sculptures, and fountains. It is no less beautiful on the inside than on the outside. Huge halls, windows, columns, paintings. Everything is very refined, elegant, and beautiful. Looking at the photos, I enjoy and admire the views. They inspired me to create the "Peterhof" typeface. Elongated letters echo with tall columns and fountains. Serifs and playful glyph corners add grace to the font. It turned out to be refined, aristocratic, and at the same time mysterious and effective. I have created a whole family of "Peterhof" fonts from regular to bold italics for every taste and for every task. The "Peterhof" font will look great in headlines, advertising signs, posters, magazine pages, and prints. It can serve as the main focus of your compositions.

Introducing a new beautiful calligraphy font, Black Pink Signature! Black Pink Signature is perfect for beautiful logos, elegant logos, upscale packaging, wedding stationery, websites, and any other projects requiring a handwritten and luxurious touch. A wide range of swashes (a-z) and alternates (A-Z) are included so that you can give your logo or name a custom, hand-calligraphy look. Moreover, Black Pink Signature font was created to look as close to a natural handwritten script as possible by including 110 ligatures. With built in Opentype features, this script comes to life as if you are writing it yourself. You can see it in the pictures shown! The Font Inspiration: Often surfing the internet you come across to messy style hand lettering. Maybe some letters are imperfect, maybe a bit illegible. But that gives it charm!

Hawking is a slab typeface with slightly squarish shapes and a rational, modern look. The font has a minimal modulation, generous counterforms and relatively large x-height with lowercase ascenders extending above the cap-height for more legibility. Serifs are composed of curved and straight lines, which give the font a robust appearance and strong personality. Hawking was specially designed for use in scientific publications (hence its name), but it can also be used with other type of continuous text, such as journalistic, technical or literary texts. Its heavier weights make it also well-suited for any display use (e.g. headlines) Hawking comes in 8 styles: 4 weights plus matching true italics. The font also includes ligatures, proportional oldstyle figures, and tabular and lining figures. The family comes with the Latinotype’s standard character set that supports 213 different languages.

Larks' Tongues in Aspic is the fifth studio album (released in 1973) by the English progressive rock group King Crimson. I have always liked this name, as it reminded me of old stories in which witches threw all kinds of weird ingredients (larks’ tongues, bat wings and petrified dragon dung) into a big cauldron. When I created this font, it looked like the writing in an old book of spells, so I just had to call it Larks’ Tongues. Larks’ Tongues is a very lively headline font which would look good on (children’s) book covers, posters and product packaging. So, if you are about to write a book about witches, want to throw a halloween party or want to market your Larks’ Tongues in Aspic, then by all means, use this font! Comes with a magical amount of diacritics.

Cherubina means ‘Blessed’. It is a name derived from the Akkadian “karabu / kuribu”, meaning “blessing, blessed”. A cherub is a type of spiritual being mentioned in the Hebrew Bible, often depicted as a baby with wings. This font was based on the hand lettering I found on a 1962 Japanese poster for the movie “Mother Joanna Of The Angels”. The poster was designed by Hiroyoshi Oshima. Cherubina font is an all caps font (upper and lower case differ and can be used together) with a medieval feel to it. I tried to keep the ‘spirit’ of Hiroyoshi Oshima’s lettering, but changed the glyphs and designed most of them myself, as I had nothing but the title of the poster to work with. I have added some ligatures as well. Comes with my blessing and an eternity of diacritics.

ITC Johnston is the result of the combined talents of Dave Farey and Richard Dawson, based on the work of Edward Johnston. In developing ITC Johnston, says London type designer Dave Farey, he did “lots of research on not only the face but the man.” Edward Johnston was something of an eccentric, “famous for sitting in a deck chair and carrying toast in his pockets.” (The deck chair was his preferred furniture in his own living room; the toast was so that he’d always have sustenance near at hand.) Johnston was also almost single-handedly responsible, early in this century, for the revival in Britain of the Renaissance calligraphic tradition of the chancery italic. His book Writing & Illuminating, & Lettering (with its peculiar extraneous comma in the title) is a classic on its subject, and his influence on his contemporaries was tremendous. He is perhaps best remembered, however, for the alphabet that he designed in 1916 for the London Underground Railway (now London Transport), which was based on his original “block letter” model. Johnston’s letters were constructed very carefully, based on his study of historical writing techniques at the British Museum. His capital letters took their form from the best classical Roman inscriptions. “He had serious rules for his sans serif style,” says Farey, “particularly the height-to-weight ratio of 1:7 for the construction of line weight, and therefore horizontals and verticals were to be the same thickness. Johnston’s O’s and C’s and G’s and even his S’s were constructions of perfect circles. This was a bit of a problem as far as text sizes were concerned, or in reality sizes smaller than half an inch. It also precluded any other weight but medium ‘ any weight lighter or heavier than his 1:7 relationship.” Johnston was famously slow at any project he undertook, says Farey. “He did eventually, under protest, create a bolder weight, in capitals only ‘ which took twenty years to complete.” Farey and his colleague Richard Dawson have based ITC Johnston on Edward Johnston’s original block letters, expanding them into a three-weight type family. Johnston himself never called his Underground lettering a typeface, according to Farey. It was an alphabet meant for signage and other display purposes, designed to be legible at a glance rather than readable in passages of text. Farey and Dawson’s adaptation retains the sparkling starkness of Johnston’s letters while combining comfortably into text. Johnston’s block letter bears an obvious resemblance to Gill Sans, the highly successful type family developed by Monotype in the 1920s. The young Eric Gill had studied under Johnston at the London College of Printing, worked on the Underground project with him, and followed many of the same principles in developing his own sans serif typeface. The Johnston letters gave a characteristic look to London’s transport system after the First World War, but it was Gill Sans that became the emblematic letter form of British graphic design for decades. (Johnston’s sans serif continued in use in the Underground until the early ‘80s, when a revised and modernized version, with a tighter fit and a larger x-height, was designed by the London design firm Banks and Miles.) Farey and Dawson, working from their studio in London’s Clerkenwell, wanted to create a type family that was neither a museum piece nor a bastardization, and that would “provide an alternative of the same school” to the omnipresent Gill Sans. “These alphabets,” says Farey, referring to the Johnston letters, “have never been developed as contemporary styles.” He and Dawson not only devised three weights of ITC Johnston but gave it a full set of small capitals in each weight ‘ something that neither the original Johnston face nor the Gill faces have ‘ as well as old-style figures and several alternate characters.

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

Ever since I first designed Ellida in 2005, that elaborate script in the tradition of the 18th-century English calligrapher George Bickham and the 19th-century American calligrapher Platt Rogers Spencer, I wanted to add a very high contrast cut to the family. I finally did so. But the result looks so much different to Ellida that I had to give it another name, hence "Eloise". Eloise should actually be written with a 'i' that has double dots, but that would be difficult for international use. Eloise is a beautiful first name not only for French girls. Pronounce: Ay-low-eese. If I would have had a daughter, I would have called her "Eloise" (with double dots!). But instead I have two phantastic sons, so I never got the chance to use it. Actually one of my sons discovered it on his little boys sand shovel, it was called Eloise. Your decorative designer with a heart for sand shovels Gert Wiescher

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs. Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.