This late Victorian typeface flirts with Art Nouveau sensibilities, as evidenced by the graceful curves and the decorative crossmembers in several of the uppercase letters. The result is a font that combines simple, understated elegance with a no-nonsense, workmanlike stance. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

I was listening to some old Smashing Pumpkins albums when I created this font. The name comes from a song called *** You (An Ode To No One). Runaround Kid is a hand painted typeface. I used Chinese ink and a cheap Chinese brush to create the inky look. Comes with double-letter ligatures and a whole bunch of diacritics.

A precise rounded typeface with a clean and linear appearance. The simple compact nature of the design allows for great economy of space across layouts. Also deliberate consideration has been paid to inner corners to ensure no dark areas are produced within texts. Details include 6 weights, an extended European character set, manually edited kerning and Euro symbol.

Big, thick and chunky, Bastinado is imposing, but the bat-like, scalloped edges give it a sinister presence. Bastinado is an ancient Asian method of torture in which the bottoms of the victim's feet are beaten until he can no longer walk. This font looks like it wants to catch other fonts in a dark alley.

Sail the seas with Nautical Doodles. This seaworthy font has 32 illustrations of water craft, anchors, star, compass, flags, whale, shark, birds, starfish, seahorse, rope etc. Even a mermaid... and the scripted word Ahoy! If you would like the character chart go to the Gallery Tab and print. (PDFs are no longer downloaded with the font.)

The devil does indeed find work for idle hands. This was designed by Dan X. Solo about with no excuse whatsoever. The name comes from the fact that a circus that we regularly did work for used it in one of their programs, the only time it was ever used as far as we can recall.

Karlisbad is a monospaced font in which lines expand and contract to form letters. The No-Lines styles can be used alone but it was their use in layers that inspired their creation. They can be used to give the letters a different color than the lines or to create an outline or hollow-letter effect.

Looking for a unique and badass font to add some edge to your designs? Look no further than Silver Thunder. This graffiti-inspired font is a good option for apparel, posters, headlines, magazines, and more. With its cool black metal aesthetic, Silver Thunder will give your work a truly one-of-a-kind look. Thank You!

What exactly is an exit punch? I have no clue! :) I named the font after a wordplay with random words, and somehow I found the name suited the font perfect. The letters are awkward and unpredictable in a legible but playful manner. I've added ligatures for the most common double letters, such as bb, cc, dd etc.

Almond Cookie is a Monoline Handwritten Font. Whether you’re using it for crafts, digital design, presentations, or making greeting cards, this font has the potential to become your favorite go-to font, no matter the occasion! This font only has allcaps letters. - also multilingual support Enjoy the font! Feel free to comment or feedback! Thank you!

Yo! Welcome to gienlee cartoon, design, and other artworks Silvermoon is Medieval Font. Commonly used for middle ages those combined with the beauty of crystal and silver stone. Item Description Standard Glyphs (Uppercase, Lowercase, Numeral & Punctions) Works on PC & Mac No Special Software is required File Description Silvergates-Regular OTF file Silvergates-Line OTF file enjoy your download

No, I did not have a splinter in my hand when I came up with the name for this font. It sounded right, so I used it! Splinterhand is a script font made with an almost dried out marker pen. It comes with a whole bunch of diacritics and it can be used for just about anything.

The other day I discovered that, regrettably, I no longer am a Spring Chicken. Time flies when you’re making fonts… So, after I recovered from that shock, I created this font and called it Spring Chicken! Spring Chicken is a handmade cartoon-ish, script-ish, dunno-how-to-label-it-ish font. Use it and be rad.

Dudek is a highly functional font family. Styles from thin to black with italics for each one, allows to create wide and consistent design systems. I wanted Dudek to be soft and simple. Not too much geometrical, but also not calligraphic in detail. Dudek can help in every day jobs and wide multilingual support leaves no one behind.

Adlery is a brush typeface designed by Cosimo Lorenzo Pancini for display use. It has a handmade feel and it’s optimized for maximum readability at medium sizes. The typeface comes in three styles: Basic, Swash and Blockletter Uppercase and has a double set of lowercase alphabets that alternate in writing, so that no double letters are the same.

Write Marker is a Bold Marker Font. Whether you’re using it for crafts, digital design, presentations, or making greeting cards, this font has the potential to become your favorite go-to font, no matter the occasion! This font only has allcaps letters. - also multilingual support Enjoy the font! Feel free to comment or feedback! Thank you!

Kage Retro is a fun and retro font, it's perfect for designs that need a playful, cheery accent. Kage Retro is suitable for book covers, posters, packaging, merchandise, logotypes, and many more! -standard glyph -Works on PC & Mac -Accessible in Adobe Illustrator, Adobe InDesign, it even works in Microsoft Word. PUA Encoded Characters – Fully accessible with no add-ons.

The Neue Haas Unica™ family is an extended, reimagined version of the Haas Unica® design, a Helvetica® alternative that achieved near mythical status in the type community before it virtually disappeared. Originally released in 1980 by the Haas Type Foundry and designed by Team ’77 — André Gürtler, Erich Gschwind and Christian Mengelt— for phototypesetting technology of the day, the design was never successfully updated for today’s digital environments – until now. Toshi Omagari of Monotype Studio has given this classic a fresh, digital facelift with more weights, more languages and more letters to meet today’s digital and print needs. Available in 18 styles, the Neue Haas Unica family is remarkably appropriate for a wide range of applications, possessing a delicate gradation of weights and clear character shapes. The family's lighter weights are perfect for headlines and other large settings, as well as small blocks of copy at typical text sizes. The regular, medium and bold weights know no boundaries and the heavy and black designs are ideal for when typography needs to be powerful and commanding. Like the Neue Helvetica and Univers Next typefaces, the Neue Haas Unica family can be used just about anywhere – or for any project. In addition to its 9 tailored weights and complementary italics, the Neue Haas Unica family also possesses additional characters for Eastern and Central European, Greek and Cyrillic language support, which did not exist in the original design. A cosmopolitan typeface for today's modern, discerning design needs, the Neue Haas Unica collection is a new classic in the making—one that every designer should surely have at their disposal.

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many rasterised fonts, I wanted to take it to the extreme and use as few dots as possible. The result is a typeface that lives up to its name. Each individual circle makes no sense on its own; individual letters are only recognisable in the context of all associated circles, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from a higher building, an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 100-unit increments to keep the grid. The numbers in the family- and style-names refer to the (ca.) grey value of the respective background and the font itself. Kontext Dot 00-33 has e.g. a white background (0%) and 33% grey value. Kontext Dot 66-33 has a 66% background and 33% grey value. »Positive« styles (first number smaller than the second number) have kerning, »negative« styles (first number bigger than the second number) can have none.

«Envelove» is the brand new typographic challenge handwritten by Yani Arabena and designed along with Guille Vizzari and Ale Paul, for Sudtipos. It all started as a game for Yani. A carefree and spontaneous calligraphy, making use of the pointed nib with black ink, exploring its expressive possibilities pressing against paper. With time that nib turned into her dearest tool to flow through her writing, breeding this particular style of hers that let her trespass the barrier that kept personal and professional passions apart. All that inspiration is present in «Envelove», a play on words that reflects the love of letters. An expressive free-and-easy typeface that follows no formal calligraphic model and lets itself go with the meaning of words, rhythm and sensations. «Envelove» successfully joins three different fonts, «Envelove Script»—free, spontaneous and unique of its kind—going together with «Envelove Caps»—an uppercase style that builds controlled but dynamic words thanks to its alternates and ligatures, and to its own true Small Caps set as well—and «Envelove Icons», ideal to decorate and bring to life any written message. «Envelove» encourages you to write as if you have a nib, ink and an envelope. It invites you to take part in other worlds like a magic cocktail, a summer night, a long-awaited reunion, a first dance, a dish cooked with your own hands. The fashion world, gourmet, stationery, scrapbooking and everyone where a Handmade or Handcrafted feel is craved for, save a special place for «Envelove». (The illustration series that are shown with «Envelove» were made by the incredible Argentine illustrator Eugenia Mello.)

Tatline Neue is a serif font family of 14 fonts encompassing a wide range of weights — from Thin to Heavy. Tatline Neue was modelled after the original Tatline display font, but this major overhaul resulted not only in updated and tweaked shapes and smother curves, but also in addition of 13 new weights, making Tatline Neue a perfect tool for designers and typographers alike. Each font contains 450 glyphs, multiple sets of numbers, stylistic alternatives for certain glyphs, ligatures, numerators, denominators, old style figures, and other symbols. Tatline Neue can be freely used across Western European, Central European, South Eastern European languages. Tatline Neue was designed from the scratch to keep glyphs consistent across all weights. Thinner fonts are more uniform, with little to no variation in the weight of the strokes. Bolder fonts, on the other hands, are chunky and somewhat comic —in a good way. Tatline Neue was born out of a display font, losing none of its original quirkiness and vibe. While serif fonts are often seen as vintage and orthodox, Tatline Neue strikes a livelier note: one of cheekiness, bizarreness, quirkiness, and expressiveness. Thanks to a wide range of weights, Tatline Neue is a great tool for a variety of projects: whether it's used for plain text in a larger body of text or as a headline font, or even as a key element in a logo creation or brand identity. Tatline Neue is a serif font for those who are tired of seeing the boring in the typography and design; it's a font for explorers, for adventurers, for those who seek to find their own voice.

Introducing Gyoza - Font Family (4 Fonts) Gyoza - was designed in late 2022 and published on January 2023. The Typeface was inspired by the 90’s playful cartoons and comic books. This font comes with 4 weights; Regular, Semibold, Bold, and Black. Gyoza - available with the variable fonts in weights and the Ink Trap. With the regular style, you'll have the correct anatomy of the fonts. with the Ink Trap style, it added more extreme space on the Ink Trap. Gyoza - contains everything you need to create stunning typography – from headline fonts to body text fonts - all in one place. Whether you're starting out or you've been designing for years, Gyoza has everything you need. Can be used for modern and vintage designs, and also can be easily paired with some graphic elements (Illustration, Photography) this font is perfect for, Logotype, Branding, Title, and Packaging. So take your design skills up a notch and get started on some fresh new projects with Gyoza today! Similar Item: Gunydrops : LINK HERE Kelpo : LINK HERE Swipe : LINK HERE Replay : LINK HERE What you get : Gyoza Regular Gyoza Semibold Gyoza Bold Gyoza Black Features : Ligatures Instructions ( Access special characters, even in circuit design ) Letters, numbers, symbols, and punctuation No special software is required to use this typeface even work in Canva Multilingual Support Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Please contact us if you have any questions. Enjoy crafting and thanks for supporting us! Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/ Regards, Dharmas Studio

The new sans-serif Franzi typeface family – as neutral as can be, but at the same time individual and striking. Its unmistakable character lies in the detail, with no effect pushing itself to the fore. As a wide-running typeface with a relatively large x-height, the typeface family is perfectly suited to small text sizes but, with its elegant details, it leaves nothing to be desired in display applications either. Originally designed with constructed, often rectangular elements, Franzi has gradually been rounded during the development process and is now less hard in order to guarantee optimal legibility. Franzi Variable is designed alongside the italic and the weight axes. The italics are softly and elegantly drawn, while the upright characters appear much more severe. The design appeal reveals itself in the two-storey ‘a’ – a tribute to legibility in body copy; however, for those who prefer the geometric in applications, an alternative single-storey ‘a’ is also available. All styles have small caps, superscript and subscript lowercase letters, lining, non-lining and small caps figures, fractions as well as several ligatures, alternative fonts, symbols and arrows. The Latin uppercase letters are also available as discreet swash variants. In addition to the extended Latin alphabet, the typeface family also includes the complete Greek, Cyrillic and International Phonetic Alphabet IPA. Franzi was created as a further development of an order to produce a sign for a therapy practice in Vienna’s Franz-Hochedlinger-Gasse – hence the name, which is more common as an abbreviation for Franziska than as a diminutive for the male name Franz: Franzi is therefore a hybrid typeface name which has female tendencies.

It's 1984 and everything has sideburns. Shoulder-padded "dress for success" is in, with power suits for women, black and white layers for men, neon brights for the youngsters. Maggie's "enemy within" and "no society" speeches preface the arrival of shopping malls and corporate status symbols. The economy is a philosophy and accountants carry ambiguous but very sophisticated-sounding titles. Thousands of words and expressions are reduced to initials or monosyllabic sounds. Synthesizers are very refined and the music is very catchy. The Macintosh and MTV are making waves. Brands are lifestyles. "Yuppy," Yummy," "Bobo," "Dinky" and "Woopie" are standard consumer categories in advertising lingo. The Volkswagen identity, only 5 years old now, is all the rage in design. VAG Rundschrift, by all appearances a rounded and slightly condensed Futura, is everywhere. Tube design is king. Fast forward two dozen years. Replay, but bigger and much louder. Fab. Let's dance. Fab is Canada Type's tribute to the Eighties. It's a five-font unicase family that brings tube design into the 21st century. The main font is an all-in-one treatment of the shiny roundness that the 1980s were. Fab White is a tightly packed thick outline font that conveys luscious contentedness like nothing else. The Fab Trio package is very useful for layered and colorful design, with the Black style serving as a backdrop, the Bold style as the front forms, and the Fill style for inlining. Fab comes in all popular formats and contains support for Western, Central and Eastern European languages, as well as Baltic, Esperanto, Maltese, Turkish and Celtic/Welsh languages.

Take your typography to the next level with Super Sabretooth. A vigorous, rebellious brush font designed to bring the noise, start the fun, and leave any inhibitions at the door. It pushes lettering limits to the extreme and breaks down any boundaries on it's journey there. Super Sabretooth is packed full of great features & added extras, providing everything you need to create highly charged typography designs. Here's what this family consists of: Super Sabretooth • A high energy brush font containing upper & lowercase characters, numerals and a large range of punctuation. Super Sabretooth All Caps • This is a second version of Super Sabretooth, with all lowercase characters replaced with a brand new set of small-caps. Use this font as a larger & louder alternative to the regular version. Quick Tip! If you want more freedom, you can combine the two font sets together to create truly awesome customised typography, they will work in harmony as well as being strong standalone fonts. There are no rules with it - play around, mix it up, have fun, and enjoy the ride! Super Sabretooth Swashes • Still looking for even MORE features? Alrighty, check out this extra font containing 17 swashes and 9 paint splatters, designed to add the perfect finishing touch to underline & exaggerate your Super Sabretooth lettering. Simply type any a-z character in this font to generate the extras. Fonts include multilingual support for the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norweigen, Danish, Dutch, Turkish, Polish, Finnish, Romanian, Hungarian, Estonian, Filipino, Indonesian, Icelandic, Romansh, Welsh Thanks for checking it out, and remember: Push the Limits.

Who doesn't want or need an expansive contemporary extended sans that has a sense of style and swagger… what if it had a lowercase, small caps and various numeral options… how could you say no? This was the foundational argument I made for myself when I drew the initial alphabet on my birthday last year (something I do each year, draw a new font, kind of a fun OCD thing). I wanted to see a wide, utilitarian sans that had more to it than just a basic character set and didn't resemble standard geometric models. As I continued sketching, the letterforms were being influenced more by my 'lettering tendencies' than the normal mechanical trappings of drawing flat, wide letters. The letters have retained aspects of letters created by hand — stresses, modulation, naturally ending terminals. Truncation and quick clipping of strokes became antithetical to the letterforms I drew, so I continued this once I brought the design into the computer. I kept it precise and dependable, but made every attempt to keep a conscientiously crafted typeface and not let it devolve into a grid-based drone. As such, it works just as well looking back in time as much as it does assuming a lead role in a sci-fi movie. Halogen does deliver and opts not to take a short cut and provide an anemic offering of glyphs — a modern typeface offered today must provide more than just the basics and this one does — lowercase, smallcaps, old style numerals, tabular forms, stylistic and titling alternates, fractions, case-sensitive features, and even an alternate uppercase ordinal set is included. So go make cool print and digital things with it, now.

After months of testing and development, we have managed to put together the Brandogram Typeface, an ultimate tool for monogram design. With the help of this typeface you can easily create a monogram in less than a minute. Thanks to the way we have created and optimised Brandogram, the uppercase letters effortlessly fit together with the small caps that are activated by the lowercase letters. Using the Brandogram typeface you can create unlimited monogram combos with 2, 3 or even 4 letters in some cases. And these are all possible thanks to features like: Multiple letter widths, from condensed to wide; Both sans serif and slab serif letter designs; Up to 24 different designs per letter; All letter variations are available as alternates so you can easily choose your favorite; Accents are available for each letter alternate; Uppercase and lowercase activated letters are constructed to perfectly center and middle align; There are 5 solid ready-made weights; There are another 2 stencil weights that can bring a new touch to your designs. The 7 weights of Brandogram Monogram Typeface: Thin Light Regular Medium Bold Stencil One Stencil Two Each of these weights are thought to express different levels of heaviness. The thicker the weight of the font gets, the less white space will be left between the letters when they are combined, therefore your design gets heavier. The role of the stencil weights is to create depth in the monogram designs. With those you can easily delete the extra overlapping shapes of the letters and create passages between the letters and give an interlocking impression. This typeface combined with your creativity can have no limits!

Trolls are lurking under each and every river crossing. The earth is shaking as Ogres stomp across the land, spiked clubs in hand. Swordsmen and Sorcerers are waging war on one another even as the pure and young and stout of heart search for the talisman which will restore harmony once more. Are you under the spell of some wizard's magickal incantation or are you just looking for exactly the right typestyle for your J.R.R. Tolkien Convention newsletter? Regardless, an ancient curse has been lifted and the Talmudic Legend of the Clay Beast they call GOLEM has been restored to his former majesty. The shapeless mass is no longer one of unfinished substance, no longer a body without a soul. The Homunculus that was once Comicraft's Golem has had a spiritual awakening and is now available with the crinkly bits smoothed off.

Polyphonic is a highly versatile slab serif typeface comprising 60 fonts across 6 weights and 5 widths. It is a no-nonsense, clear and legible type family whose multiple voices will suit numerous typographic applications. Its overall personality is polite, understated and formal – there are no frills with this typeface, it conveys messages simply and efficiently without hyperbole. Polyphonic’s lighter weights are great for body text and its heavier weights the perfect complement for branding, titles, headings and logotype options. Small Caps are included with each font and available with one click, as are Old Style Figures, there is extensive language support too – European/Latin only. Key features: • 6 Weights in Roman and Italic • 5 Widths – Condensed, Narrow, Regular, Wide, Extended • Small Caps • Old Style Figures • European Language Support (Latin) • 600 glyphs per font. See more detailed examples at the Polyphonic microsite.

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

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

Introducing Disforia Inersia! Your purchase includes Disforia Inersia Script, conjunctive handwritten script, and Print, handwritten, printed script typeface. Disforia Inersia created side by side to work together. All lowercase letters are placed to receive a connecting tail from Disforia Inersia. You can mix and match in the same word to your heart's content! Disforia Inersia was also created with the crafter in mind: there are no closed counters in either type, meaning they can easily be used for stencils and electronic cutters such as the Cricut line and the Silhouette. Disforia Inersia Package includes: - Nearly 300+ glyphs in Inertia Dysphoria font, designed to work together! - No closed counters - useful for stencils and vinyls! - More than 200 accented characters in each font. - Double letter staggered ligatures for a hand-drawn look! - PUA-encoded for easy character map access! Enjoy and thank you. Skinny Type

Agatized Formal is a chunky stencil typeface with slightly condensed letterforms and tight spacing. Designed primarily for display use, it’s ideal for posters, logos, advertising, book cover designs or small chunks of text such as pull-out quotes. It exudes authority without taking itself seriously, like a plump jolly uncle in charge of a brass band. Agatized Formal is a big, bold typeface with a charismatic presence that commands attention – in a friendly way, of course. But what really makes this typeface come alive is its arsenal of alternative characters and ligatures. There is a saying: Use sparingly. Whoa! Not here, no, no, no. Make your Glyphs palette earn its money. Flex your OpenType muscles: get stylized, contextualized, indulge in some ligaddiction. This typeface is a peacock that likes to put on a show, spread its plumage and strut around in all its blazing glory. Agatized, according to Wiktionary, means: A living thing converted into the form of agate; fossilized. I felt the name suited the solid, almost rock-like letterforms, but most of all I just wanted a typeface name that began with the letter A. Although Agatized Formal is a single-weight typeface it has a sibling, Agatized Informal, an older, more casual brother, rougher round the edges with craggy good looks and an altogether more jaunty style.

Think smart. Think regal. Think SteamCourt, a new font designed specifically for the card game SteamCourt. A bit of background if you will: In early 2014, some friends from my college days banded together to form their own game company. Their first launch? A current Kickstarter they named SteamCourt. I love Kickstarter. It’s a fantastic platform, a great way for individuals to introduce the public to their visions. I've started a couple of them myself--both including fonts designed specifically for the projects. The first is Chatype, a font created exclusively for the city of Chattanooga. The second: Cabrito, a font developed as part of the children’s typeface book, The Clothes Letters Wear. It’s wonderful to work with so many others who come alongside to help you vision become reality. Naturally, hearing of my friends' project, I contacted them about adding a new face to their venture as well. I gave them carte blanche. They wanted steampunk. It was a great challenge, the result of which is now SteamCourt, an unforgettable display typeface that draws from the mix of Victorian regals, metallic and brass engineering, cogs, clocks and blackletter typography. It evokes a time of skillfully forged metalwork and an era of intrigue and excitement, filled with audacious feats of engineering and innovation and the perilous journeys of the airship. While influenced by the era of blackletter, SteamCourt is an unmistakable departure from the style of two centuries past, yet it still shines in its given display roles with a distinct regal twist. The serifs are asymmetrical, yet the characters are all specially and delicately balanced. It’s an eye-catching alternative to blackletter with modern steampunk touches. The game’s signature typeface has sizeable language support on top of 90 alternate characters as well. In addition to a generous number contextual alternates, SteamCourt features stylistic alternates that allow for buyers to customize its visual appearance for their preferences, helping to make it a superior option for packaging, branding and enormous typesetting logotypes as well as shorter textual content. Check out the game, but grab the font, too, to be a part of that crib created as a companion for the new game in court. It'll be the ace up your sleeve for many rounds of design ahead.

K-Type’s ‘Banks & Miles’ fonts are inspired by the geometric monoline lettering created for the British Post Office in 1970 by London design company Banks & Miles, a project initiated and supervised by partner John Miles, and which included ‘Double Line’ and ‘Single Line’ alphabets. The new digital typeface is a reworking and extension of both alphabets. Banks & Miles Double Line is provided in three weights – Light, Regular and Dark – variations achieved by adjusting the width of the inline. Banks & Miles Single Line develops the less used companion sans into a three weight family – Regular, Medium and Bold – each with an optically corrected oblique. Although the ‘Banks & Miles Double Line’ and ‘Banks & Miles Single Line’ fonts are based on the original Post Office letterforms, glyphs have been drawn from scratch and include numerous adjustments and impertinent alterations, such as narrowing the overly wide Z and shortening the leg of the K. Several disparities exist between the Post Office Double and Single Line styles, and K-Type has attempted to secure greater consistency between the two. For instance, a wide apex on the Double Line’s lowercase w is made pointed to match the uppercase W and the Single Line’s W/w. Also, the gently sloping hook of Single Line’s lowercase j is adopted for both families. The original Single Line’s R and k, which were incongruously simplified, are drawn in their more remarkable Double Line forms, and whilst the new Single Line fonts are modestly condensed where appropriate, rounded letters retain the essentially circular form of the Double Line. Many characters that were not part of the original project, such as @, ß, #, and currency symbols, have been designed afresh, and a full set of Latin Extended-A characters is included. The new fonts are a celebration of distinctive features like the delightful teardrop-shaped bowl of a,b,d,g,p and q, and a general level of elegance not always achieved by inline typefaces. The Post Office Double Line alphabet was used from the early 1970s, in different colours to denote the various parts of the Post Office business which included telecommunications, counter services and the Royal Mail. Even after the Post Office was split into separate businesses in the 1980s, Post Office Counters and Royal Mail continued use of the lettering, and a version can still be seen within the Royal Mail cruciform logo.

From today's point of view Katarine has a rather unusual origin. Initially an all-caps display face, what was to become the Medium weight of the family was augmented with a lower case, then the character set was completed by adding all the missing glyphs. The next step was the creation of the Light and the Bold weights with matching Italics. This working method compromised the relationships between the characters across the different weights After some consideration the decision was made to start over and draw the complete family from scratch. This time the "conventional" process was followed — first the Light and Bold weights were designed. Those extremes were used to interpolate the Regular, Medium and Semibold weights. When compared to the original, the glyphs of the new fonts are slightly wider. The construction of the letters is sturdy, with an x-height that varies from the heaviest to the lightest weights. The relationship of the stem weight between the horizontal and vertical strokes is carefully balanced. Characters are open and firm; the italics have room to breathe. The original fonts included two sets of small caps — Small Caps and Petite Caps. However neither set were suited for emphasis, with the Small Caps being too tall and the Petite Caps too short. We decided to replace them both with one set of traditional small caps, slightly taller than the x-height, perfectly suited for emphasis in text usage. The original version of Katarine was partly incorporated into the new OpenType versions. Thus most of the original arrows, frames and boxes can be found in the new Katarine. Each individual weight now contains 830 glyphs, nine sets of numerals, small caps, numerous ligatures and fractions. An additional font named Numbers contains numerals in circles and squares, and is now augmented with accented caps and a number of terminal alternatives, which can easily be accessed through stylistic sets. We also added two extra variants, Experts Regular and Experts Black (in inverted form). Katarine Std preserves the solid construction and excellent legibility of the original family, but has now become a fully featured OpenType typeface. Katarine is suited for a broad range of applications, from simple layouts to intricate corporate systems. It is the typeface of choice where the cold, austere character of modern sans serifs are inappropriate, yet simple shapes and good legibility are required.