Based on a font design by Les Usherwood called Eldorado, we had to change the name because Linotype has a dissimilar typeface of the same name!

Discover the perfect pairing for your culinary creations with the Crust and Crumbs Foodie Font Duo, featuring a harmonious blend of rounded sans-serif and expressive brush fonts. Whether you're a food blogger, restaurant owner, or a passionate home cook, this font duo is designed to add a delectable touch to your food-related designs. Feel free to give me a message if you have a problem or question. Thank you so much for taking the time to look at one of our products. ~Redy

Based on vintage wood type, Nostrand JNL is a tall, condensed serif face - named for an avenue in font designer Jeff Levine's home town of Brooklyn, New York.

Unpack is a soft and inviting face. It is available in two cuts, upright and slanted, both all-caps with 2 options for each letter for a nice uneven organic look. The family counts also with a picture font, loaded with some handy extras like banners, stars and ornaments. This versatile family fits greatly many usages. Type some food name and you'll get hungry, type a toy and you'll want to play. Don't believe it? You don't even need to unpack it to try!

Qiproko is a typeface with semi-modular and geometric shapes. The squared curves remind the shape of the cathode ray tube monitor, giving a retro feel to the characters. It’s unusual stencil version makes a direct reference to the electronic circuit, which gives a very technological aspect. Each font includes OpenType Features such as Tabular Figures and Capital alignement. The fonts have an extended characters set to support Central, Eastern and Western European languages. Qiproko is perfectly suitable for headlines or epigraphs, but works in text too.

Following rules, perhaps too closely. The first full font created by Ray Mullin who strongly believes a font need not be pretty to be valid. Each capital shares similar angles, as does each lowercase, making for a typeface only a mother could love. The rounded style was the true inspiration for the original, but logically it had to come second. Based entirely around Bong God but losing the harsh edges to become a usable futuristic type. Legible, but not readable, recommended in small doses.

Abigale was built with OpenType features and includes beginning and ending swashes, heart / love swashes, numbers, punctuation, alternates, ligatures and it also supports other languages :) Say hello to Abigale - A font that you were meant to find, and is now destined to be with you :) Abigale is a lovingly handwritten script , with an air of grace and flamboyancy. Abigale is special in that one word can be written in a many different ways - thanks to the large selection of extra letters that it has built in. To access all the extra characters , Opentype capable software is recommended - most apps support Opentype features now days. The alternates are accessible by turning on 'Stylistic Alternates' and 'Ligatures' buttons on in Photoshop's Character panel, or via any software with a glyphs panel, e.g. Adobe Illustrator, Photoshop CC, Inkscape.

Marit Otto about C-Nation: The building typeface. Although the 70ties were very liberating and progressive, still girls played mainly with dolls and sweet things and boys with all kinds of challenging stuff. They did all sorts of basic scientific experiments in mini labs and of course built cool things with Meccano building sets. As a girl I was perfectly happy with the toys I had access to. But at the same time I was very curious about all the adventure toys and discoveries my brother did. It also made me wonder why the grown up people thought that our world could be separated so easily by separating our toys in pink and blue sections. At this day of age Meccano is probably hopelessly old fashioned and far to manual. Children of today are fed by fast images and cool animations on screen, they learn, play, communicate and relax in the same space, the digital space. The special feature of Meccano was that even though it was very basic there was the promise you could create anything. It might even contribute to a logical mind. The typeface I designed refers to the Meccano feel. It is a creative typeface. A bit masculine and bold looking perhaps but after the first impression a subtle and refined female touch is revealed. It has links to architecture and associations with metal constructions like ‘The Eiffel Tower’ and (old railway) bridges. I am convinced that we all think of that as very charming man-made objects.

My first font for 2009 was Aerle. It is a new dark sans serif font in my continuing objective of designing book fonts that I can really use. It made a little ripple in the industry, but more than that I found that I loved it with Aramus and Artimas — my latest book font family with the same proportions. In many ways, Aerle is a very different direction for me built on what I have learned on Aramus and other recent developments in my style. The concept came to me while using Bitstream's Mister Earl on a site online—though there is no direct reference. I wanted a more playful heavy sans with a much smaller x-height than I have been using lately, plus taller ascenders. As I was using Aerle, I constantly needed a light and bold version. The new direction I am taking is a result of a decision that my fonts, though I loved the character shapes, produced an even type color that is too dark or a little dense. Aerle was an attempt to get away from that look even though the letterspacing is quite tight. For Aerle Thin I pushed a little further in that direction and increased the letterspacing. The hand-drawn shapes vary a lot, many pushing the boundaries of the normal character. This gives a little looseness and helps the lightness in feel I am looking for. It will be interesting to see where this all goes. Most new type around the world is far too perfect for my taste. While the shapes are exquisite, the feel is not human but digital mechanical. I find myself wanting to draw fonts that feel human — as if a person crafted them. In most ways this is a normal font for me in that it has caps, lowercase, small caps with the appropriate figures for each case. These small caps were very small (x-height as is proper). So Aerle's small caps are a little oversize because they plugged up too bad at x-height size. The bold is halfway between. These size variations seem important and work well in the text. This font has all the OpenType features in the set for 2009. There are several ligatures for your fun and enjoyment: bb gg sh sp st ch ck ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, & small caps; proportional lining figures, proportional oldstyle figures, & small cap figures; plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

Looking for the perfect font to use on your branding? Hoping to travel your audience to a world of gorgeous, elegant, versatile, yet modern? Then, you go on the right path. Introducing Handoyo Signature- A Signature Font Handoyo Signaure is a modern and elegant handcrafted signature font to embrace your audiences or guests. Every stroke and curve was created to capture the essence of elegance and style. Perfect for social media posts and ads, printed quotes, t-shirt designs, packaging, or even as a modern text overlay to any background image. Handoyo Signature includes Multilingual Options to make your branding globally acceptable. Features: Standard Ligatures Stylistic Sets Swashes Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

Moneymachine is a sans and serif combined display typeface. Inspired by the art of money printing, the typography used for certificate production and classic letterforms, Moneymachine uses a traditional and perfected serif font and blends it together with a modern and clean sans-serif. The result is an original and confident work, which fits perfectly as a logotype or headline in any context that requires that extra touch of coolness. The Moneymachine family consists of six fonts: The Regular that combines sans and serif. Inverted for a white-on-black version. The Serif and Sans for more basic writing. White and Black for a lettering with a banner. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Bronson is a sans serif family that comes in 7 weights. The Bronson font has a very bold body, but still has high contrast. This font looks very modern when paired with contrasting design colors. This font is impressive and features a clean and elegant font, professionally shaped, and as a result, it will easily match a variety of creations that require a different touch. Add it with confidence to your projects, and you'll love the results. This typeface is perfect for elegant logos, branding, promotions, book covers, magazine layouts, or simply as a stylish text overlay onto any background image. Bronson Features : Uppercase Lowercase Numbers & Punctuation Multilingual Support Simple installation All of features and special characters of this font are included in one file. So it is easy to accessed by using program or software that support the opentype like Adobe Illustrator, Adobe Photosop, and Adobe Indesign). This font also very easy to use because compatible for all software even for non-opentype supported. Please comment us if you have any questions Thank you and have a nice day. thank you

Soapy is a decorative font family, naturally scented and dermatologically tested. With extended language coverage, Soapy fonts are all-caps with 2 design options for each letter. There are also stylistic alternates with bouncy baselines – simply turn on the feature to instantly put your words to float. Or to dance, depending on your point of view. Stack styles for easily add colors to your compositions. Put a smile in your headline! Get Soapy!

Introducing Redflick the display font, with consistent characters and a modern italic style. It has a naughty and unique look. The form has a firm consistency. I'd say that adds to its charm—and it does. It's great for headlines and titles, but also very easy to read in sentence form. It's perfect for branding and packaging, books, invitations, and anything else you want in a casual setting — without being too childish.

Wulf Utility is a heavily degraded font that evokes information in a utilitarian manner without any pretence to elegance, fuss or refinement. Gruff and direct, it is about as basic as a font can be. The Dirty version can be layered over the Rough version for two-tone effects.

Straightforward tone resulting in a modernist, Hergon Grotesk is a family of modern sans-serif. This Typeface is characterized by Neo-Grotesque which gives it a strong character, perfectly suited for any visual communication application. The family has 10 fonts ranging from thin to extrabold with matching italics.

I like strange words. Widdershins is one of them: it means ‘to go counter clockwise’ and I picked it up from a book I am reading at the moment. Widdershins font was created using a broken bamboo satay skewer and Chinese ink. It is a little messy, uneven and maybe even unnerving, but I am sure you’ll find a way to put it to good use.

Rhea is a family of condensed all-caps sans serif fonts. It is equipped with a bunch of accented characters. There are alternate letterforms for M & W, easily accessible via opentype features. Due to its nine styles, ranging from an elegant thin to a blatant fat, it gives you the opportunity to easily define a hierarchy between your headlines or the content on your poster, etc.

Greeting Cards contains over 30 hand-lettered expressions with so many uses! Express yourself in style! Most of these versatile expressions are designed with thoughtful spacing, so if the greeting has more than one word, there is both a version with all of the words on one line and an alternate version with the words on two or more lines. As a special bonus, a folder with transparent GIFs of all expressions have been included making it even easier to add to your emails or publications. See what’s included! http://bit.ly/2bGW2ML

A slab serif Mr Palker and grotesque Mr Palkerson build one superfamily together.  These are blank types. In a way even the display ones. Typefaces for newspapers, announcements, cheap advertising and police posters.  Mr Palker and Mr Palkerson will turn every language into a fence. And due to six types of faces one can choose what material should the fence be made from — from Thin steel rods to   the Black stone blocks. In their simplest appearance Mrs P&P are  intended for the solid blank composition in victorian or industrial style. They are quite decent, a bit old-fashioned slab serif and grotesque with closed aperture. All my types have layers. Walker and Palkerson also do. Besides the standard set of symbols, they have 4 add-ons. 1. Alternate glyphs, including unicase ones. 2. Ligatures with A letter. 3. Extra tall small caps. 4. Two-storey ligatures. All this options are intended for the complex composition. The additional letters are rather eccentric as their main function here is to imitate the victorian oddities. Imitate, parody, just not repeat. There are lower-case As and Es in the set in height of small caps and uppercases. They can turn every writing into the unicase.    The lower-case A (as well as uppercase and small caps version of it) has deliberately by my taste grown a ludicrous tail. To compensate it I’ve built all the possible ligatures - ад, ал, ая. There are 35 of this ligatures all together. Take a closer look at the Russian letters D, L, K, Ya from the main set as well as their alternates. The additional glyphs are one more comic than the other — on purpose to imitate (not to repeat!) the victorian set. This sets have lowercase numbers. And small caps numbers as well. What a modern typeface without them. They also have an У-letter with a generously curvy tail. As if before the WWI. The Latin of course has alternates as well. It has letters to make the perfect French sound more like the russian provincial version of it. The tails of Js and Ts can be made a little bit more open — or a little bit closed. My favorite feature here, an invention of a kind - extra tall small caps. It allows to compose logos with the small caped uppercases directly from the keyboard. The small caps of this typefaces are usually much taller than the customary ones. This is the kind of small caps that Palker and Palkerson have. More to that, the strokes’ weight and the letters width are corresponded to the uppercases. Just a ready set for making a logo a la 1913 style. With a unicase, one has to mind! One more trick with the tall small caps is a possibility to make them work like lower uppercases. Their height is just in between of lower- and uppercases. Isn’t it great to have an additional set of uppercase working ponies in stock for the case of emergency. And finally — the trademark of Palkers family, two-storey ligatures. They are made in the height of uppercases and turn every writing into an ornament or a puzzle of a kind, while at the same time making them much shorter. Each face has 90 of them. Mainly those are twins: CC, BB, DD and so on. ll this things are for the unhasty compositing, even for lettering. Which means that for the things which are not there you always should have Command+Option+O and some patience. Also — among the two storey ligatures one also can find some belvedere villas. All my types are glasses from the one kaleidoscope. The P&Ps family was preliminary part of the victorian set, which already has 1 Cents and Clarendorf - optionally one can add Costro, Gordoni, Handy, Guardy, Surplus, Red Ring, Red Square, Babaev to the list. And also Sklad, Odessa, Dreamland, Romb, Platinum - here, at Letterhead’s, every second one is victorian. All together our typefaces can allow one to set advertisement of any kind, even the trickiest one, and compose everything, from the coffee place’s menu to the antiquarian magazine.

A grotesque Mr Palkerson and slab serif Mr Palker build one superfamily together. These are blank types. In a way even the display ones. Typefaces for newspapers, announcements, cheap advertising and police posters.  Mr Palker and Mr Palkerson will turn every language into a fence. And due to six types of faces one can choose what material should the fence be made from — from Thin steel rods to   the Black stone blocks. In their simplest appearance Mrs P&P are intended for the solid blank composition in victorian or industrial style. They are quite decent, a bit old-fashioned slab serif and grotesque with closed aperture. All my types have layers. Walker and Palkerson also do. Besides the standard set of symbols, they have 4 add-ons. 1. Alternate glyphs, including unicase ones. 2. Ligatures with A letter. 3. Extra tall small caps. 4. Two-storey ligatures. All this options are intended for the complex composition. The additional letters are rather eccentric as their main function here is to imitate the victorian oddities. Imitate, parody, just not repeat. There are lower-case As and Es in the set in height of small caps and uppercases. They can turn every writing into the unicase.    The lower-case A (as well as uppercase and small caps version of it) has deliberately by my taste grown a ludicrous tail. To compensate it I’ve built all the possible ligatures - ад, ал, ая. There are 35 of this ligatures all together. Take a closer look at the Russian letters D, L, K, Ya from the main set as well as their alternates. The additional glyphs are one more comic than the other — on purpose to imitate (not to repeat!) the victorian set. This sets have lowercase numbers. And small caps numbers as well. What a modern typeface without them. They also have an У-letter with a generously curvy tail. As if before the WWI. The Latin of course has alternates as well. It has letters to make the perfect French sound more like the russian provincial version of it. The tails of Js and Ts can be made a little bit more open — or a little bit closed. My favorite feature here, an invention of a kind - extra tall small caps. It allows to compose logos with the small caped uppercases directly from the keyboard. The small caps of this typefaces are usually much taller than the customary ones. This is the kind of small caps that Palker and Palkerson have. More to that, the strokes’ weight and the letters width are corresponded to the uppercases. Just a ready set for making a logo a la 1913 style. With a unicase, one has to mind! One more trick with the tall small caps is a possibility to make them work like lower uppercases. Their height is just in between of lower- and uppercases. Isn’t it great to have an additional set of uppercase working ponies in stock for the case of emergency. And finally — the trademark of Palkerson family, two-storey ligatures. They are made in the height of uppercases and turn every writing into an ornament or a puzzle of a kind, while at the same time making them much shorter. Each face has 90 of them. Mainly those are twins: CC, BB, DD and so on. ll this things are for the unhasty compositing, even for lettering. Which means that for the things which are not there you always should have Command+Option+O and some patience. Also — among the two storey ligatures one also can find some belvedere villas. All my types are glasses from the one kaleidoscope. The P&Ps family was preliminary part of the victorian set, which already has 21 Cents and Clarendorf - optionally one can add Costro, Gordoni, Handy, Guardy, Surplus, Red Ring, Red Square, Babaev to the list. And also Sklad, Odessa, Dreamland, Romb, Platinum - here, at Letterhead’s, every second one is victorian. All together our typefaces can allow one to set advertisement of any kind, even the trickiest one, and compose everything, from the coffee place’s menu to the antiquarian magazine.

Ico Weather is a set of 115 symbols depicting weather, temperature, weather forecast and astronomy. To name a few, there are sun, clouds, rain, snow, thermometers, wind socks, tornados, volcanoes, weather warnings as well as symbol for raining fish. The style of Ico is inspired by the look of symbols used on the classic monochrome LCD displays. The symbols are monolinear with rounded corners, composed of a smallest possible number of elements. In addition, the rounded style is accompanied by a second style with sharp corners and more detailed drawing. All symbols of Ico share the same width, making the font compatible with the LCD typeface ION. Together, they are the perfect sollution for LCD style typography. Ico Weather is a part of a larger set. Have a look at the other available Ico fonts and don't forget to check back soon for even more additions.

Ico Time is a set of 115 symbols depicting time, clocks, watches and rhythm. To name a few, there are alarm clocks, binary watch, moon phases, calendars, 7-segments digits, hourglasses, sun dial as well as infinity symbol. The style of Ico is inspired by the look of symbols used on the classic monochrome LCD displays. The symbols are monolinear with rounded corners, composed of a smallest possible number of elements. In addition, the rounded style is accompanied by a second style with sharp corners and more detailed drawing. All symbols of Ico share the same width, making the font compatible with the LCD typeface ION. Together, they are the perfect solution for LCD style typography. Ico Time is a part of a larger set. Have a look at the other available Ico fonts and don't forget to check back soon for even more additions.

So the lumber was cheap - just a pile of offcuts - and so was the carpenter… And you couldn't say he was exactly lazy, but he was certainly efficient… mostly he would just cut a couple of planks to size, slice off a corner now and then, once in a blue moon hash up a curve… I guess he didn't have a drill, cos there are no holes… and he sure as hell didn't have a ruler… But he did have some kind of an eye, and until it falls off the wall it'll look pretty OK… Ply comes in six styles, offering differing degrees of neatness and adorned or not with fixings… There are money-saving packages too… It’s uppercase only, with variations between upper and lower case, and OpenType types can switch on Stylistic Set 1 to take the effort out of keeping things varied…

A one-time co-worker of mine sometimes used a fanciful inkpen-style script in display-lettering situations. I liked it a lot. "Phil," I says, "why not do the whole alphabet, maybe a few little dingbats, and I'll make a font." Well, one day he presented me with a stack of posterboard; he'd done some letters, all right -- hundreds of 'em. I managed to boil these down into a typeface called Treefrog, a name that seems to match its organic jumble, its tall x-height, its left- and right-leaning stems, its thick and thin strokes. Full release has many dingbats.

Showcase, the new typeface of Daniel Hernandez and Paula Nazal is a handmade font consisting of a set of types that are composed of four styles, one script, one sans, a slab, sans mini and finally a set of ornaments and dingbats, all made to work together in the same language. It’s inspired by a pen that writes different typefaces and ornaments, and casually reaches into a harmonious family. Showcase is very easy to use and allows great versatility, can be used both in a magazine as a restaurant, through windows, cafes, and really anyway you can think of! Photography by Mauro Andrés

Personally I think a brush font should have the word ‘Brush’ in its name. It’s not that easy finding a name - you need some magic to come up with a good one! Magical Brush is a completely handmade font. I used a small brush (a number 3 to be precise) and Chinese Ink. I wanted just a little ‘erosion’, so I used copier paper rather than my expensive French water color paper (which is quite rough). Magical Brush comes in the normal variant and a chickenpox one. Use it for your posters, your book covers and your Christmas invitations!

Haboro Slab. It’s a nose-to-the-grindstone kind of font like the first of its family. This slab serif pushes through the clutter powerfully in editorial and corporate work such as business websites and software. The Haboro hyperfamily as a whole is known for its ability to make the work clear and simple, even with the fonts’ advanced angle--and Slab is no change here. Consistent with Haboro, too, the simplified geometric features of the slab face just make sense, no matter where you use it. Its timeless wedge-molded serifs give this family the formula it needs to function flexibly in jobs from fashion to packaging. Enhance your output with the font’s wide range of ligatures and alternates, including OpenType alternates. Use Haboro Slab’s large pair of solution glyphs and various other OpenType specifics, too, to give your message the clarity it deserves. Even more, it couples well with the sophisticated didone of the Haboro hyperfamily to further expand your capabilities. Haboro Slab has every quality you need for successful lettering. Use this modification on a classy tradition to mold and shape your next layout, whether website, iPhone app, advertising, or newspaper. There is no work Haboro Slab won’t power through.

Ascent Pro – a modern geometric sans serif with an engaging character. Inviting and versatile, with ton of stylistic alternates and ligatures to choose AscentPro works perfectly for logos, headlines, posters, packaging, business cards and many more! Thinner fonts look great in text copy. All in all 18 fonts including obliques provide you with a huge number of design options. HOW TO ACCESS ALTERNATE CHARACTERS Open glyphs panel: In Adobe Photoshop go to Window - glyphs In Adobe Illustrator go to Type – Glyphs / or Window – Type - OpenType FEATURES: 18 weights and obliques Stylistic Alternates & Contextual Alternates Standard Ligatures & Discretionary Ligatures Numerals & Punctuation Fractions, Superscript & Subscript Multiple Latin Languages Supported

“For those who regret what keyboards and touch screens have done to their penmanship, typographer Harald Geisler has an answer: Sigmund Freud.” — The Wall Street Journal Sigmund Freud was a neurologist who lived from 1856 to 1939. His research and studies led to the foundation of ‘Psychoanalysis’. When I first saw Freud’s century old letters, I was fascinated by the beauty of these historic manuscripts. It made me smile to imagine a person writing his or her shrink a letter set in Freud’s handwriting. I started to plan creating a font based on his manuscripts. I contacted the Sigmund Freud Museum Vienna and Freud Museum London. To start the creation I selected eight handwritten documents from the archive in Vienna – This selection of specimen was my orientation during the design process. The Samples were created between 1883 to 1938 and are of various character such as handwritten scientific papers, personal letters, notes and a telegram. A successful Kickstarter Campaign "The Sigmund Freud Typeface - A Letter to your Shrink" with over 1400 Backers enabled me to visit the archive in Vienna and study the original manuscripts of Sigmund Freud. After a year of preparation and design work, I finished four alphabets based on Freud’s handwriting. What are the different Versions PRO, Kurrent, #1, #2, #3 and #4 about? “This project gives people the convenience afforded by the computer while maintaining the romantic nostalgia, beauty, and character of letter writing with real handwriting.” — Daniel Vahab, The Huffington Post When you write with your hand, every letter looks a little different. When you write a text on your computer every letter looks exactly the same. In order to make type look like handwriting, I chose four different variations of each letter from Freud’s manuscripts, drew and stored them in the font. The font is then programmed to exchange letters while you are typing. This makes the rendered result on your screen or print look like unique handwriting. PRO While you are typing… the PRO Version actively combines all four alphabets and exchanges them automatically. Through this mechanism never the same two o’s will stand next to each other. With every touch a unique look is generated. This works in certain applications i.e. Word 2010(or newer), Pages, TextEdit, Editor(Pre-installed on Windows 7 or newer), InDesign, Illustrator… →Here you can see an animation of what this effect looks like in action. (Please Note: some applications like LibreOffice, OpenOffice do currently not support this feature. Date: December 2013) #1 #2 #3 and #4 The Sigmund Freud Typeface #1, #2, #3 and #4 each hold one individual lowercase alphabet based on Freud’s handwriting. Kurrent Most of Freud’s correspondence was written in German. Until the 1950′s a different handwriting was taught throughout German speaking countries (Switzerland, Austria, Germany). This style is called Kurrent. The name Kurrent and Cursive derive from the Latin word currere - to run, hurry - both styles were designed to write fast. As you can see in the samples above, Freud practiced both Kurrent and when writing english Cursive (Latin script or Joined-up). Kurrent has three significantly different letters (s,h,e). Use Kurrent to render the authentic look of an historic Sigmund Freud letter in German. Bundle On the Top of this page you can get all six fonts of the Sigmund Freud Typeface Family in a bundle. International Typeface All styles of the Sigmund Freud Typeface feature a wide range of accented letters so you can write to all your friends in Sweden (Bjørn) France (Chloé & Zoë), Ireland (Dáirine), Poland (Łucja), Germany (Jörg) and almost everywhere around the globe (Find a complete list in the tech specs). Usage recommendations I hope that this design will be valuable to you and most of all that you have fun with this typeface! 1. Point Size — To reproduce the size of Sigmund Freud’s handwriting adjust the type size between 18-24 point in your word processor. If you are using an imaging software like Photoshop set the resolution to 300dpi and adjust the point size between 18-24. 2. Line Spacing — Narrow the line hight until swashes of capital letters touch the baseline above. This also happens when you write a letter and gives the document a unique handwritten look. 3. Right Aligned — Freud had the habit to write towards the right edge of the page and start loosely on the left. Set your text alignment to ‘right’ to incorporate this dramatic expression also to your documents. What do other People say about the Sigmund Freud Typeface? “Wouldn’t you love to write a letter to your shrink using the Sigmund Freud typeface?” — Dorothy Tan, Design TAXI ''“JUST DON’T WRITE A LETTER TO YOUR MOTHER WITH IT… …until the reader looks a bit closer, and they see 70+ years of modern science weighing in on turn-of-the-century pop psychology."'' — Mark Willson, Fast Company “Doctor, what does it mean if you dream of creating a font of Freud’s handwriting?” — Ayun Halliday, Open Culture “…geekily romantic, at once artistic and scientific” — Edie Jarolim, Freud’s Butcher “…sympathisch” — Jürgen Siebert, Fontblog !WOW! Thank you for reading the complete font description! You are awesome! If you still have a question please contact me through MyFonts or my website haraldgeisler.com. Credits This project was made possible by the help of 1481 Backers on Kickstarter and the kind support of the Sigmund Freud Museum Vienna and the Freud Museum London. Thank you. All of Freud’s Manuscripts shown are © Sigmund Freud Museum Vienna. Poster Image: IN17 - Sigmund Freud, Germany 1932. © Freud Museum London. Flag Image: IN19 - Sigmund Freud 1930’s. © Freud Museum London.

When I first approached this design back in 2003 I wrote myself a design brief that called for a simple sans serif "avec serifs" (with serifs). Its emphasis needed to be on text usage but to be at home in display sizes. A range of weights with a controlled step from one weight to the next, uniform character sets, spacing and kerning throughout the range. Attention to openness of counter spaces would be paramount to work in text sizes. Matching italics should be true italics not merely slanted - with a cursive feel. During extensive testing I decided to include a suite of ligatures to eliminate the hairline gaps that occur between slab serifs at display sizes. The user may activate "Discretionary Ligatures" or "Stylistic Set 1" for ligatures that are not included in the Standard Ligatures (ff, fi, fl, ffi and ffl). A concise User Guide can be downloaded at this link.

Two attractive cast metal door signs reading "Men" and "Ladies" from back in the Art Deco era inspired the idea for Nameplate JNL. The left parenthesis key starts the border decoration, and the right parenthesis key closes it off. Nameplate JNL has just a basic A-Z and numeral set; the letters "floating" within the parallel lines of the border to form complete nameplates, apartment numbers or any similarly encased words. A period, comma, apostrophe and dash are on their respective keys. A small blank space is on the left bracket key, a medium space is on the right bracket key and a large space is on the left brace key. There is a small, complete frame on the right brace key. For names such as "MacDonald" or "McIntyre", the small "ac" is on the colon key and the small "c" is on the semicolon key. No kerning has been applied in order to give the type more of an antique, "mechanically assembled" look.

Scorpio is a font based on lettering Michael Harvey drew for the card “The Sign of The Nudge” which was designed in collaboration with the concrete poet, Ian Hamilton Finlay. The purpose of the card was to prompt those owing monies to IHF, into paying promptly. Michael also used it on some of the many book jackets he designed. As such, it is a condensed design necessary to enable a lot of text to be fitted with a restricted space. Scorpio has both style and verve. It was designed to attract the attention of potential purchasers browsing the shelfs in bookshops. In fulfilling this rôle, it succeeded admirably. In all these respects, it is unquestionably a unique Michael Harvey design. When Michael died in 2013, this font existed as a drawing of the basic upper and lower case letterforms plus numerals. Andy Benedek’s contribution to Scorpio was to digitise the existing letterforms and then create the remaining characters necessary for a modern font.

Castagna is a contemporary calligraphic font with classical roots. It is carefully designed, with a special emphasis on the connection of the letters, with high ascenders to give rise to the ornaments of the different letters. There is a special search for high readability. Castagna includes a wide selection of stylistic sets, contextual and stylistic alternates, initial forms, swashes, and ligatures to preserve the qualities of handwriting, in order to accommodate various design aesthetics.

A face designed specifically to complement celtic decorated capitals and based on text from the book.

Elicit Script is a hybrid script family, that can be as casual or formal as the occasion demands. Created by Laura Worthington and Jim Wasco, the design is based on pointed pen Spencerian Script handwriting. “It’s like one of those German italics from the early 20th century, that have beautiful shapes that hold their own,” says Wasco. Elicit Script spans five weights, from Extra Light to Bold, and three styles – Formal, Normal and Casual. This makes it an incredibly versatile script design, easily paired with other typefaces and able to be dressed up or down, depending on what it’s used for. The monoline Casual style offers a more relaxed tone of voice, while Formal sits at the more decorative end of the spectrum. Designers can keep things straightforward, tidy and practical with the typeface’s simple caps, or add in swash caps if they need more exuberance and expression. Generous spacing means Elicit Script works well at smaller sizes as well. Elicit Script Variable Set is a single font file that features two axes: Weight and Contrast. The Weight axis has instances from Extra Light to Bold. The Contrast axis has instances from Casual (low contrast) to Formal (high contrast).

The Greatest Caps Of The Greatest Font Designer Bodoni's Most Beautiful Display Caps, Finally Available in Digital This font is the largest display caps that Bodoni ever made, painstakingly handcarved and now digitized to wow in any situation. It is one of the most beautiful fonts for whenever you need a stunning all caps display. The obvious and easy choice over tired standards like Trajan, Palazzo will be a highlight in your font collection. Bodoni Palazzo was updated in 2021 to include Small Caps and other new features. Previously only included the "old style" figures (top); Now with lining figures to better match all caps, and small caps numbers to match the small caps. CAL Bodoni Palazzo is a member of our Origin Series. Origin Fonts are designed to be true to the original designer's intentions and fonts. Our Bodoni origin fonts ARE Bodoni fonts, not imitations or interpretations. They were drawn by Bodoni, our team just expanded it for modern use.

Carefully considered letters written long-hand, sealed in an envelope and sent across continents were once the only connection for distant friends and lovers. Dear Sarah is a type that evokes the emotion of those handwritten messages. Using alternates, ligatures and a complex system for randomization and natural connected characters, Dear Sarah seeks to push the boundaries of digital type. The guiding question that drove the design of Dear Sarah was whether it was possible to create a natural looking script that worked well in running text. Hand-written types often work for two or three words, but as soon you you look at them in a paragraph, their unnatural textures make them feel contrived. As one of the first serious types to explore OpenType for a connected script, Dear Sarah uses a unique system to create natural connections. Often script types rely on one connecting point to make sure that all their characters fit together properly. Characters that naturally connect much higher, such as the ‘o’ or ‘v’ are distorted to connect at the same point as an ‘a’ or a ‘c’. Dear Sarah uses multiple sets of lower-case characters to connect at multiple points, creating a much more natural looking script. OpenType is also used to create variety, by using randomization techniques to insert disconnected characters as well as alternates, ligatures, swashes and ink blots to create a natural rhythm across multiple lines.

Spillsbury was inspired by some examples of 1920s signwriting (principally seen on the side of some vintage vans-good thing they were in a photograph and not on the move!). Spillsbury draws inspiration from these sources to provide a unique combination of legibility and flair, which echoes the charm of advertising and publicity material from the halcyon days of the 1920s. A basic range of four display faces os offered - Regular, Plain (not all that plain really!), Shaded and Shadowed. In a new departure for Greater Albion, three pairs of 'Duo' faces are also offered. These are designed to be used in pairs-and only sold on that basis for little more than the cost of a single face-to provide for two-coloured typographic design, enabling the recreation of those evokative two coloured blocked lettering styles that were used to such good effect in the past. Take a trip back to more colourful times today with Spillsbury!

Check out the new Lust Pro & Lust Pro Didone to see how the series has grown and evolved. Confident, voluminous and versatile, Lust is an exercise in indulgence—an attempt to create something over the top and vastly useful. Lust Hedonist pushes contrast almost to the limit. The letterforms, especially the Script style are very self-indulgent for me, dare I say Hedonistic, and how I like to see letter masses taken to extreme contrast. The series unapologetically channels Herb Lubalin, but produced with a deliberate, contemporary twist. There is an intentional slyness infused in the letterforms—the extreme thick and thin lines flow effortlessly without becoming gratuitous. It’s always just enough, not too much. What makes the type series so appealing? The curves. When asked to describe the letterforms, most people unwittingly allude to the human form, using adjectives usually reserved for describing physical traits… creating all-too-familiar comparisons. Summerour has grown to accept this as unavoidable and reasonable given his acknowledgement of its influences and has provided nuances within the letterforms to accentuate that.