Cotillion is an original design Jim Rimmer finished just before the turn of the century. Alongside its evidence of Jim's nostalgia at the deco type designs he was exposed to as a child, it distinctly shows a type designer who has become very comfortable with that rarest of design abilities: Bringing efficient typographic solutions to what is essentially a calligraphic endeavour. This design has all the elements of what made a traditional deco typeface display unmistakable elegance and luxury: The expressively low x-height, the precisely calculated upwards comfort and reserved grace of the vertical metrics, the subtle fusion of calligraphic ornamentation and clean minimalist type technique, and the unique indentity of the original lowercase flow. Cotillion was refined and remastered in 2012 to include a weath of aesthetic and functionality improvements. This Cotillion Pro set includes small caps, true italics, ligatures, seven types of figures, automatic fractions, extended Latin language support, stylistic alternates that include lowercase serif angle options, and plenty of extra OpenType features like caps-to-small-caps substitution, case-sensitive positioning, ordinals, and extended class-based kerning. At over 780 characters, each of the Cotillion Pro fonts is the equivalent of three fonts in one.

Daiquiri is a revival of a handlettered font in two weights, from an ad for Puerto Rico Rum dating back to the forties or fifties. I found the ad on a French antique market on my last visit for Mardi Gras in Nice. The ad read "Breeze through the heat, be a Daiquiri fan". That's why they had this "fan" in the illustration! Did they want you to rotate like a fan when you had enough Daiquiris? Or did they just do it for that little "Jeu des mots"? Anyway I found the handlettering very pretty, so I took those few letters and made a whole font out of them. I think Daiquiri has that touch that brings those happy and uncomplicated times back when advertising was still fun. I started something like 20 years later in advertising and things had gotten more stringent. We already had to satisfy those marketing guys with their scholarly attitude. They have taken all the fun out of the job, for the creators as well as for the consumers. I would like to see more uncomplicated ads like this again, yours Gert Wiescher

The Macarons font family consists of a monoline version, regular and bold weights, and a set of gestural catchwords, which reflects the use of the ruling pen as a freestyle tool. Ornaments and dingbats are also included. Macarons is a display type based on the classic Garamond typeface. It’s inspired by the foodie culture and the slow food movement, which began as a rebellion against fast food and has now grown to a global scale. Every day, thousands of people around the world take pictures of their food, look for new recipes to try and recover old ones, enjoy wine-pairing, and value locally produced food. Macarons is a fresh and spontaneous looking typeface that has been designed by Coto Mendoza, who also has developed a hand-made product line (Ride my Bike, Ride my Bike Serif, Four Seasons, D.I.Y. Time, Dans le Cuisine and In a Jar). This font is not constructed out of modules: each character is drawn by hand. Macarons is ideal for cookbooks, menus, liquor bottle labels, food packaging, wedding invitations, greeting cards, tea boxes, food blogs, small shops, cupcake bakeries and so on. Try! A freshly-baked homemade macaron!

Sweet Gothic is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century.  Sweet Gothic Light is closely based on lettering from an engravers pattern from the early 1900s that was used for tracing letterforms with the engraving machine (pantograph) to make steel engraving plates. The design is related to many similar engravers gothics developed in the early 1900s, but as each engraving house created by hand their own patterns for popular styles of the time, there is variation among the models. Sweet Gothic offers contrast in stroke weight and its unique personality. The bolder weights are new designs, based on the characteristics of the Light. A serif variant (Sweet Gothic Serif) has also been developed to expand the usefulness of the family, offering an alternative to Copperplate Gothic. As such, most of the fonts are new designs, yet may seem familiar and ubiquitous given their model. The fonts offer two sizes of figures and monetary symbols: one set is intended for use with upper- and lowercase settings; the second set is the same height as the small caps.

The Alixa family is designed to provide you with the range of fonts that you need for your projects. The family consists of slim and elegant slab serif fonts, which are modern and retro at the same time. It includes several languages that allow Alixa to be used in all types of creative endeavours. It's perfect for use in any project from sports to posters and logos, branding, packaging design and so much more! Languages Support :Afrikaans, Albanian, Asturian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Igbo, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Turkmen, Upper Sorbian, Vietnamese, Vunjo, Walser, Welsh, Western Frisian, Yoruba, Zulu

Sagrantino™ shines at large sizes – and in vibrant colors. Think big posters, commanding headlines, massive banners and oversized packaging. Set headlines in the Highlight or Shadow designs and running copy in the Regular – all on the same page! Sagrantino could be called the Lava Lamp of fonts. It’s slick, glossy, retro and futuristic. Somehow, it’s fresh and quirky-classic at the same time. This is a design that challenges you to think outside the text box. In fact, Sagrantino is so lively, it took three Monotype typeface designers, Karl Leuthold, Juan Villanueva and Carl Crossgrove, to draw it. Because it’s a script, Sagrantino pairs perfectly with just about any other design – except another script. Maintain the futuristic retro vibe by combining Sagrantino with a typeface like Biome™ or Neo™ Tech. Looking for a counterpoint? Try a cool sans like Avenir® Next or Univers® Next. OpenType® Pro fonts of Sagrantino enable automatic insertions from a crowd of fancy ligatures and delightful alternate characters – in addition to offering an extended character set supporting most Central European and many Eastern European languages.

Oliver Label solves a problem many creatives face – the endless search for a realistic pencil-textured font to add handwritten notes to images, quotes, blog posts, and more without having to do it themselves. With Oliver Label, you can easily add handwritten notes to your images! BIGGEST BENEFITS: Vector pencil texture 26 hand drawn elements so your quotes look beautiful and custom No more wasted time trying to add your own notes and handwritten feel to your work (or worrying about your handwriting!) INFO: Oliver Label Regular: A textured vector font that works with any Desktop application (Word, Photoshop, Canva, etc.). Includes ligatures ll, ss, and tt. Oliver Label Alternates: 'Alt' version of Oliver Label, where you'll get a whole new set of letters and numbers. This way, you can swap out regular letters for the alternates when you have two of the same letters close to one another (i.e. oo or bb) to look as realistic as possible. Includes ligatures ll, ss, and tt. Oliver Label Drawn: You'll also get 26 different hand-drawn shapes to add to quotes and graphics. Non-English support for the international designer

If you need to say something weighty, say it with Blood Orange. Blood Orange is a hearty rounded serif font with an easygoing confidence and a delightful nostalgic feeling, without the dusty burden of actual fonts from the last century. Blood Orange works great as a logotype, in magazines, headlines, posters, advertising and packaging. It’s at its best in short sentences since it’s so bold, but can be used for a bit longer text passages too, with some spacing added. As a product of modern era, Blood Orange is fully equipped with plenty of OpenType goodness: Contextual Alternates and Standard Ligatures do their usual trick in smoothing certain letter combinations, and they’re automatically on. In addition it has a wide range of Discretionary Ligatures, Stylistic, Swash and Titling Alternates that you can trigger on from OpenType controls in any OpenType savvy program, or manually select the suitable variations from the character window. Try these alternates for more eloquent designs, but remember to treat them like you would treat you would treat really strong spices: just a bit at a time. See the full range of the alternative glyphs on the specimen posters.

Sweet Gothic Serif is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. It is a serif variant of Sweet Gothic. Sweet Gothic Light (without serifs) is closely based on lettering from an engravers pattern from the early 1900s that was used for tracing letterforms with the engraving machine (pantograph) to make steel engraving plates. The design is related to many similar engravers gothics developed in the early 1900s, but as each engraving house created by hand their own patterns for popular styles of the time, there is variation among the models. Sweet Gothic offers contrast in stroke weight and its unique personality. The bolder weights are new designs, based on the characteristics of the Light. Sweet Gothic Serif has been developed to expand the usefulness of the Sweet Gothics, offering an alternative to Copperplate Gothic. As such, most of the fonts are new designs, yet may seem familiar and ubiquitous given their model. The fonts offer two sizes of figures and monetary symbols: one set is intended for use with upper- and lowercase settings; the second set is the same height as the small caps.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Making your brand visible, interesting and recognizable without having to get in the way of your customer’s experience is hard. It takes a lot of time, money and effort to make a clear brand. And maintaining it through all your customer touchpoints is even harder. Introducing, Marker Makers is a versatile marker font that takes inspiration from the boldness of graffiti and the playfulness of primary colors. It's a joy to use for any design project where you want your audience to pay attention, this is your go-to font and take your next project from good to WOW! Marker Makers comes with more than 400 glyphs, including punctuation, numbers and upper and lower-case letters you’ll have all the tools you need to create invigoratingly unique content. Whether it’s included on posters at trade shows or on the walls of any room in your office, no one will ever think it was boring! A Million Thanks Colllab Studio www.colllabstudio.com

The Harler Mixgiter blends retro 70 style with balloon typography combined with simple serifs and modern elegance, The Harler Mixgiter is fully featured, in each letter there are attractive alternatives and added bonuses that make you feel youthful in realizing your designs. want. so what are you waiting for? Harler Mixgiter is suitable for movie titles, posters, logos, quotes, product packaging, clothing designs, book covers and many other uses. What's included? - Uppercase characters - Lowercase characters - Foreign language support: ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÐÑÒÓÔÕÖØÙÚÛÜÝß Bonus FEATURES The Harler Mixgiter (OTF) The Harler Mixgiter Bold (OTF) So what are you waiting for? immediately buy this font, Thank you for seeing it. Regards, IM Studio.

Here's The Thing -- it can be loosened, twisted, tied, tripped over, wagged, bitten, forked, stuck out or kept in your cheek. You need your tongue to talk, taste, chew, swallow and sing. You can keep a civil tongue in your head or you can give someone the rough side of your tongue...

Archemy is a restricted and obscure branch of Alchemy that deals specifically with the life, generation and transmutation of Metals. The Archemy font is primarily a magical and alchemical alphabet. It was created on initiative of Senior Zadith, in order to properly quote older alchemical manuscripts, without the need to insert handwritten symbols. The font combines a unique and elegant Roman alphabet with a set of the most frequently used planetary and alchemical symbols that are common in the Western Mystery Tradition, and as used by those involved in the Royal Art. The Archemy font contains a selection of symbols that are still used by practitioners of the Art today, and for the sake of completeness, a selection of less used and more arcane symbols that can be found in older alchemical texts. In addition a Hebrew Alphabet is included, which will supply practitioners of the Art with the glyphs related to Cabalistic studies. The Hebrew Alphabet in this font does not include vowel points, since they have no place in ancient Hebrew, nor in the Western Mystery Tradition. A selection of the most distinct glyphs as used in the Antediluvian font family - the Alphabet of the Ancients - is included for those that wish to include the archetypal and arcane quality of these glyphs from the dawn of history. By our knowledge there exists at this time no font that includes a selection of Alchemical symbols, let alone combines all of the above mentioned archetypal symbols of occult language in a single package. In that respect Archemy can be considered to be an “Arch” font.

Violety Dreams is a serene and elegant serif font that will transport your designs to a realm of beauty and sophistication. With its timeless letterforms and delicate swinging strokes on select letters, this typeface evokes a sense of tranquility and grace. This serif uniqueness in its graceful swinging strokes, which adorn certain letters, adding a touch of whimsy and charm. These elegant extensions create a sense of movement and fluidity, capturing the essence of grace and elegance. Inspired by the ethereal nature of dreams and the delicate beauty of violet flowers, Violety Dreams embodies a sense of tranquility and enchantment. The serif letterforms are meticulously crafted to exude elegance and sophistication, while the swinging strokes add a unique touch of whimsicality. This font strikes a perfect balance between classic charm and imaginative flair. The letterforms are designed with precision and clarity, ensuring legibility and readability. Each letter retains its distinctive shape, while the swinging strokes create a visual interest and draw the eye. You can use it in big text sizes to be greatly legible and enjoy the available features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Violety Dreams is well-suited for headings, titles, invitations, wedding stationery, luxury branding, editorial layouts, branding materials, and any design project that calls for an elegant and dreamy typography. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing

Bilgate Script is an elegant typeface. Thick, attractive and fun, it is very suitable for various purposes and desires such as logos, labels, posters, wedding invitations, brands, t-shirts, letterhead, signage, news, book covers, magazines, badges, and more. Bilgate Script includes OpenType features and international support for most Western 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 newer versions. Bilgate Script is coded with Unicode PUA, which allows full access to all additional characters without having to design special software. Mac users can use Letter Book, and Windows users can use Character Maps to view and copy any of the additional characters to attach to your favorite text editor / application. If you need help or have questions, let me know or by email "lettersams@gmail.com" I am happy to help :) Thank you & Congratulations on Design!

Sneakers was a typeface that I originally drew all the way back in 2005, with a release in 2006. Its most recent iteration, Sneakers Pro was released in 2009. Since then, the idea of reworking the design has lingered in the back of my head, but I wanted to add additional flexibility and value to anything offered beyond the originals. Sneakers Max does just that and I am happy to see it released and available to everyone. Sneakers Max raises the bar in terms of functionality… incorporating all of the options found in Sneakers Pro (e.g. Small Caps and a biform/unicase located now in Titling Alternates), but it expands the character offering, improves on letter designs (everything was redrawn) and explores more flexible settings by providing 5 distinct counter widths to keep more uniform multi-line settings with mixed letter heights. Special thanks to Potch Auacherdkul for his additions to the original character set and for his engineering skills.

ITC Johann Sparkling is the work of Austrian designer Viktor Solt, a perfect imitation of the handwriting of an educated person of the 18th century. ITC Johann Sparkling is intended to close the gap between highly formal copperplate scripts and the scribbled look of 'true' handwriting," says Solt. "I am not very interested in highly formal and perfect calligraphy, but rather in quick, personal-looking scripts. Usually I start with some historical samples in mind, but I do not try to copy these sources. Instead, I incorporate them into my own handwriting. It takes up to two weeks, and many sheet of paper, before the respective script becomes my own. Of course, this would not be an economic approach for individual lettering jobs, but I can conserve the custom script for future use by digitizing it." ITC Johann Sparkling should be used in fairly large point sizes and its capitals only as initials.

A unique kind of type by Michael Herold: The 14 cuts of Corner are equally distributed to the two style variants A and B. From Thin to Extra Bold, variant A comes with technical and pure forms while B appears with a soft, more personal character. In combination, the two variants add up to a highly versatile family which is very well suited for branding purposes, thanks to its diverse forms of expression. Eine besondere Schriftfamilie von Michael Herold: Die 14 Schnitte der Corner sind auf die beiden Stilvarianten A und B verteilt. Von Thin bis Extra Bold kommt die Corner im Stil A mit technischen, reinen Formen und im Stil B mit weichem, persönlicherem Charakter. Als Kombination ergibt sich eine sehr vielfältige Familie, die sich mit ihren verschiedenen Ausdrucksformen besonders fürs Branding eignet.

Tavern is a super font family based on our Algerian Mesa design, with Tavern we've greatly expanded the usability by creating light and bold weights plus all new for 2020 with the introduction of extra bold and black weights Tavern is now a five weight family. The addition of the bold weight made it possible to go further with the design by adding open faced shadowed, outline and fill versions. Please note, the fill fonts are aligned to go with the open faced versions, they may work with the outline versions, however you will have to apply them one letter at a time. The Tavern Fill fonts may also be used a stand alone font, however, the spacing is much wider than the regular solid black weights of Tavern. In the old days of printing, fill fonts rarely lined up perfect with the open or outline font, this created a misprinted look that's much in style today. To create that misprinted look using two different colors, try layering the outline fonts offset over the top of the solid black versions. Next we come to the small caps and X versions, for a font that's mostly seen used in all caps we felt a small caps would come in handy. The X in Tavern X stands for higher X-height, we've taken our standard lowercase and raised it for greater visibility in small text and for signage where you want the look of a lowercase but it needs to be readable from the street. In August of 2016 I started the project of expanding this font into more weights after seeing the font in use where someone tried creating a bold version by adding a stroke fill around the letters. The result didn't look very good, the stroke fill also caused the shadow line to merge with the serifs on some letters. This lead me to experiment to see if a new bold weight was possible for this font and I'm pleased to say that it was. After the bold weight was finished I decided to type the regular and bold weights together in a first word thin second word bold combination, however the weight difference between the two wasn't enough contrast. This lead me to wonder if a lighter weight was possible for this font, as you can see yes it was, so now for the first time in the history of this old 1908 type design you can type a first word thin second word bold combination. So why the name change from Algerian to Tavern? Since the original font was designed in England by the Stephenson Blake type foundry I decided to give this font a name that reminded you of the country it came from, however, there were other more technical reasons. During the creation of the bold weight the engraved shadow line was sticking out too far horizontally on the bottom right of the serifs dramatically throwing the whole font off balance. The original font encountered this problem on the uppercase E, L and Z, their solution was a diagonal cut corner which was now needed across any glyph in the new bold weight with a serif on the bottom right side. In order to make the light and regular weights blend well with the bold weight diagonal cut offs were needed and added as well. This changed the look of the font from the original and why I decided to change the name, additional concerns were, if you're designing a period piece where the font needs to be authentic then this font would be too new. Regular vs. Alt version? The alternate version came about after seeing the regular version used as a logo and secondary text on a major product label. I felt that some of the features of the regular version didn't look good as smaller secondary text, this gave me the idea to create an alternate version that would work well for secondary text in an advertising layout. But don't stop there, the alternate version can be used as a logo too and feel free to exchange letters between both regular and alternate versions. Where are the original alternates from Algerian? Original alternates from Algerian are built into the regular versions of Tavern plus new alternates have been created. We're excited to introduce, for the first time, all new swash capitals for this classic font, you're going to love the way they look in your ad layout, sign or logo. The best way to access alternate letters in Tavern is with the glyph map in Adobe Illustrator and Adobe InDesign products, from Adobe Illustrator you can copy and paste into Photoshop as a smart object and take advantage of all the text layer style features Photoshop has to offer. There may be third party character maps available for accessing alternate glyphs but we can't advise you in that area. I know what you're thinking, will there be a Tavern Condensed? It takes a lot of hours to produce a large font family such as this, a future condensed version will depend on how popular this standard version is. If you love Tavern we're happy to introduce the first weathered edge version of this font called Bay Tavern available in February 2020.

Sharp and bold are the right words to describe Crucial Typeface. Crucial is a serif typeface that has a pointed tip so that each piece of character gives a bold and elegant impression. Having 8 weights and each weight packaged in an elegant Italic set, this typeface will add boldness and elegance to your designs. Crucial can be used for a variety of design styles. It is suitable for strong-spirited designs as well as for a more striking and classy editorial look. ?There are many useful features in this typeface including aalt, frac, league, lnum, locl, onum, ordn, salt, sinf, ss01, ss02, ss03, subs, sups, kern.

Prototype is a typeface with a very contemporary identity crisis—is it old or new? uppercase or lowercase? serif or sans-serif? Prototype tries to be all things to all people. There have been many attempts at creating a universal typeface, one that rationalises the alphabet and removes the inconsistencies of upper and lower case, applying an unreasonable logic to something that has grown organically ...and is already perfectly usable! Prototype was the same experiment carried out at a time when design was experiencing an identity crisis of its own—letterforms that try to be all things to all people but end up being something else entirely.

It occurred to me years ago that the graphic arts community might find useful a digital typeface that mimicked the classic look of nineteenth-century handwriting. Conveniently, my mother then still volunteered at the Center for American History at the University of Texas at Austin, my hometown. She made copies of the letters of a few famous Texans -- Houston, Austin, Travis, Burnet, Rusk. Thomas J. Rusk’s penmanship caught my eye as the most accessible of the bunch. I hadn't realized at the time what a challenge it'd be to render a realistic-looking script face, but the result has, in fact, filled a niche.

Neo Afrique sans a neo-futuristic typeface with a modern decorative twist. This typeface design came out of further development and refinement on an original typeface that i created some time ago, Durango Sans. True in nature to it's predecessor, Neo Afrique was also born out of this desire to fuse two different aesthetics, the geometric Neo-Futuristic aesthetic, fused with flourishing decorative forms from Art Nouveau and the later Lubalinesque aesthetics. This typeface will form part of a larger body of work that is meant to be an exploration of Afrikan neo-futurism, using the immense power of visual-linguistic narratives to catalyse new cultural movement and perception.

Stuffed Shirt JNL acquires its name from a term popularized during the years when the Art Deco period flourished. The Great Depression further widened the gap between the 'haves' and the 'have nots'. Occasionally, some of those that 'had' (and some who pretended they did) came off as standoffish, egotistical and pompously arrogant. Such individuals were referred to as a "stuffed shirt"; a blowhard who thought he was better than others. In this case, Stuffed Shirt JNL is no more than a dual-line adaptation of Playwright JNL, itself an interpretation of the classic Broadway type design in a way that emulates the hand lettering of old-time sign painters.

A contemporary slab-serif which revisits aspects of Robert Besley’s all-time classic Clarendon, designed around 1842 for Thorowgood and Co. and named after the Clarendon Press in Oxford. The original design was subsequently extended by Sheffield foundry Stephenson Blake in the 1950s into a widely-used, robust workhorse family. Albiona uses the inwardly curved stroke terminals of the same foundry’s Grotesque series, while rationalising or removing entirely Clarendon’s ball serifs, flicked tails and other eccentricities to make it more functional in contemporary settings. The family consists of five weights plus italics and a stencil, and includes oldstyle and tabular numerals. Its clean readable style suits both text and headline setting.

A dotted script typeface Puntino is (maybe the first) dotted script typeface and not made up of grid-based dots. They are optical corrected and there is always the same distance between the dots, with the aim to create more harmonic letterforms. The dots also vary gradually in size to reflect the thickening and thinning of strokes, giving the letterforms a sophisticated overall look. Puntino comes up with 4 styles and is perfectly suited for logos, brands, congratulation cards … The language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages. OPEN TYPE FEATURES: Standard ligatures and contextual alternates should be activated.

Introducing “Moshi Moshi” – Inspired by Japanese street posters, this all-caps block typeface delivers modernness with some brushy imperfections. Taking inspiration from Japanese hand-painted street art, "Moshi Moshi" has rough letterforms, but at the same time communicates a modern and minimalistic style. "Moshi Moshi" includes full multilingual capabilities and a coverage of several languages based on the Latin alphabet. Ideal to add an eye-catching appeal to your logo designs, branding, quotes, product packaging, merchandise and social media posts. Specifications: - Files included: Moshi Moshi - Formats: .otf - Multi-language support (Central, Eastern, Western European languages) - OpenType features (Small-Caps, Alternate & Ligature) Thanks for viewing/downloading, Unio.

Geometry circle is a heading/display type, built with the intent to illustrate and attract the viewer, not to be used for long text. The inspiration comes from the Futurist movement typefaces, especially from Marinetti’s own workshop on new age typography of that time (Italy 1920). The typeface is composed of only capital letters. The letters are of an unique geometric design taking the basic 64 grid system and subtracting the shape of a circle form each glyph in a unique way to form a letter. There is a full complement of typography symbols as well as a support for Central and Eastern European symbols and characters.

Reba Samuels is based on the 2007 release Rebecca Samuels. While Rebecca was largely intended for text use Reba aims to be more versatile with an extended weight scope and added cut varieties. While Rebecca’s slab character is developed in the Reba serif, the ’seriffed’ italic of Rebecca is abandoned in favor of a simple italic sans, better matching the serif in plain text. The weight extremes are very useful for headlines while the middles do better in text. The robust and angular shapes of the serif matches the straightforward sans. The extreme contrast between the thin and the black cuts opens up great opportunities in any design project.

Dabu is a hand paint inspired high contrast decorative display typeface. With unique five ornamental layers which makes Dabu very presentable and eye catchy. Dabu has identical styles that very well goes with logo design, headline, creative sign boards, poster design, social media, fashion brand, beauty product branding, large print and screen. How to use Dabu ? - Select Dabu-Regular. - Copy the same one more time. - Select and choose any one Dabu Depth, Dabu Heart, Dabu Flower, Dabu Diamond, Dabu Square. - Select both and Aline. - Bingo!! :) No animals harmed in the making of this typeface Dabu is supportive to Adobe illustrator, Adobe Photoshop, Adobe In-design and All Adobe.

The place for a family to be entertained by comedians, dancers, acrobats, animal acts, singers and just about any other acts that fit the bill at the time was the vaudeville theater. Prior to radio becoming the major source of entertainment for the American public, popular songs were introduced on the stages of these entertainment venues. One such song from 1916 with a World War I patriotic sentiment was "A Yankee Doodle Boy Is Good Enough for Me". The sheet music featured the title hand lettered in Art Nouveau style. This became the design source for Vaudevillian JNL, available in both regular and oblique versions.

Introducing Broadster - Classic Brush Type, created by ikiiko. Broadster is a decorative sans serif typeface, inspired by typography from classic 60s American advertising & automotive visual styles of the time. This typeface is designed to give the appearance of a formal yet expressive style. The Broadster has bold, contrasting strokes. A style commonly used in print, magazine, and sign advertisements of the era. This typeface is perfect for an formal layout, poster, newspaper, magazine ads, and also good for vintage product, food & beverages, 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

Inspired by lettering styles of the 1930s, Seagrass BF is jazzy and jumping as a Lindy Hop. As such it captures I believe, something of the spirit of that age, yet somehow retains a fresh, contemporary feel. Headlines, logos, packaging, signage and branding are just a few of many usages. Seagrass BF contains Stylistic Alternates and Stylistic Sets for uppercase letters Y and Z, as well as ampersand (&). Other OpenType features include Standard Ligatures and Contextual Alternates. These features should at all times be employed to optimize the appeal of your word settings. So whenever your visual communication demands an energetic, vibrant voice please consider Seagrass BF.

Cullion is a new departure for Greater Albion, being a modern Fraktur, embodying future trends sch as highly stylised glyphs, a single case of lettering and highly evolved letterforms. At the same time it can trace its inspiration back to blackletter traditions, and is inspired by the sort of ironwork to be found in a medieval portcullis. The resulting typeface can sit happily in traditional, modern or futuristic design work. As the gallery images suggest, it does rather lend itself to work with a 'horror' theme, but it could have many other uses too-even in religious work. Cullion is particularly effective in poster headings.

A "tunesmith" is one so nicknamed because the person or persons craft (compose) a song from scratch. When the area of Broadway known as Tin Pan Alley was in its heyday, every music publisher's office would have sounds emanating from the various cubicles of men and women trying for the next big hit. Sheet music was the main source of songwriter's royalties during those days, and to please the general public with a song destined to be a popular piece was a lofty goal. It's then only fitting that the lettering inspired by a 1920s-era piece of sheet music for a song called "Jerry" would be named Tunesmith JNL.

Arp is a neo-grotesk type system exploring the relations between contrast, functionality, and graphic character in one family. This typography comes in 5 different weights including fine strokes with inverted contrast (20), a sharp sans serif (80), and a high contrast heavyweight (240). Moreover, its design is formed by short ascenders and descenders aiming higher legibility, ink traps for display-functional purposes, and includes a wide range of icons, arrows, and symbols which allow creating consistent compositions in digital and print designs. All styles of 640 characters include a display weight with geometric and glyphic style alternates, which expand the proprieties and versatility of the system.

The project aims to represent icons through the city of São Paulo. The image selection method prioritized elements of history culture and daily life. The claim is that the set of graphic symbols help disseminate one of the most important cities of Brazil and the southern hemisphere. See the sights of São Paulo: Edifício Copan, Avenida Paulista, Bairro da Liberdade, Mercado Municipal, Catedral da Sé, Estádio do Pacaembu, Sala São Paulo, Pátio do Colégio, Vale do Anhangabaú, Estação da Luz, Memorial da América Latina, Museu do Ipiranga, Teatro Municipal, Masp, Edifício Banespa, Monumento às Bandeiras, Obelisco do Ibirapuera, Auditório do Ibirapuera, Pinacoteca, Oca – Ibirapuera and Monumento Ayrton Senna.

Stefani EHYO was designed ultimately with pure simplicity in mind, to carry an inviting, friendly style. The result is an ultra clean look with versatility: useful for either full bodies of text or for a nice headliner. The simplified smooth forms are highly legible and carefully well-matched, so can even be used over a busy background or at very small point settings. Stefani is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments and publications. Choose Stefani for any application where you want solid readable text, any time you want a pleasant and clean feel to your presentation.

Cayuse is a super-slab, all-caps titling face that tips its hat to the classic French and Italian “fat face” serifs of the nineteenth century. Structurally, Cayuse utilizes a reverse-stress stroke configuration—with thick, meaty slab serifs and sinuous, spiked connecting strokes. This crackling contrast gives Cayuse a very black, dense texture, and the ability to combine and contrast well with other typefaces. Arm yourself with Cayuse to create richly-textured, high-impact typography for packaging, editorial, brand identity, posters, signage, and many other applications. What's more, Cayuse also features an array of “word logos”, providing you even more options for creating dynamic typography.