I spend a lot of time following two obsessions: packaging and hand lettering. Alongside a few other minor obsessions, those two have been my major ones for so many years now, I've finally reached the point where I can actually claim them as “obsessions” without getting a dramatic reaction from the little voice in the back of my head. When you spend so much time researching and studying a subject, you become very focused, directionally and objectively. But of course some of the research material you run into turns out to be tangential to whatever your focus happens to be at the time, so you absorb what you can from it, then shelf it — like the celebrity bobblehead that amused you for a while, but is now an almost invisible ornament eating dust and feathers somewhere in your environment. And just like the bobblehead may fall off the shelf one day to remind you of its existence, some of my lettering research material unveiled itself in my head one day for no particular reason. Hand lettering is now mostly perceived as an American art. Someone with my historical knowledge about lettering may be snooty enough to go as far as pointing out the British origins of almost everything American, including lettering — but for the most part, the contemporary perspective associates great lettering with America. The same perspective also associates blackletter, gothics and sans serifs with Germany. So you can imagine my simultaneous surprise and impatience when, in my research for one of my American lettering-based fonts, I ran into a German lettering book from 1953, by an artist called Bentele. It was no use for me because it didn't propel my focus at that particular time, but a few months ago I was marveling at what we take for granted — the sky is blue, blackletter is German, lettering is American — and found myself flipping through the pages of that book again. The lettering in that book is upbeat and casual sign making stuff, but it has a slightly strange and youthful experimentation at its heart. I suppose I find it strange because it deviates a lot from the American stuff I'm used to working with for so long now. To make a long story short, what’s inside that German book served as the semilla, which is Spanish for seed, for the typeface you see all over these pages. With Semilla, my normal routine went out the window. My life for a while was all Bezier all the time. No special analog or digital brushes or pens were used in drawing these forms. They're the product of a true Bezier process, all starting with a point creating a curve to another point, which draws a curve to another point, and so on. It’s a very time-consuming process, but at the end I am satisfied that it can get to pretty much the same results easier and more traditional methods accomplish. And as usual with my fonts, the OpenType is plenty and a lot of fun. Experimenting with substitution and automation is still a great pleasure for me. It is the OpenType that always saves me from the seemingly endless work hours every type designer must inevitably have to face at one point in his career. The artful photos used in this booklet are by French photographer and designer Stéphane Giner. He is very deserving of your patronage, so please keep an eye out for his marvelous work. I hope you like Semilla and enjoy using it. I have a feeling that it marks a transition to a more curious and flexible period in my career, but only time will tell.

Great Scott, Marty! This font is your density, charged up to 1.21 gigawatts through the Power of Love! Originally created by Comicraft for the official BACK TO THE FUTURE fan club, Remastered DOUBLEBACK has been rebuilt from the ground up, with a new vertical “Curve” weight, six new “Parallel” weights, stylistic alternate letters AMNUWY, and language support for Western & Central Europe and Vietnamese. And if that weren't enough, we've traveled into the future and brought back Solid & Open Variable Fonts which provide precise control of Time and Warp! We cannot be held responsible for any ruptures in the space-time continuum due to use of these fonts. SPECIAL INTRO SALE: from October 21 through November 12, get DoubleBack at half price and we will donate $20.15 of each sale to the Michael J. Fox Foundation for Parkinson's Research. We love ya, Mike.

Hi! Presenting a cute pin-up style font named Skater Girl. It has a modern and vintage look at the same time. Also few ligatures and alternate glyphs are available in this typeface.

Badinerie is a cursive font family with decorative variations. You can choose simplicity, swash, love or flowers.

Sprout is a low-contrast sans serif, slightly condensed for economy of space, and complete with 6 weights in Roman and Italic. It has open apertures and a generous x-height for clarity of reading. It also comes with a weight balanced italic, which can be used for differentiation or as a standalone typeface in itself. The defining feature of the family is the taut curve, where the inner counter pushes out toward the outer contour, creating a feeling of tension in the curve. In the italic this shape language is pushed further, with a playful looped g and cursive form of the f. Sprout also comes with Old Style figures. Its range of weights makes for a versatile family suitable for branding, on-screen publishing and long-form reading.

Insider is a warm & legible grotesque. It’s custom made for Insider Consulting in Düsseldorf, Germany. It’s highly legible in small sizes because of the basic proportions and the balanced inner forms. It’s optimized for setting longer texts, but also works very well in headlines and leads. The fonts contain loads of OpenType features to spice up your design. The matching Stencil font is very suited for creative designs. The Stencil Regular has the same dimensions as the Insider Regular, so you can mix them without hassle. The font family has real italics and not just mathematically slanted romans. The dynamic cursive shapes root in handwriting. With 9 styles (5 weights + 4 italics), the family is very versatile and can be used for designs with a complex typographical hierarchy.

The Akko typeface family is the first new design from Akira Kobayashi in a very long time - and it is well worth the wait. Picture an industrial strength typeface like the Isonorm™ design. Now blend this with an organic design like the Cooper Black™ typeface. It was the idea of the fusion of these two design concepts that inspired Kobayashi to draw Akko. „My initial idea was to create a sanserif type with a ‚soft-focus‘ effect,“ says Kobayashi. „From here, the design evolved into two families, the robust and structured sanserif Akko and soft and friendly Akko Rounded.“ Akko has a wide range of weights, with options including complementary italics and a new Condensed range. The Akko typeface family is available as a suite of OpenType™ Pro fonts, allowing for the automatic insertion of small caps, ligatures and alternate characters. Pro fonts also offer an extended character set supporting most Central European and many Eastern European languages. And new Paneuropean versions introduce support for Cyrillic and Greek.

Jazmo is an offspring of an assignment I did for a Dutch architect. A classic building and coincidently the place of my studio in my hometown Zwolle, Netherlands, needed to be renovated. My job was to design the house numbers and signs for this building. This building I refer to was built in 1932 and designed according to the ‘New objectivity’ architecture. Now it accommodates several artist and craftsmen and also houses students. In my design I used elements of the Art Nouveau, which is related to the ‘New Objectivity’. Words as stately, angular, linear, stylish, artful, playful and frolic came to mind. It should be a design with a hint of the past and a flirt with the future. This house numbering is the root wherefrom Jazmo arises. The name Jazmo cites to the Jazz scene, which was a new and very popular artistic influence that time and age and is still a vibrant source of musical renewal. Mo stands for my Name Marit Otto. Together with my intern Arie Blok I created the missing characters and completed the font. Welcome Jazmo!

The Akko typeface family is the first new design from Akira Kobayashi in a very long time - and it is well worth the wait. Picture an industrial strength typeface like the Isonorm™ design. Now blend this with an organic design like the Cooper Black™ typeface. It was the idea of the fusion of these two design concepts that inspired Kobayashi to draw Akko. „My initial idea was to create a sanserif type with a ‚soft-focus‘ effect,“ says Kobayashi. „From here, the design evolved into two families, the robust and structured sanserif Akko and soft and friendly Akko Rounded.“ Akko has a wide range of weights, with options including complementary italics and a new Condensed range. The Akko typeface family is available as a suite of OpenType™ Pro fonts, allowing for the automatic insertion of small caps, ligatures and alternate characters. Pro fonts also offer an extended character set supporting most Central European and many Eastern European languages. And new Paneuropean versions introduce support for Cyrillic and Greek.

Calligraphica was designed because there are very few inline fonts, and even fewer inline calligraphic fonts. The original forms were written with a split pen in a single stroke. The minuscules have a rougher look and the capitals have a smoother shape to imitate hand written calligraphy with more formal, decorative initial caps. The Calligraphica family contains 6 fonts: Calligraphica Regular and Italic are the regular upright roman true italic version of the font. The ascenders on this font are a bit higher than the capital letters--this is standard for most fonts. Calligraphica LX Regular and Italic are similar to the first 2 fonts except their ascenders are longer and reach high above the capital letters--giving these fonts a taller appearance. Calligraphica SX Regular and Italic are similar to the first 2 fonts except their ascenders are shorter and are the same height as the capital letters--giving these fonts a shorter appearance.

Le Havre Rough. It’s high-resolution, hand-crafted letterpress to the core. Based on insigne’s popular Le Havre typeface, this new heat-treated, weathered face of all caps joins the realism and appeal of the top-quality Le Havre family. Rough’s eroded, printed look is extremely customizable, offering eleven distressed choices that appear fantastic even at large output sizes. Go ahead. Try it on, say, a billboard. Maybe even Times Square. The font includes hand-printed texture and distinctive shadow choices, too. Options include three inline versions, two shadow layers, and a clean primary version. Combine and match the options easily as you need, layering normal and shadow variations to alter appearance and texture. You can activate Art Deco alternates by using OpenType contextual alternates. Rough has an extra-large character set for many languages. Additionally, the typeface offers 62 extra ornaments like arrows, emblems, numbers & lines. Use its full texture and grit to capture the classic, genuine print feel that you need in your project. A few suggestions for use: - In Photoshop, jigger with various 'anti-aliasing' options for best outcomes. Smooth or strong is generally best. - In Illustrator, the shadow layer occasionally doesn't align when using the regular layer. To fix the alignment, open the type drop-down menu and choose Area Type Options > Em Box Height. Learn more about the using layered type styles on this informative video.

Tipo Pèpel strikes again with a lush splurge on pure basic geometrical shapes and sizes, those that inspired Paul Renner’s typographic milestone “Futura”. A new look to classic shapes, bringing them back plenty of delightfullly details as the lowercase cursive forms’ long tiles that break the supposed linearity expected from a purely geometrical font. Rhythm given by hidden details in each character of each weight, push “Naste” out of German geometric sobriety, will help us to easily create typographic hierarchies upon the many weights available and the many and accurate details. Excellent results with minimal effort. Wide ‘x’ height, restrained ascending and descending stems; thick but elegant, easy to read and in need of generous white space around, where it feels comfortable. More is better than less. As usual in Type Pépel, full sets of Opentype alternatives and Unicode support for 104 languages ​​plus Cyrillic. 16 weights of typographic beauty in all its glory.

Welcome to the new Romantic script font, Shelline. This is a modern script with a delicious flow, snap-perfect characters and start & end swash. With its alternative character, you will immediately get an original handmade look. Become the perfect professional in a minute and start creating modern designs such as advertising, sales, logos, branding, posters, social media text overlays today!

Introducing a new romantic and a beautiful handwritting script font called "Lovely Couple". Come with open type feature with a lot of alternates, its help you to make great lettering. Lovely Couple best uses for invitation, wedding, heading,cover, poster, logos, quotes, product packaging, header, merchandise, social media & greeting cards and many more. This font is also support multi language.

WIP Sugar Baby depicts the handwriting of a young woman with opulent curves that spread juvenile charm and warms the hearts of all of us. The (lower case) characters are joined as it is usual in German speaking countries. Originally designed in 1995 the font has been extended by a lot of new characters such as accented characters, punctuation, symbols and currency symbols.

Meet my new font Sarebbe Bellissimo – a romantic delicate signature font with its poetic flow, wich simulates natural handwriting. Great for logo creating, wedding stationery, packaging, for your Instagram and other social media posts. The font includes: Uppercase and lowercase Standard punctuation & numerals Special letters for most of the European languages 47 ligatures (pair combinations, which help the font to look more natural)

In 2007-8, Carolyn Puzzovio developed this OpenType typeface: Lagoon which is based on an Armenian model from the Mechitarist monastery, Venice, 1810. This project was supported by a grant from the AHRC (Arts & Humanities Research Council, UK) and won a first prize in the Granshan 08 type design competition. Oſten, Armenian digital types are designed to match the forms of Latin type characters and ‘Latinized’, by uprighting the forms; truncating ascenders and descenders and raising the x-height – but in this case the Latin characters in the OpenType font have been designed to blend in with the traditional Armenian proportions which are based on cursive forms – also incorporating some of the quirky shapes from the original model. Faithfully following the original created difficulties of ‘clashing’ characters, particularly those with long descenders, so the font contains over 100 alternative characters in the Armenian part, which will normally substitute automatically where necessary. The sloping lower case characters and upright capitals are traditional in Armenian – capitals are used less in the Armenian language. Three new characters for the Armenian unicode range are included: the Armenian dram (currency) symbol; the eternity symbol; and the index number symbol. This font which will be one of the first OpenType fonts to incorporate these newly unicoded characters.

Sidefont is a sharp, square family of 18 fonts inspired by the Sidemen Logo: The font broadens its use by supplying weights all the way from Thin to Black, Normal to Oblique. Perfect for posters, headlines and logotypes. OpenType features give you access to: Alternatives Kerning Fractions Numerals & Punctuation Accented characters Multilingual Support Supports most Latin-based languages and few others.

Dashing, a beautiful geometric font for writing titles and sentences that are comfortable to see when reading, a simple but elegant impression makes this font suitable for you to use for various needs of your design projects. smooth, casual and formal. This font is an alternate character in each letter, especially uppercase letters, which you can apply in writing to create a new and captivating look in writing names or trademarks, and so on. This font is perfect as text with displays for a wide variety of branding, advertising, posters, banners, packaging, news headlines, magazines, websites, logo design, and more.

Proudly Introducing you my new font collection – The Pretender. This collection was born and inspired by American sign painting typography and vintage package design. Wide range of styles for a wide range of use. This collection gives you awesome vintage look effect, which one will add the hand-touch feeling for your project. Light, Regular, Medium and Bold widths goes as Sans and Serifs and Normal or Expanded! And, of course, vintage candy Script! But that's not all – Every font comes as a Clear and Pressed style!

The Handasi type family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Handasi employs variable x-height values. Its design uses straight lines only but with variable distributed weight. Handasi fonts include all required Lam-Alif ligatures and use ligature substitutions and selected marks positioning but they do not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. It employs our "natural Arabic input" method where first glyph is displayed in its non-isolated form. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Handasi family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

The Mehdi type family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Mehdi employs variable x-height values. Its design uses full curves with variable distributed weights. Mehdi family includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. The family employs our "natural Arabic input" method where first glyph is displayed in its non-isolated form. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Mehdi family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

The most sensational design of the decade is now at large. These high-definition fonts can be used for titles, banners, tattooing, logotypes and many more places. Be it domestic or industrial, formal or informal, it can be used in every field imaginable. It has a sensational, funky style and remarks the current youth's style. Such a font style has never been seen by the world, until today. These designs are 100% original and handmade. I searched a million miles but found this as the most appropriate idea for the world of font types at this time. It's the coolest, funkiest and the best font ever made. It's the era of graffiti and 3D, and we've combined both to give you CRESCENT.. So, use it, love it, buy it!

New versions of FP København Sans family now available: FP København CS. CS for Condensed Sans, or Condensed City.