Syondola is Greater Albion's venture into the Wild-West. Need something to evoke saloon bars, or the OK Corral, or river Paddleboats? Syondola is it! Two styles are offered, Regular with clean and precise outlines, and Rustic, which has a deliberately slightly eroded look, for that old and timeworn feel.

This set of initial letters was inspired from French renaissance decorated letters. Unfortunately, we don't know where they were in use, or who was the punchcutter, our models were coming from a late XIXth century copy. Note: The letters I and J, U and V are not different. It is not a mistake, but it is the exact reflection of what was customary during the period.

Flex Rounded display typeface was designed in 2000 by Vladimir Pavlikov as alternative 'soft' variant to the original Flox face. In contrast to Flox there are rounded stroke ends and curved shapes in most of Flex characters. The project was aimed to create a decorative vivid alphabet of geometric shapes. Cyrillic was developed in 2005. For use in advertising and display typography. Licensed by ParaType in 2005.

One menorah that I have long found particularly appealing was named The Tree of Life Menorah, a replica of which I gave as a gift one holiday to a kindly old couple who were neighbors and became friends. It had a simple, organic elegance that I see in the best of Art Nouveau sculpture. To me personally, Judeism is a celebration of life, like the triumph of the flower that blossoms in the crack of the city sidewalk. Just as Hanukkah celebrates the rededication of the temple and the miracle of the oil, it celebrates the victorious quest for freedom of the Hebrew people led by Judah Maccabee. Hanukkah represents determination and courage and faith — and it represents the presence of God in the lives of His people. It is interesting to note that the founding of the Albanian nation in the early twentieth century grew out of the resistance of the Albanian people to the imposition of Greek language and culture in the aftermath of the dissolution of the Ottoman Empire. The typeface, HADASSAH, designed by Henri Friedlander (1904-1996), is my favorite Hebrew typeface. Thirty years in the crafting, I believe it is unsurpassed for its shear beauty, combining a subtle modulation of stroke with a simplicity and clarity of form. No doubt, that is why it has become so popular. For me, the Sîyn/Shîyn characters are especially satisfying. For a Hanukkah message in Hebrew, I would choose HADASSAH LIGHT for a headline and print it as large as I could. If, however, you are looking for a friendly, warm face for a seasonal message in a roman-letter based language, may I suggest BETHLEHEM EPHRATH. It will be as comfortable as a bulky, hand-knit sweater on a frosty afternoon and reflects the solid, encompassing, family orientation of this holiday. It was on the way to Ephrath that Jacob’s beloved wife Rachel gave birth to Benjamin and then died from her labor. It was to Ephrath that Naomi and Ruth returned and in Ephrath that we have the wonderful, heart-warming story of the marriage between Ruth and her Redeemer-Kinsman, Boaz. And it was to Ephrath that prophet, Samuel, went to find a new king and there in Ephrath that the prophet annointed a small shepherd boy named David. The Proverbs tell us to seek wisdom. Never underestimate the impact you have on others. Words of kindness can change people’s lives. The Talmud says that the highest form of wisdom is kindness. Be wise this holiday season. The font BETHLEHEM EPHRATH is based on the typeface Accent with the permission of URW++ of Hamburg, Germany. Like most display fonts, it is most effective at 18 points and larger. Like most script fonts, it is most effective when set with both upper and lower case. Although this font is readable in all caps (many scripts are not), that does not make it a good idea. Do so only with caution.

Pantoufle is French for slipper. Not the flipflop variety (or thongs if you’re from Australia), but the one you wear indoors when it’s cold. I have some too; Spanish ones, made from recycled PET bottles. Here in Holland, we call them ‘Pantoffels’ and you don’t have to be a language expert to see the resemblance between the French and the Dutch word. That is because the French are probably more savvy when it comes to keeping your feet warm and the Dutch just borrowed the word, pronunciation and all! Pantoufle is a font I made with a big fat marker pen. My kids had used it to decorate some gifts for Sinterklaas (if you want to know what Sinterklaas is, look it up). Pantoufle comes with extensive language support and a full set of alternates for the lower case glyphs. Enjoy!

The Palatino™ typeface was first designed over 50 years ago by Hermann Zapf, and is probably the most universally admired and used of his type designs. In 1950, it was punchcut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt am Main, and then adapted for Linotype machine composition. Zapf optimized Palatino's design for legibility by giving it open counters and carefully weighted strokes, producing a typeface that was legible even on the inferior paper of the post-World War II period. The font was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. It has become a modern classic in itself, and is popular among professional graphic designers and amateurs alike. Palatino works well for both text and display typography. The new Palatino™ Linotype typefaces are OpenType format fonts, which include many newly designed characters in four large character sets; including extensive support for the Latin, Greek, and Cyrillic alphabets, as well as for Central European and many other languages. The Palatino Linotype OpenType fonts contains the following Microsoft code pages: 1252 Latin 1, 1250 Latin 2 Eastern, 1251 Cyrillic, 1253 Greek with polytonic Greek, 1254 Turk, 1257 Windows Baltic, and 1258 Windows Vietnamese. The fonts also include many ligature glyphs, including some historical long s-ligatures, as well as sets of Small Caps, Old style Figures, and vertical & diagonal fractions. Each font contains 1325 different glyphs.

The Trellis font family was an effort to combine my love for Art Nouveau and storybook lettering. The capital letters are intricately illustrated and fully appreciated when magnified. Trellis is a font family decidedly decorative and ready for greeting cards and holiday cheer. I was inspired by Storybook caps for the capital letters, and wanted to combine it with some lettering from early 20th century posters. What are its main characteristics and features? Leaves intertwined and growing out of the ends of the capital letters. Although it's highly decorative, it remains legible. Usage recommendations - Holiday Greetings, scrapbooking, personal seals since the capitals are quite attractive.

Deco is a minimal, easy-to-read gothic without fuss. Geometry is sharp, strokes are uniform throughout, and characters are slightly condensed. This version is based on wood type of unknown origin, but the design was likely based on lettering from the Art Deco period of the 1920s and '30s.

The Ugaritic alphabet is a script with ancient letters that was used around 1400 BC. Ugarit is an Old Southwest Semitic language and was found in Ugarit, a place in Syria. It has 30 letters. Other languages ​​(especially Hurrian) are sometimes written in the Ugaritic script in the area around Ugarit

British Stencil JNL was sketched from images of a vintage stencil set made by Reese and Sons of England that was being sold on ebay. In truth, this is a semi-stencil, as some of the characters are solid; lacking the breaks in the letter shapes so typical of stencil alphabets.

Who doesn't love Fridays? For many people it is the end of the working week and the start of the weekend. What's not to like? I tried to put all that great vibe into this font - it is charming and clumsy and ready for a party...just like my Fridays...ehh...my Fridays are actually quite simple - no parties or staying out till early morning...been there, did that...now I love my Fridays, just the way they are! :)

The Scaffoldini Family provides four different isometric perspectives and is suitable in use in science, engineering and sci-fi themed projects or however you see fit. The lines are formed by bubbles (or circle bricks in Fontstruct) and appear smoother the smaller the size of the type. These are not straight line segments and the gylphs will appear bubbly (scalloped edges) at larger size. Please be aware of this feature of the font before you purchase.

FA Berlewi is inspired by stencil lettering of a vanguard creator, Henryk Berlewi, who was a precursor of contemporary typography, a painter and a creator of the mechano-facture (Mechano-Faktura) theory. In 1924 he designed a poster for his mechano-facture one-man show in Warsaw Austro-Daimler car salon. An attention-grabbing composition with stencil lettering was doubtless a real innovation and according to Berlewi - the first typographic poster to be made in Poland.

Handsome in its own way, More versatile than one could say. Four alternates to each letter, Because in this family Spontaneity do matter. (And just in case someone wonders, Yes, there are alternates for numbers!) Seven cuts the family holds. Six of them Are for saying with words. And the very last, (Before someone asks) Holds some very cool dingbats. ​Books, app​s​, ​mags, To just name a few, ​Now go with Somehand And try something new​ :)​

This typeface was created as a personal project. Inspired by places like Chattanooga and Berkley, I wanted to create a bespoke typeface family for the US Virgin Islands. I noticed that the typeface Berlin Sans was in use all over the islands, in signs, logos, even on the side of police cars. So I built this typeface from the ground up with the goal of updating an old tried-and-true font into a family with versatile potential.

A ”modern“ Gothic – designed according to principles of modern form in three variations Faber Gotik is a reminiscence of Gutenberg’s first script from around 1450. The heavily broken forms allow further development in the direction of a modern, strongly geometric and less formal type. It should be possible to push the principle of design so far to the limit that a type is created which, from the very start, extinguishes reminders of a dark past. The characters are composed of squares which are lined up straight or in a more or less slanted manner. The resulting corners similar to serifs were removed so that a sans serif type in the true sense without up and down strokes was created. The principle of ”breaking“ was applied according to the historical model. Even the form of the characters is based on the model from the Middle Ages. Only the characters which cannot be created with the principle described were modeled on today's forms. Faber Gotik includes three variations: - Faber Gotik Text — most similar to the historical model - Faber Gotik Gothic — pushes the applied principle of form the furthest - Faber Gotik Capitals —; a Gothic upper case font, contrary to tradition. 555 years after Gutenberg, interest in black-letter typefaces is nearly extinct. They are especially looked down upon in German-speaking countries because they are still associated with ”Nazi“ scripts. But yet, the very forms of blackletter, Gothic, Schwabacher and especially cursive have enormous potential with regard to the development of new advanced font forms.

Balgin brings back the nostalgic era of 90's. The 90’s were a magical time – a time of the Docs, Game Boys, and Cartoon. As everything that was once old is new again, the 90’s are making a come back. The basic of typeface are from geometric/basic shapes (Triangle, Square, Circle) form. Some character in Display font are modified, like 'R'K' stroke are more dynamic. and the tail of 'g' are more generic. Balgin are available in 3 Flavour Typefaces (Display - Normal - Text) and have 6 different weights (For Normal are available on 5 Widths). Available with Variable Fonts on Balgin Display & Balgin Normal

After exploring tessellations for several years, I decided to see how many ways I could tessellate puzzle pieces. I began with a square template and used the same asymmetrical shape for all four edges. By flips or rotation each edge could be fitted in four ways. Eventually I discovered that, given this way of forming tiles, there were 15 distinct shapes that tessellate and these shapes can take a total of 96 orientations. (A note in the November 2016 issue of Mathematical Gazette has the proof for the 15 shapes.) This typeface contains those 15 shapes and 96 orientations. A pdf note here shows some of the tilings possible using only one shape in a pattern. An unlimited number of patterns are possible if shapes are mixed. There are two members of the family, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns.)

Vingo is an understated, elegant, sans serif face. This font is among the first in a series of alphabets I am creating that are dignified and sophisticated. I wish these fonts had been available when I was designing wine labels. These fonts are rooted in "old world" tradition, but are more utilitarian. Some of the funky aspects are downplayed, some are enhanced and updated. Any job that requires understated sophistication is perfect for this face. The name comes from the French for wine, "Vin", and "Go" from gothic-wine gothic or Vingo.

ION A is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there's a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION A are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what's important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

ION C is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there's a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION C are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what's important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

The engraver Jean Jannon ranks among the significant representatives of French typography of the first half of the 17th century. From 1610 he worked in the printing office of the Calvinist Academy in Sedan, where he was awarded the title "Imprimeur de son Excellence et de l'Academie Sédanoise". He began working on his own alphabet in 1615, so that he would not have to order type for his printing office from Paris, Holland and Germany, which at that time was rather difficult. The other reason was that not only the existing type faces, but also the respective punches were rapidly wearing out. Their restoration was extremely painstaking, not to mention the fact that the result would have been just a poor shadow of the original elegance. Thus a new type face came into existence, standing on a traditional basis, but with a life-giving sparkle from its creator. In 1621 Jannon published a Roman type face and italics, derived from the shapes of Garamond's type faces. As late as the start of the 20th century Jannon's type face was mistakenly called Garamond, because it looked like that type face at first sight. Jannon's Early Baroque Roman type face, however, differs from Garamond in contrast and in having grander forms. Jannon's italics rank among the most successful italics of all time – they are brilliantly cut and elegant.

ION B is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there’s a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION B are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what’s important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

The term starboard derives from the Old English steorbord, meaning the side on which the ship is steered. Before the steering wheel, boats were steered by an oar at the stern of the ship. Since most sailors were right handed, this is where you would find your steering oar! Starboard font is a rough, handmade, brushy kinda font. It was, of coarse, made with my favourite cheep brush and Chinese ink - resulting in a slightly eroded looking font. Starboard comes with all the trimmings, including double letter ligatures for the lower case.

Many years ago I created two upside-down typefaces, UpsidedownJJ and UpsidedownTOC. They were based on monospaced or typewriter fonts, and were rotated 180 degrees, which is the same as a vertical flip followed by a horizontal flip. Recently I was reminded that this way of creating an upside-down typeface is not the only way to create an upside-down typeface--a simple vertical flip creates a different one. That is what this typeface is, a simple vertical flip. The original typeface on which this one is based is JetJaneMono.

the rounded font is a slight condensed and fun rounded typeface that comes in three weights: light, regular & bold. all letters are designed in the same line thickness. the fun way that the characters flow makes the font a useful but also unique typeface to use. it works great as both body text and headers. especially when you use the different weights in the right way. as graphic designer sven pels often deletes the dots of both the i’s en j’s to make it unique but also just to break some rules… svenpels.com instagram.com/svenpels

Many years ago I created two upside-down typefaces, UpsidedownJJ and UpsidedownTOC. They were based on monospaced or typewriter fonts, and were rotated 180 degrees, which is the same as a vertical flip followed by a horizontal flip. Recently I was reminded that this way of creating an upside-down typeface is not the only way to create an upside-down typeface--a simple vertical flip creates a different one. That is what this typeface is, a simple vertical flip. The unflipped typeface from which VerticalFlipTOC is derived is TiredOfCourier.

Galle is a very distinctive and specific typeface. It has 356 glyphs that are coherent in their own way. We have two versions to use: regular and italic. It is a display font with very characteristic letters, each of which has been developed separately, but in such a way as to match the rest of the typeface. The inspiration taken to design the cut is Sri Lankan typography - a lot of squiggles and sharp edges, hence the name of one of the prettiest and atmospheric cities in Sri Lanka - Galle.

You remember the time when the Concorde was the fastest passenger plane on earth? When it was possible to travel from Paris to New York in 3 3/4 hours? Those were cool times. Times when cocktails tasted good and you didn’t think of an eventual headache afterwards. Times when you didn’t have to think how to dress because there was only one way. Straight from that time comes CA Magic Hour. A vintage font from a time from which we could learn a lot today. Optimistic and straight forward, it will speed up your designs.

“In some way I was Mr Mamoulian, and someone else was writing and drawing this stuff. He kept sending me these pages. I had to sign my name and pass them off as my own. I had no choice. He was holding my aged mother hostage, you see. I told him when the pages were due and he somehow got them to me. Sometimes he left them in secret locations. I don't remember them at all.” -- Brian Bolland Mr. Mamoulian has four weights with automatic alternating uppercase letters, Crossbar I Technology, and European, Vietnamese & Cyrillic language support.

Pacifista takes advantage of the well-tested structure of our constructed typefaces, the directness and simplicity of which are by far the best suited to stencils. Straight lines, regular arcs and purity of drawing facilitate maintaining the maximum possible legibility even in a typeface that is practically devoid of any joining of strokes.

Homeplate Rough is a classic serif display font. The font is designed for use in vintage themes and works particularly well in bar, steakhouse, rodeo and country music themes. The font was originally developed for use in branding in baseball teams. The font is an all capitals font and includes 128 characters.

Fleurons are embellishments and here is my third and so far nicest round. I found some old ones in London and made them more modern ones. These go very well with my scripts Nadine and Ellida and a lot of my other scripts!!! Yours once more in a beautiful mood, Gert Wiescher

Lovan will bring an elegant, romantic and warm feeling of love to your design project. Equipped with a choice of Alternative Characters and Discretionary Ligatures, all of which are PUA Encoded. Lovan will be a versatile font because it can be used as a Display Font and is still good for writing text.

Misshapen Muck Monster Mutations are on the loose... Their creepy hyper-irradiated bodies have emerged from the blasted desolate wastes of The Forbidden Zone! Could this be Doomsday... or did we just leave one of our typefaces on the radiator? Either way, Meltdown is the perfect font for monstrous inhuman atrocities everywhere.

City Tour This theme font is very beautiful when used as wall hangings or as your trade product, make logos, symbols, and several other design works, there are several families that you can choose and adjust to your design, make sure this will change the way you see the font design more modern

Billboard is a swinging family of six fonts. The all-caps letters are soft and round but the letter shapes will keep your layout in order. The font has class-based kerning and automatic OpenType ligatures. To access the ligatures you only need to use an OpenType-aware application and write in CAPS.

Mantika Book was originally conceived and drawn parallel to the first Agilita drawings. *[images: pencil drawings] It took several years before having a chance looking at these designs again. But then, my first impulse was to turn this alphabet into a new sanserif, which was to become Mantika Sans. This was the starting point to conceive a super family consisting of different design styles and corresponding weights. The initial drawings of Mantika Book were refined and an Italic was developed to go with it. The aim was to create a modern serif typeface which is reminiscent of humanistic Renaissance typefaces, yet without following a particular historic model. Its large x-height for one is far away from original Renaissance models. Mantika Book was designed as a companion serif typeface to Mantika Sans that can be set for lengthy texts as in books, hence its name. It shares the same x-height with Mantika Sans but has longer ascenders and descenders, making for better word shapes in long, continuous reading. The approach of an ›old-style‹ looking typeface with large minuscules makes Mantika Book also a choice for magazine text settings where one often needs smaller point sizes to fit in a multiple columns layout. The unique details of Mantika Book are the asymetric bracketed serifs in the upright font and its higher stroke contrast than usual in a Renaissance style. The stems are slightly curved inwards. Also, the Italics have a low degree of inclination, which makes longer passages of text set in Italic rather pleasing to read. Another feature Mantika Book shares with Mantika Sans is that all four weights take up the same line length. It covers all European languages plus Cyrillic and Greek, is equipped with lots of useful scientific symbols [double square brackets, angle brackets, empty set, arrows] and the regular weight has small caps. There is a kind of an old-style feeling to Mantika Book, yet these citations were turned into a contemporary serif typeface with a soft but sturdy character.

Lust Sans is the penultimate exploration of producing a high-contrast sans wholly influenced by its bracketed ancestor. The aspect of this endeavor I enjoyed the most was finding sneaky ways to infuse warmth and whimsy into the letterforms when you least expect it. The result, however, is subtle and uniquely balances against Lust and Lust Didone without becoming cold and overbearing. To accomplish this, Lust Sans has 6 weights. What I found during development was, based on any setting where Lust or Lust Didone were in the same layout, the amount of contrast shown with Lust Sans needed to be adjusted. Expanding the weight offering, produces opportunities for Lust Sans to modulate the rhythm of the layout comfortably while keeping contrast—this is even more obvious with the Italics. I love those. You will too. If you don’t, you do not have a soul. Not sorry. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.