The Koelle Ornaments series is based on the etchings of Chris Koelle of Portland Studios. This is the second collaboration between insigne and Portland Studios; the first yielded the inky and active script Blue Goblet. Chris has a unique style where he "frames" his work with small icons related to the story or subject. These are now available as Koelle ornaments. Koelle Ornaments have a gritty, used appearance, and have a late 70's stylistic feel to them. There are 145 highly detailed illustrations in the entire pack, separated into four different fonts. These illustrations can be resized without any loss of quality, and can be easily converted to outlines and modified. Some of the ornaments have a Christian theme, while others are more generic. To view what ornaments are available and the keys they map to, please view the sample .pdf. The sample .pdf is an excellent reference guide, and we encourage you to print it out to quickly refer to your favorite ornaments.

Dwiggins Uncial is based on calligraphy by William Addison Dwiggins that he created for a self-penned short story, which appeared as an insert in the book-arts publication The Dolphin in 1935. This self-described “experimental uncial” lettering features rather unusual treatments of letterforms which combine manuscript calligraphy with modern idiosyncrasies. Dwiggins Extras is a set of decorative extras features 62 stencil and woodblock motifs adapted from abstract and representational Dwiggins designs. Although Dwiggins illustrated a number of books using conventional media, he is best known for his method of illustration that uses a series of hand-cut celluloid stencils or what he called “machine ornaments.” With these stencils Dwiggins (and other designers who use his ornaments) build-up repeated motifs and patterns into abstract designs and/or representational images which have a look that is uniquely Dwiggins’ own. Unlike other illustrators, Dwiggins’ style has not been commonly imitated and therefore his style is as distinctive today as it was 70 years ago.

Basic Commercial is a family of fonts based on historical designs from the hot metal type era. First appearing around 1900, these designs were created by type designers whose names have not been recorded, but whose skills cannot be overlooked. These typefaces were popular among groups and movements as diverse as the Bauhaus, Dadaism, and the masters of Swiss/International-Style typography. They influenced a variety of later grotesque fonts, such as Helvetica and Univers. Basic Commercial was distributed for many years in the United States under the name Standard Series. The typeface worked its way into many aspects of daily life and culture; for instance, it became the face chosen for use in the New York City subway system’s signage. The Basic Commercial family members have a clear and objective design. Their forms exhibit almost nothing unusual, but remain both lively and legible nonetheless. Perhaps for this reason, Basic Commercial’s design has been popular with graphic designers for decades.

Compatil from Linotype is the first comprehensive type system which enables all typographical elements to be used to full effect in order to reproduce the message conveyed by text information. Four different type styles with a total of 16 weights including italics have been merged into a unique typographical network. There are now no limits to the font user's creativity.The system is a product of technical innovation and constitutes a new design approach which meets the highest aesthetic standards. Compatil is a typeface family from the Platinum Collection. This series was created for the highest quality demanded by professional typography and includes complete families digitized using the newest technology, serving the specific needs of corporate design and similar projects. This Value Pack contains four different type styles of the Compatil type system: Linotype Compatil Exquisit Pro Regular, Italic, Bold and Bold Italic. These Pro fonts include the small caps and Adobe Central European character set for OpenType-supporting applications like Adobe InDesign.

You can hear the wheels of imagination turning within this font - Grit Gothic, from Grit History™ B Series, by Baseline Fonts. Both highly stylized and very legible, the extreme height of this font can give even a goblin vertigo. Extended X heights create lowercase that adventurously reach up through extended shoulders and spines while persistent grunge warns of skinned knees that may result along the climb. It’s easy to envision children’s rallying cries in Grit Gothic, perfect for book titles, film titles, poster headlines, and any other epic that needs a strong font with a dark edge of mystery and wonder. This font is rife with personality, including large and daunting punctuation, whittled wood-look vertical bars that berate and argue with beveled bowls, ascenders that attempt to intimidate one another with their height variances, and tittles that bully one another, as they're a variety of context dependent sizes. Grit Gothic is available in Regular and Bold with full Greek-lettered foreign language support.

With reference to the Type Heritage Project, this font (designer unknown) was cut by Henry Brehmer of New York for the Dickinson Type Foundary of Boston in c1879 and had the original trade name of Renaissant. John F. Cumming later cut a light-face derivative called “Artistic.” A history of the un-patented face can be found at the Type Heritage Project website. Ressonant has a full character set as well as ligatures, superiors, inferiors, numerators, denominators, old style figures, and auto-fractions. There are also alternate caps for N and M as in the original, and, unlike the original, comes in four weights. This font is a documented revival of a 19th-century typeface. The year, country, designer and/or foundry of origin will be published in a series of textbooks entitled “The Type Heritage Project.” Volume I explores quintessential Victorian faces, a spectacular trove of innovative gems; you can see samples by clicking the Type Heritage Project link above.

FranklinGothicHandBold is another part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked in advertising. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past Gert Wiescher

XXII CoolScript - The vibrant typeface with a ton of alternates MAJOR UPDATE This is a big update of XXII CoolScript. First of all, from now it’s a whole family with 7 new weights from ExtraThin to Black. It comes with more than hundred additional glyphs, some more alternates, ligatures, numerals and fitting opentype features for fractions and two extra ampersands. This lovely script font by Lecter Johnson is another, more soft and round one in the series of Doubletwo Studios’ script fonts (XXII YeahScript, XXII AwesomeScript). Its wonderfully designed letters, ligatures and alternates may bring a charming and individual handwritten look to your creation. This fonts are designed to easily create logos, headlines and text phrases within a blink of an eye. Just open your glyphs-palette* and simply chose, from up to 27 different alternates and variations per glyph, the one that fits best for your needs. *For further information visit the Behance Project.

The Core Sans ES Family is a rounded version of Core Sans E and a part of the Core Sans Series such as Core Sans N, M, A, G, D. This is a modernized grotesque font family with horizontal terminals, low stroke contrast, enclosed apertures and little line width variation. Its tall x-height makes the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans ES Family consists of 9 Weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black) and Italics for each format. It supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Superiors and Inferiors, Fractions, Tabular numbers, Arrows, Mathematical operators and Opentype Features such as Proportional Figures, Tabular Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions, Case Features and Standard Ligatures. We highly recommend it for use in books, web pages, screen displays, and so on.

The Face2Face (F2F) series was inspired by the techno sound of the mid-1990s, personal computers and new font creation software. For years, Alessio Leonardi and his friends formed a unique type design collective, which churned out a substantial amount of fresh, new fonts, none of which complied with the traditional rules of typography. Many of these typefaces were used to create layouts for the leading German techno magazine of the 1990s, Frontpage. Leonardi and his fellows would even set in type at 6 points, in order to make it nearly unreadable. It was a pleasure for the kids to read and decrypt these messages! F2F Mekanik Amente appears as if it had once been a normal font whose letters were horribly attacked by a pair of scissors. This font could be a very creative choice for headlines. F2F Mekanik Amente is one of 41 Face2Face fonts included in the Take Type 5 collection from Linotype GmbH. Leonardi designed 11 of these himself."

A sanserif with human touch in 6 fonts Angie Sans is a low contrast incised sans serif sharing some similarities with Optima by Hermann Zapf and Pascal by José Mendoza, both created at the end of the 50’s. The later, feature an italic not published by the initial foundry who launched Pascal. Angie Sans follow same path with its italic based on Chancery forms from the Renaissance, narrower than the roman shapes. With its capitals based on Roman proportions, lowercases featuring open counters, strong horizontals, Angie Sans is a legible typeface. The manual gesture is present in Angie Sans, which offer the plastic qualities such as warmth, craftmanship and humanity. Angie Sans is an Incised Garalde who works well for display as text settings. Available in 6 series, with matching italics, Angie Sans will work well in design projects where delicate and human touch is required. Angie Sans Morisawa Awards 1990

About family “SpathePro” Spathe(Sword) the guy… There are many versions of the expression spathe, some of them are: A guy who says things by name we say is a sword, is correct in explaining a situation or an event. Sometimes we say again that a woman is beautiful and has a body like a sword!! It is one of the four versions of the pack of cards for example "ace sword". We also say of someone that he won a case with his sword (his sword), with transparency and knowledge of the case. It is also one of the oldest weapons used by humans in wars, sometimes used by the defendants to resolve their differences or for reasons of honor. While even today it is an Olympic game as fencing. This is a font as sharp as a swordfish… This series is composed and includes ten fonts with 630 glyphs each, with true italics, true Sloping and supports of course: Latin, Greek & Cyrillic.

Bennet, Richard Lipton’s spirited serif superfamily, was inspired by Moth Design’s logotype and stationery system for the North Bennet Street School in Boston. Initially modest in concept, Bennet grew to an expansive suite of 96 fonts tuned for editorial use. The three widths of Bennet’s Display and Banner sizes—Regular, Condensed, and Extra Condensed—are ideal for precise fitting of newspaper and magazine headlines. Lipton developed graded text styles for the series, offering users precise variations to help compensate for varying degrees of ink spread on different types of paper stock during the printing process. For example, because of ink absorption, the lightest grade—Bennet Text One—printed on low-quality newsprint stock will have the same gray value as the darkest grade—Bennet Text Four—on superior coated paper. (Bennet Text Two is the default grade and offered here.) Bennet also provides for a stellar reading experience in digital media, its carefully considered details vibrant yet legible on-screen.

HS Albadr is an Arabic display typeface. It is useful for book titles and graphic projects where a contemporary, geometrical and streamlined look is desired. The font is based on the simple lines of modern and simplified Kufi calligraphy that support Arabic, Persian and Urdu. It has one weight only which is similar to the bold weight. This typeface is created for being used in technical and engineering companies under strict geometric conditions . The company desires to follow the geometrical shape with uniform and equal dimensions in both vertical and horizontal storks; where some parts of the letters are to be cut at a slanting angle of 45 degree to give the impression of a coherent geometrical nature for this font. The typeface HS Albadr is considered as a chain of geometric fonts series designed for engineering companies. After HS Almohandis and HS Alhandasi were designed we are looking forward to giving some additions to the geometric typefaces field.

My Spellbound an authentic groovy typeface. So, The Stranger Things series is already watched and you'll waiting the last one season for another two years. Well, if you miss for late 70s or early 80s in your design – this one is for you. Smooth, groovy and playful – exactly for your vintage projects. This typeface will suit for the display block texts like package labels or will be perfect for an any display header. Create a vintage t-shirt print or make groovy stickers - Spellbound will suits perfectly. A lot of alternates will give you a really wide range of results. You may combine it with Italics and get a really playful pair. Two characters for any caps and up to 6 alternates for lowercases. Regular and true Italic Open Type Features Multilingual I would really love to see what you create with my products, so please feel free to tag me @vintagevoyagedesign on Instagram. Happy creating! Thank you.

Babetta is a display typeface that comes with some decorative typographical features. Alongside a set of arrows and flower icons, it also includes an alternative ›E‹, some special diacritic marks, a wavy ›S‹ and a series of ligatures. It features 5 weights, a special ›Neon‹ version and supports a wide range of Latin languages. This typographical tool box provides a large and playful variety of options for headlines and logotypes. Babetta supports Latin and Cyrillic languages. The initial inspiration for Babetta was an illuminated vintage shop sign—that of a famous bookstore in Berlin called Karl-Marx-Buchhandlung that dates back to the days of East Germany. During the course of the design process, this slightly shabby historical original was kissed by an Italian Art Deco beauty and has blossomed into a new typeface with its own special charm. The aim was not to preserve the original lettering, but to use it as a starting point for typographical exploration.

Brandon Text is the companion of the famous Brandon Grotesque type family. It has a higher x-height than the Grotesque version and is optimized for long texts, small sizes and screens. This sans serif type family of six weights plus matching italics was designed by Hannes von Döhren in 2012. Influenced by the geometric-style sans serif faces that were popular during the 1920s and 30s, the fonts are based on geometric forms that have been optically corrected for better legibility. Brandon Text has a functional look with a warm touch and works perfectly together with Brandon Grotesque . It is manually hinted and optimized for screens, so it will be a good choice for Websites, eBooks or Apps. The whole Brandon series is equipped for complex, professional typography with different sets of numbers, alternate letters, fractions and an extended character set to support Central and Eastern European as well as Western European Languages.

This series, with 104 illustrations in three files, collects original ink drawings with absurdities, bizarre people, whimsical personalities and risky behaviors! There is a very peculiar sense of narrative in the sucession of characters, even if they came out rather spontaneously and their order is random.With a vintage look and feel, these people seem to come out of a time capsule from Victorian times. Almost everything in the Bizarries (and also in their close relatives, our Illustries, Whimsies, Ombres, Absurdies and Genteta dingbats) is invented and drawn with no references —just a handful of images were sketched from historical photography. These illustrations can be very useful for a variety of projects, either in black and white, or colored in a paint or drawing application. You can use them at any size, from a small spot illustration to a huge poster, depending on your needs. The outlines remain crisp and clear no matter how much you enlarge, reduce, distort or tweak their shapes.

Secca is a fresh and versatile typeface series. With its workhorse qualities, Secca is perfectly suited for a wide range of applications - especially where legibility and economy are important factors. Secca is rooted in the tradition of early German Grotesk typefaces, but is tailored for the needs of today, with a wide language support and many typographic features and extras. » pdf specimen « The core family comes in nine weights from Thin to Ultra Black plus another three Hairline weights - each with italics, small caps and italic small caps. While the weights from Light to Bold perform well in text sizes, the more extreme styles give extra freedom for Headlines & Signage. For setting tables and charts, Secca offers tabular figures, fractions, currency signs and mathematic operators which share the same fixed width throughout the entire range of weights. This special feature is called “weight duplexing” and is a time saver for designers of annual reports and other figure-heavy texts.

Southern Belle, a cute little handdrawn font with a ton of character and a slow, southern drawl, was inspired by sweet tea and southern blossoms. Its uppercase letterforms would be a great fit for logos, envelope addresses, and more! This Southern Belle font features repeating borders, and a ton of cute little doodles. (try using + + +, = = = , and _ _ _ to see borders repeat). To access all of the characters in this font, we recommend using the glyphs panel in Adobe Illustrator. This font works best in open type aware software. Comes as an .otf font file. NOTE: To access all of the cute extras in this font that are not accessible from your keyboard, you will need software with open type glyph capabilities such as ADOBE ILLUSTRATOR or ADOBE INDESIGN.

Aquawax Pro PDF Specimen Aquawax Graphic Project on Behance Created as a custom brand typeface in 2008 by Francesco Canovaro, Aquawax is one of Zetafonts most successful typefaces - having been chosen, among the others, by Warner Bros for the design of the logo for the Aquaman movie. Its logo design roots are obvious in the design details, from the blade-like tail of the Q and the fin-like right leg of the K to the intentionally reversed uppercase W, as well as the rounded edges softening the stark modernist lettershapes. While this details make the typeface extremely suitable for logo and display design, especially in the bolder weights, the open, geometric forms of the letters and a generous x-height make it extremely readable at small sizes, making it perfect for body text and webfont use. In 2019 the family was completely redesigned by the Zetafonts team, expanding the original glyph set to include Cyrillic and Greek and adding three extra weights and italics to the original six weights, for a total of 27 weights (including 9 pictograms). The restored and revamped version, named Aquawax Pro, also includes full Open Type features for Positional Figures, Stylistic Alternates, Discretionary Ligatures and Small Caps, and adds to the typeface new alternate glyph shapes, accessible as Stylistic Alternates. Optimized for maximum screen readability, it covers over 200 languages that use the Latin, Cyrillic and Greek alphabet, with full range of accents and diacritics.

Noctis was originally born as a single weight display typeface, designed by Luca Terzo who took inspiration by the unusual wedge serifs of Aldo Novarese's 1972 typeface for H. Berthold A.G., Primate. The design was developed by the Italian Type team into a full family of five weights from thin, each with its own true italic, and with a complementary set of decorative patterns. The strong Didonesque contrasts make this typeface both impressive at display sizes and easily readable in text size, while the sharp shapes of the triangular serifs and the distinctive letter shapes show their strength in logo design and impressive editorial use. Inspired by the elegant, self conscious and over-the-top aesthetics of Italian fashion scene of the eighties and nineties, Noctis finds its strength in its strong textural nature, that is explored in the Noctis Texturae subfamily, where each letter is used as a tile to produce seamless patterns that can be used to extend the branding capabilities of Noctis. Noctis features an extended latin character set of 481 glyphs covering over 190 languages, and includes advanced open type features like standard and discretionary ligatures, positional numerals, stylistic alternates and case sensitive brackets. Mixing versatility and personality, Noctis is ready to be like a top model on the design catwalk, making your projects looking classic but contemporary, finely tuned but assertive, and elegant as the best Italian luxury fashion.

Proudly present Mildstones - Modern Bold Sans, created by ikiiko. A contemporary bold condensed sans serif typeface created to breathe life into headlines with its eye-catching presence. Mildstones attracts attention and takes any design project to a new level with its striking and fashionable look. Each letter in Mildstones has undergone meticulous design in order to convey a sense of power, assurance, and beauty. The font has a sense of verticality and compactness due to the condensed proportions, which also make it easy to fit into small places while keeping outstanding readability. The Mildstones experience is more than simply a font. It has been meticulously designed to be a dependable and powerful typographic in terms of both aesthetic and readability. This type is very suitable for making a headline news, sport advetorial, logotype, branding, poster, magazine layout, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Number & Punctuation Multilingual Support Works on PC & Mac

A page from the 1931 Vitrolite catalog showing illustrations of store fronts and building exteriors utilizing the material provided a classically Art Deco type example. The business name “Sylvin” did not offer many characters to work with, so completion of the digital type design was simply left to imagination. The end result is Structural Glass JNL, which is available in both regular and oblique versions According to Wikipedia: “Pigmented structural glass, also known generically as structural glass and as vitreous marble, and marketed under the names Carrara glass, Sani Onyx, and Vitrolite, among others, is a high-strength, colored glass. Developed in the United States in 1900, it was widely used around the world in the first half of the 20th century in Art Deco and Streamline Moderne buildings. It also found use as a material for signs, tables, and areas requiring a hygienic surface. Over time, the trademarked name “vitrolite” became a generic term for the glass.”

ZT Vollun is a work of awakening from my valley of boredom in making fonts, it is not only a transformation of thickness, but also in terms of theme, aura, shape and beauty. Maybe this is a superstition of adulthood and also as we get older, our taste in cigarettes can change too. And the taste of the coffee is also getting bitter, in fact there is no sugar anymore, but the enjoyment is increasing. ZT Vollun consists of seven weights, starting from the thin one with curves combined with thin strokes, offering a playful aura, to the thickest one with a firm design that will present a thick modern atmosphere. Whether you're working on a branding project, an editorial project, or any other graphic project, ZT Vollun is the perfect choice for a modern, elegant look or any design vibe you can get your hands on. I hope you have fun using ZT Vollun. Thanks for using this font

Jim Parkinson's Diablo typeface is a single weight display design. The look comes from samples found in early 20th century books on hand-lettering books, as well as general poster lettering styles from that same of the period. Diablo has a touch of the Arts and Crafts" movement in its appearance, and it also looks rather heavy. It is a unicase design, in that there is no real "lowercase." Some glyphs on the uppercase keys are alternates to the capital-style forms found on the lowercase keyboard, like A, E, F, H, J, K, M, N, Q, R, V, W, and Z. In fact, the uppercase itself is a bit more decorated and round than the lowercase. Nevertheless, the upper and lowercase letters may be freely interchanged with each other to create the best possible image for the text. The name of the typeface, Diablo, is another term for the devil, or Satan."

Eurocine is an expansive display typeface – a square sans serif that’s perfect for titling, headlines, logotype and branding. This 36-font family is packed with features to make it supremely versatile. This typeface attempts to capture the mood of movie credits from European Cinema in the 1970s, with a focus on Giallo films in particular. In terms of style, Eurocine sits somewhere between Walter Baum and Konrad Friedrich Bauer’s Folio, and Aldo Novarese’s Eurostile. With Eurocine you get a more versatile typeface by way of its small caps and additional stylistic sets giving you extended caps, extended small caps, and petite caps, as well as upper and lowercase unicase. Creating typographic masterpieces of your own will be so much easier! Key features: • 6 Weights in Roman and Oblique • 3 Widths – Narrow, Regular, Wide • Extended Caps • Small Caps • Extended Small Caps • Petite Caps • Unicase • Old Style Figures • European Language Support (Latin) • 1,200 glyphs per font.

The term “Surf Bum” was a slang phrase used to casually describe anyone who spent as much of their time as possible at the beach catching waves in the 1960s. The Revell Company was a well-established maker of plastic model kits such as military airplanes, monsters from Universal horror films and other such items when it hooked up with custom car designer Ed “Big Daddy” Roth to develop a model kit line capitalizing on the surfing fad that was sweeping the West Coast at the time. A number of crazy-looking hot rods, dune buggies and what-have-you were turned out, and one such kit (“Surfite”, with Figure) featured a futuristic one-person dune buggy. It was on the box for the model that the words “with Figure” appear in a casual, brush design type face. Those few letters were the inspiration for creating a new retro type face entitled Surf Bum JNL, which is available in both regular and oblique versions.

ERAGU is a display typeface that is unlike any other, both in terms of shape and the impression it gives when used in words or sentences. It also has a new and unusual appearance that makes it truly unique and quirky. All of your projects will be unique in the market if you use this font; it will pique the interest of everyone who sees it, and it will be simple to remember every message you will convey to the audience because, in just a few seconds, everyone will be interested in the appearance of your project if you use this font. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out.