Helios Antique & Helios Stencil Check our PDF specimen for more details Helios type family is the result of a mixture between the early sans serif and the modern trends of our era. Its rational structure is subtly wider than the majority of the first sans, generating a higher impact in its uses. All the typeface terminals are more open in order to balance better the whites and blacks of Helios, and where the strokes meet it has a deeper contrast giving more legibility to the reader. Furthermore, in some letters it is possible to see some prominent features such as the leg of the "R" and the tail of the "Q", which are particular gestures that identify this type family. Helios Stencil is the tough version of this type family. All the stencil gaps were measured rigorously, thus in small sizes it conveys a neutral aesthetic whereas in big sizes a display logic appears. Helios Antique is composed by 36 styles, 782 glyphs and small caps. Besides, it has powerful OpenType features for each style, including alternates characters, ligatures, fractions, special numbers, arrows, extended language support and many more.

Invisible is a geometric sans serif font family. Contains 9 weights with Regular and Family Look from Thin to Black and matching Slanted style. Invisible Normal character shapes have optimized proportions and improved balance perfect for use for text and heavyweights have strong characters have a unique style with smooth shapes to work with any look. Invisible fonts can be enhanced and used for any display medium to support your visual designs. Please contact us if you have any questions. Enjoy Crafting and thanks for supporting us! :) Thank you ____________________________________________________________________________________ Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, ManxMeru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, OromoPolish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss-German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Zulu.

Pétala Pro took its first steps almost ten years ago. Since then, the quest for perfection has forced several interruptions. It was necessary recalculate the route, tread other ways, discover new maps, and make easy curves. In the end, a new milestone on typeface design was reached. Pétala Pro combines readability with a gentle but strong personality. The smooth and balanced forms shares space with expressive ink traps. The 18 styles of the family – from Thin to Black – allow the flexibility needed to complex design briefs. When designing the different weights, rather than automated solutions, ​​subtle adjustments were made to value the optical qualities of each style. Such care makes all the difference under extreme conditions. The wide variety of alternates makes Pétala Pro even more versatile. All the styles come with a lot of advanced OpenType features such as stylistics sets, localized forms, contextual alternates, ligatures, small caps, numbers, fractions and more. Pétala Pro brings your message with efficiency and personality for a multi-language environment and in any medium or support, such as video, mobile and computers screens. Pétala Pro is the ideal choice for editorial, advertising, branding and corporate identity.

Tokoloshe is a name in African mythology for a mischievous leprechaun-like figure that loves practical jokes and tricking people. There are many books of such African stories, for example Tales of the Tokoloshe by Pieter Scholtz. The letter shapes that I used in the Tokoloshe font have inspiration from two sources: -- the spiky character of the font was derived from the wonderfully imaginative, wooden carvings of the Makonde people of beings called "shetani". The word "tokoloshe" is used by other tribes, but from his behaviour, he is certainly a type of shetani. -- some of the letter shapes were informed by Art Deco styles of fonts, for example: Kunjani, Black Tie SF, Selznick Normal, Zaire SF, Binner Gothic and ITC Anna. But the Tokoloshe font, like its namesake, is much more freespirited. Use this font whenever you want to suggest the rich artistic, cultural and spiritual heritage of Africa. The font is fully professional in terms of its character set. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). In fact, it has all the accented characters used in the major European languages.

The retro-inspired design of Aviano Copper Variable echos the bold style of America’s Gilded Age. Inspired by the copper-inscribed intaglio printing designs of the early 20th century, the powerful, wide character shape of this font walks softly across your page while carrying a big stick. To create the right balance, small wedge serifs were added onto Aviano Sans, giving you a sophisticated style that looks and acts like it belongs nowhere short of Boardwalk. Developed to a new level of excellence, this design offers a wide range of weights from thin to black. There's full multilingual support of all Latin-based languages and five stylistic sets, swash designs, and 1000 glyphs per weight, including some unique ligatures. Number options include old style figures, tabular figures, and superscripts. Unique median spur alternates, swashes, and ligatures will help you customize every single design. The feel of last century’s personal and business correspondence is waiting for you in this member of the Aviano family. While ideal for headings, displays, logos, and short texts, Aviano Copper’s use for everything from letterhead to wine labels may just give you the monopoly you’re looking for.

My affection for Slab Serifs began in the early 1960s in Kansas City when Rob Roy Kelly was at the Kansas City Art Institute, teaching and writing his book on American Wood Type. I got to know him just well enough to gain access to his fabulous collection of wood type and wood type catalogs. Later, in the1970s, I tried to re-create a Nebiolo Egiziano for Roger Black at New West magazine. And again for Roger, in the 1980s, I designed a Slab Serif logo for Newsweek Magazine. Finally, in 2003, designed the Sutro Family. There were things I didn't like about it, so, over time, I’ve been adding some things and dressing it up a little. Sutro Shaded has existed for a few years as a one color, outlined, drop-shadowed display font. It seemed like it was just dying for a little color. I added five more fonts: Fill, Gradient, Hatching, Rules and HiLite. These fonts can be used in different combinations to achieve various effects. There is a downloadable SUTRO SHADED USER MANUAL PDF in the Gallery section for this family.

Larken is a confident serif. Designed to reflect nature, it creates a sense of natural softness and expressiveness. We pushed the concept into a usability focused direction, to work as a bold tool and beautiful communicator. Larken variable allows fluid design across 7 weights, italics and major latin based languages. True italics advance the aesthetics, bringing energy and making it suitable for modern design. The type family melds organic curves and gentle repetition into powerful and harmonious type. At large point sizes you can appreciate the letter shapes, whilst the same restraint and focus creates an even texture for small point sizes and long reading. The font broadens its use by supplying weights all the way from thin to black. The natural curves, swells and sloping trunks, grow in character as the font gains weight. Whilst the thinner weights have lowered contrast and optical corrections to create a warm and gentle appearance. The Larken character set incorporates additional symbols, stylistic alternates, unique ligatures and case sensitive punctuation - producing a stable workhorse family ready to tackle projects of any size.Check out Jeko which is a great pair for Larken.

The Fluze Fonts This is the 21st font release from CozyFonts Foundry, a California Font Foundry established in 2011 with it’s first Official Release in 2012 with the Aladdin Bold Family. Inspirations for the design of this font family, by California Graphic Designer/Illustrator/Font Designer Tom Nikosey, is based on the wacky, weird & quirky films that have graced the screen with their offbeat styles and characters. Movies that come to mind are Mary Poppins, Beetlejuice, Wizard of Oz, Edward Scissorhands, Alice in Wonderland, Little Shop of Horrors, Addams Family, Labyrinth, Ghostbusters, etc. The absurd, the sublime, the animated, the scary, and the illustrated are all descriptors to define the possibilities Of the many uses and applications of Fluze and Flute Outline as presented in a sampling of the posters here. The intentional crooked hand drawn’ glyphs and extras lend their personalities to create this effect. Whether in black, white & grays or psychedelic color combos, Fluze can be comical, frightening and Downright irreverent. This font works as main titles, end titles, branding, signage, numeric displays and even logotypes and monograms. Have fun and let your inner cartoonist inspire.

Introducing Genera, a strong & clean modern sans serif font family designed in two versions – Genera & Genera Alt, which complement each other for body copy & display text. It comes in 10 weights with matching italics (oblique) styles with 4 variable weight fonts for a total of 44 fonts, will give you a freedom to choose the weight you need between Thin & Black. This typeface also equipped with useful OpenType features such as Ordinal, Superior, Stylistic Alternates, Proportional Figure, Fraction, Numerator & Denominator. Each font file has 470+ glyphs which covers Western & Eastern Europe Latin language, as well as other Latin based languages – over 200 languages supported! This typeface has 44 font members consisting of: 4 variable fonts (Genera; upright & oblique, Genera Alt; upright & oblique), 40 single fonts (Genera; upright & oblique in 10 weights, Genera Alt; upright & oblique in 10 weights). Genera will be a Swiss knife for your creative projects, a real multi-purpose typeface that’ll be perfect for logo, packaging, greeting cards, presentations, headlines, lettering, posters, branding, quotes, titles, magazines, headings, web layouts, mobile applications, art quote, typography, advertising, invitations, packaging design, books, book title, & nearly any other type of creative design you’re working on.

"Bodrum Style" is a serif Style family designed by Bülent Yüksel in 20018/19. The font, influenced by serif styles that were popular in the 1920s and 30s, is based on optically corrected geometric forms for a better readability. "Bodrum Style" is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances help the legibility and give "Bodrum Style" an harmonious and sensible appearance for both texts and headlines. Bodrum Style provides advanced typographical support for Latin-based languages. An extended character set - supporting Central, Western and Eastern European language - rounds up the family. “Bodrum Style 14 Regular” forms the central point. "Bodrum Style" is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Medium, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Bodrum Style is the perfect font for web use. Enjoy using it.

Introducing, Gibson Serif is a serif typeface crafted with elegance and luxury, exuding femininity and glamor but also a side of beauty with plenty of alternatives and ties to help you create endless variations for your creative needs. Its striking contrasts and subtle details, along with luxurious strokes and voluptuous curves, create a beautiful and powerful statement for any typographic composition, blending glamor with contemporary aesthetics. Gibson Serif elegant serifs really help you create unlimited variations for your creative needs in creating your project titles: such as fashion, magazines, logos, branding, photography, invitations, wedding invitations, quotes, blog headers, posters, advertisements, postcards, books , websites, etc. Feature • Full set of uppercase, lowercase • 51 Ligatures • 165 Alternatives • Numbers, symbols & punctuation • Characters with accents • Support Multiple Languages • PUA encoded WHAT IS INCLUDED • Gibson Serif – Regular • Gibson Serif – Italic This type of family has become the work of true love, making it as easy and fun as possible. I can't wait to see what you do with the Gibson Serif! Feel free to use the #Black Studio tag and the #Gibson Serif font to show what you've been up to, I really hope you enjoy it! Thank you!

insigne returns to Aviano’s classically inspired forms with this sans serif variant. Wide and geometric, Aviano Sans is perfect for any job that calls for a chic and dignified sans serif as seen in this demonstration video. Aviano Sans has consistently topped insigne’s best-seller chart for more than seven years, earning its stripes as an expressive and versatile typeface that belongs in any designer’s tool chest. Aviano Sans' five weights of Regular, Thin, Light, Bold, and Black include 42 Art Deco-inspired alternate characters that can turn you and your project into a force to be reckoned with. The typeface family also includes 40 unique ligatures that add a bit of swagger to this serious sans. insigne released the first Aviano in early 2007. Its beautifully drawn extended letterforms were a hit with designers, and Aviano quickly became one of insigne’s most popular offerings. The simplified variant of Aviano Sans followed soon after, paring down the structure around the core concept. The Aviano series continues to develop further today with new variants on this classic form. Be sure to check out the rest of the Aviano series, including Aviano, Aviano Serif, Aviano Flare, and Aviano Contrast.

The retro-inspired design of Aviano Copper echos the bold style of America’s Gilded Age. Inspired by the copper-inscribed intaglio printing designs of the early 20th century, the powerful, wide character shape of this font walks softly across your page while carrying a big stick. To create the right balance, small wedge serifs were added onto Aviano Sans, giving you a sophisticated style that looks and acts like it belongs nowhere short of Boardwalk. Developed to a new level of excellence, this design offers a wide range of weights from thin to black. There's full multilingual support of all Latin-based languages and five stylistic sets, swash designs, and 1000 glyphs per weight, including some unique ligatures. Number options include old style figures, tabular figures, and superscripts. Unique median spur alternates, swashes, and ligatures will help you customize every single design. The feel of last century’s personal and business correspondence is waiting for you in this member of the Aviano family. While ideal for headings, displays, logos, and short texts, Aviano Copper’s use for everything from letterhead to wine labels may just give you the monopoly you’re looking for.

Velo leads layouts with a grand tour champion’s panache but is also a hard-working design domestique for text-heavy applications. Superelliptical shapes and sturdy serifs will keep pace with contemporary culture with an aesthetic agility that will never go out of style. Velo Serif includes sixteen fonts: Twelve display styles ranging from thin to black with complementary italics and four text styles designed for longer settings. Velo Serif Display features an increased x-height for more illustrative headlines while Velo Serif Text maintains a readable cadence in high word count environments. Designed by House Industries, Christian Schwartz, Mitja Miklavčič and Ben Kiel. FEATURES Text vs Display: Velo Text maintains the distinctive style of its Display siblings, but is enhanced for optimum legibility in running text settings. Key ligature combinations keep headlines and running text flowing smoothly. Velo Serif Text includes a complete small cap alphabet to add another typographic dimension to your layouts. Select Velo Serif figures include illustrative alternates to display numerical superiority. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Graphit is a typeface designed by Lit Design Studio & curated by HvD Fonts. It combines clear, geometric shapes with edgy yet finely-crafted details. Graphit features uncompromising characters such as G, Q, f, k and 1. It works well both for impactful headlines and for reading sizes. The type family consists of six weights plus matching italics. In early 2018, Livius Dietzel & Tom Hoßfeld started developing the typeface’s essential character and released a free font named after the studio, Lit. Just a few months later, Hannes von Döhren had a look at the typeface and suggested expanding it into a family – then publishing it with HvD Fonts. They drew every single letter from scratch, and also decided to give the font a new name — Graphit. The family features six low-contrast weights, ranging from Black to Thin. Every character has been crafted to give it a distinctive and individual feel. Medium, Regular and Light are optimized for usage in copy text. For smaller font sizes & longer body copy, the alternate character set features a double-story a and a simplified Q, f, r and t for improved legibility. All fonts are manually hinted for optimal performance on digital devices.

Introducing, The Lastone is a serif typeface crafted with elegance and luxury, exuding femininity and glamor but also a side of beauty with plenty of alternatives and ties to help you create endless variations for your creative needs. Its striking contrasts and subtle details, along with luxurious strokes and voluptuous curves, create a beautiful and powerful statement for any typographic composition, blending glamor with contemporary aesthetics. The Lastone elegant serifs really help you create unlimited variations for your creative needs in creating your project titles: such as fashion, magazines, logos, branding, photography, invitations, wedding invitations, quotes, blog headers, posters, advertisements, postcards, books, websites, etc. Feature • Full set of uppercase, lowercase • 111 Ligatures • 28 Alternatives • Numbers, symbols & punctuation • Characters with accents • Support Multiple Languages • PUA encoded WHAT IS INCLUDED • The Lastone – Regular • The Lastone – Italic This type of family has become the work of true love, making it as easy and fun as possible. I can't wait to see what you do with The Lastone! Feel free to use the #Black Studio tag and the #The Lastone font to show what you've been up to, I really hope you enjoy it! Thank you!

Old Thunder is a revival of an 1800’s Tuscan style font called Lavinia, we've expanded the original font to include a lowercase, an Open faced version, a very attractive Black face and last this set just wouldn't be complete without a Fill font. When you see the word Fill in a fonts name this describes its purpose which means the font is intended to be used for filling in the open space of its parent font or the Open faced shadowed version from that font family or group. Some Fill fonts look as if they may be used as stand alone fonts but others simply do not look good used as a plain font. The Fill font for Old Thunder was designed to work as both a fill and a regular font, although when used as a regular font the letter spacing will appear a little wide. If needed the spacing can be adjusted in some applications font settings, check the help file in your application for further information on spacing. You will need an application that allows layering of your fonts in order to take advantage of FontMesa Fill fonts.

Graziella Script is a calligraphy script font that comes with exquisite character changes, a kind of classic decorative copper script with a modern twist, designed with high detail for an elegant style. Graziella Script Manuscript is attractive because it is smooth, clean, feminine, sensual, glamorous, simple and very readable, because of its many fancy letter joints. I also offer a number of decent stylistic alternatives for multiple letters. Classic styles are very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or all kinds of advertising purposes. . . . . . . Graziella Script has 436+ Glyph alternative characters, including multiple language support. With OpenType features with alternative styles and elegant binding. The OpenType feature works automatically, but you can access it manually and for the best results necessary for your creativity in combining these variations of the Glyph. I really hope you enjoy it! I can't wait to see what you do with the Graziella Script! Feel free to use the #Black Studio tag and the #Graziella Script font to show what you've been up to.

FineArt OT is a casual typeface, created by brush, as an emulation of a conventional typography, however, comes with alternative FineArt Opentype OT for exploring other radical forms of expression. Thus FineArt offers 4 styles in a single font.

A new script label typeface named Spicy Taste. This typeface contents caps and small letters, numbers, punctuation signs and some alternates for small letters. This is a handwritten brush font with authentic dry brush strokes like drawn on paper.

Miscellany JNL collects numerous images of various genres into one dingbat font. There are vintage stencil patterns, old-time ad cuts and decorations, line spacers [number keys 1 through 7], conversation balloons, parking lot symbols and other assorted goodies.

The story of Scripps College Old Style is a heart-warming and inspiring chronicle about a young librarian, a handful of students, a wealthy grandmother, a dedicated educator -- and two eminent American type designers. The story begins in 1938, when Dorothy Drake, the newly hired librarian at Scripps College, a small women's college in southern California, became an impromptu dinner companion of the American type designer Fred Goudy. By the 1990s, the original fonts that Goudy had created for Scripps College in the 1940s had become prized -- but they were seldom-used antiques. Scripps needed digital versions of the metal fonts. This goal posed two immediate challenges: finding a designer familiar with letterpress printing who was skilled at creating digital fonts, and locating the money to commission the designer's services. The first challenge was the easiest to conquer. Sumner Stone was my first and only choice," recalls Kitty Maryatt, the current curator of the Scripps College Press. "I knew he had letterpress experience, was an accomplished calligrapher, and that his typeface designs were simply exquisite. The choice was easy."The second challenge was more difficult. It took the dedication, hard work and tenacity of Maryatt to bring the beautiful Goudy designs into the twenty-first century. While Stone was eager to begin work on the project, the college had no more money for new typeface designs in the 1990s than it did in the1930s. Years of lobbying, cajoling and letter writing were necessary to obtain the college's approval for the design project. Once she had the necessary funding, the design brief posed yet a third challenge. Goudy had provided two sizes of type to the Press: 14 point and 16 point. Which would serve as the foundation for Stone's work? In addition, the Goudy fonts were quite worn. Should Stone use printed samples as his design master, or base his work on the original Goudy renderings? The 14-point master drawings were the ultimate choice, with the stipulation that the finished fonts would provide both a seamless transition from the worn metal versions and a faithful representation of the original Goudy designs. Once the budget and design brief were established, the process of converting the original Goudy drawings into digital fonts took just a little over two months. Stone delivered finished products to Scripps in the fall of 1997. The first official use of the fonts was to set an announcement for a lecture by Stone at Scripps in February of 1998. But the story is not quite finished. Maryatt was so pleased with the new digital fonts, she wanted to share them with the graphic design community. At Stone's suggestion, she contacted Monotype Imaging with the hope that the company would add the new designs to its library. An easy decision! Now Monotype Imaging is part of the story. We are proud to announce the release of Scripps College Old Style as a Monotype Classic font. The once exclusive font of metal type is now available in digital form for designers around the world. "

Rahere is a humanist sans with subtle features that give the typeface a distinctive, warm appearance without distracting the reader. Legible at large and small sizes, Rahere is a versatile family suitable for a wide range of applications such as annual reports, advertising, brochures, catalogues, information signage, screen text and visual identities. For projects that need to convey a sense of authority or credibility, this is the ideal sans serif to use. The family consists of six weights ranging from light to extra bold with corresponding italics and the character set covers most of the major European languages. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles – a must for financial tables in annual reports. Spirited and lively, the italic lowercase is more cursive and calligraphic than the roman, although it harmonises perfectly, displaying enough character to create emphasis without looking out of place. When used on its own, for pull-out quotes or poetry, the italic exudes a charm that draws attention to the text. The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded St Bartholomew's Hospital, London in 1123. I will always be indebted to Barts (as it is now commonly known) because in 2007 I was successfully treated for relapsed testicular cancer. Way back in 1992 I designed my first sans serif, Charlotte Sans, and although it was relatively successful, I was never really satisfied with the end result: not enough weights & italics, a small character set, lack of accented characters, and my design skills were still in their infancy. Whilst Rahere shares many common elements with Charlotte Sans, it is much more than just a reworking; it represents over 20 years of accumulated knowledge and experience as a designer.

Few fonts reach cult status. Despite its ubiquity—and perhaps because of its lack of subtlety—for a hundred years Cooper continues to draw the faithful. It’s even come to define an entire typographic genre and recently starred in its own documentary. Cooper Nouveau is Dave West’s imaginative contribution to the Cooper oeuvre. Drawn in 1966, Nouveau refreshes Oswald Cooper’s original italic with an energetic pitch, simplified contours, and a plump friendly figure. Uniform strokes and generous curves push the font’s playful personality and springy silhouette even further. A selection of swashed characters and ligatures offers options for lively logos and strong captions. While Cooper Nouveau looks laid-back and easy-going, it’s more than capable of pulling it’s own typographic weight. Put it to work where relaxed needs to project confident. Set Nouveau large for eye-magnet posters, packaging, and advertisements. Maximize its youthful energy for kids’ themes, craft action, and apparel bounce. Or set it alongside a master like Benguiat Buffalo or Chalet to show how Cooper Nouveau can communicate on paper and screens with an inherent ability to speak the language of style in many tongues. But like any cult icon: beware! Cooper has a way of setting the needle, and Nouveau just may become your go-to design fix. FEATURES ALTERNATES: Cooper Nouveau contains several alternate characters, which add flair to your designs and can help solve spacing issues LIGATURES: Many letter combinations in Cooper Nouveau form a ligature to solve spacing issues and produce more pleasing designs. COOPER NOUVEAU CREDITS Typeface Design: Dave West Digitization: Dave Foster Typeface Direction: Ben Kiel, with Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Japanese Pro family has 6 fonts in total. It spans four weights from ultra light to bold, and has two condensed weights to further expand the family’s vast range of uses. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability, combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects — pose no stumbling blocks to the family’s typographic dexterity.

So far the Creator Campotype standard version known in the form of free font (published on several websites by license: free for personal use). The font takes the basic form of modern typography, but some user feedback consider it in the medieval look. Whatever it is, the inspiration of the font was originally set off from the logotype of internal student magazine where the designer had studied in the late 80s. Creator Campotype is a pure display font. This fonts do not have faces lowercase, but all caps. Nevertheless forms of different characters can be accessed by pressing the uppercase and lowercase on the keyboard. Maximum usage can be made by combining them as necessary. Some forms of characters were made more stylistic such as slash and backslash which “out of” the conventional form. In addition, the circle effects on several glyphs were created by default (as found on the free version) so that the glyph was enough to generated with the keyboard access as usual. Information for those who have access to the free version, there are significant changes in this version (2001) as described in the file “creator ct pdf” (gallery)

Voila! This is it . . Classical Romance Decorative Serif Family Classic serif with 125 stylistic alternates for a uniquely vintage, yet modern feel. Each letterform has a slightly rough exterior that works beautifully to enhance Classical Romance’s soft, conventional details. This versatile display typeface has enough character for logos and branding, as well as headlines, apparel, alcohol labels, poster, online magazine, automotive, and much more. Keep it classic, or get decorative with ornate alternates for both uppercase and lowercase glyphs! This Classical Romance font was handwritten under the inspiration of traditional calligraphy and the wonderful magical vibe of Bali Island. Classical Romance brings more lovely old day vibes with 12 weights to matchmaking with your own style and it has Multilingual support (Western European characters) and works with the following languages: English, Danish, Dutch, Estonian, Faroese, Filipino, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish. Immerse more your arts in the classic feel with Classical Romance, and be classy! A guide to accessing all alternatives can be read at: http://adobe.ly/1m1fn4Y Features: A-Z Character Set a-z Characters set Numerals & Punctuations (OpenType Standard) Multilingual Thank you and have a nice day

Cartier was Canada’s first roman text typeface, created in 1967 to celebrate Canada’s centennial. Its designer, Carl Dair, was one of the country’s most celebrated graphic design pioneers, and a fine designer indeed — but he was not a trained type designer. He had spent a year at the Enschedé type foundry and printing works in the Netherlands, but that probably wasn’t enough to fully grasp all that was required to make an effective text face. It is also possible that Dair simply compromised his own design by not allowing any of the much needed alterations to be made to his working drawings when they were handed over to Linotype for production. Cartier, though a strikingly original oldstyle, never became the influential allround text face it might have been. A display typeface derived from it, Raleigh, was more successful. Realizing that Dair’s design was sound in concept, if not in execution, Rod McDonald began working on a new digital version in 1997. The final family is convincing proof that Cartier could have been the functional text face that Dair originally wanted.

Sonny Gothic is our most rational-geometric typefamily until so far. It’s inspired by the geometric style of the 70s, specifically by Herb Lubalin’s work. Since we were students, we have been gazing Lubalin’s logos, typefaces and magazines as inspiration that still lives in our subconscious. At first, we made a pure geometrical typeface with modern caps proportion, then we combine those proportions with the 70s traditional caps ligatures. It was at that point that we knew Sonny Gothic was ready to arise. Even though Chile is not the origin of a modern visual culture, for us geometric typefaces and Lubalin’s work are one of the most attractive aesthetics of the creative realm, and therefore, this is our homage. Designed with powerful opentype features, each weight includes alternate characters, ligatures, fractions, special numbers, arrows, extended language support and many more… Perfectly suited for the several areas of graphic design. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Foundry On facebook W Foundry wtypefoundry.com

Mortdecai is a luxurious signature font that’s perfect for any branding, logo design, and much more. Along with its OpenType features, the unique structure of this typeface makes it highly usable, easy to work with, and elegant in all sizes. The result is really easy to use, professional and elegant. We’re sure you will fall in love with it! All the features of this typeface were specially made and interpreted to offer a better and more modern experience while working on your designs. Thanks to its specially designed structure it’s highly usable, easy to work with, and extremely elegant on all sizes – from small header titles to huge logo designs. This is a luxury signature font especially for you! Mortdecai features: A full set of upper & lowercase characters Numbers & punctuation Ligatures Uppercase beginning swashes Lowercase ending swashes Stylistic alternatives Accented characters PUA Encoded Characters – Fully accessible without additional design software. 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.

Stack brings the spirit of industrial chimney lettering from the early twentieth century to the digital age. The typeface is designed to work both horizontally and vertically. Additionally, the fonts can work together in myriad chromatic expressions—providing limitless design possibilities. The family is true to the spirit of masonry lettering without being a direct lift of any specific lettering style from the industrial age. Like some of its masonry predecessors Stack is built as a typeface of 15 courses (horizontal rows) of ‘bricks.’ Based on several years of research a collection of 150+ photographs and roughly two dozen archival engineering drawings were amassed. The value of the historical references is a type family that is a legitimate reflection of masonry lettering styles of the period. In updating Stack for the digital age, the proportions of the base-unit ‘bricks’ and the thickness of ‘mortar’ joints have been optically adjusted to work in both screen-based and print media. Stack would not have been possible without the research and design input from Craig Welsh and Jenna Flickinger of GoWelsh.

Kevin Curtis runs a site called Damosel's Printer's Blocks, specializing in rare an unusual examples from the years when letterpress was the main source of printed material. He graciously provided the source material for Print Damosel JNL. The collected images represent a varied cross-section of ornamentation, embellishments, attention getters, decorations and whimsical illustrations.

Introducing Summer of '76, a nostalgic multi-line font inspired by the 70's aesthetic. Perfect for big eye-catching headers. Сan be used for text blocks also. Includes two styles: solid and multi-line (regular). This font could be the perfect solution if you want to give a lovely retro touch to your designs.

This svelte type family, whose name translates as "Blonde Goddess", is ideal for creating loquacious headlines in tight spaces, as well as dense informational blocks such as movie credits. Available in three weights. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Printers Assistants JNL is a collection of vintage letterpress stock cuts and embellishments features monthly title blocks (for newsletters or calendars of events) in an Art Deco style, a cartoon character counting [with fingers] one through five to emphasize selling points and assorted cartoons and decorations sure to please any lover of nostalgic art.

Based on a Roman character set, Gideon is a traditional typeface with classic forms. Perfect for uses from invitations, greeting cards and menus, to display advertising. The upper case letters have a tradition calligraphic feel that adds warmth and sophistication to text while the legibility allows for larger blocks of copy to be easily read.

Kubrickle is an unique typeface release by the Discourse Type foundry. It comes in three styles a block, stencil and swash. The swash types comes with an large set of special ligatures that can give you titles an edge. Combine the three different styles to create dynamic typography suitable for album covers, magazines and flyers.

MASKEY is a rough typeface with a freehand writing style, comes with 3 family styles (Normal, Overlapping, and Block) which are perfect for your designs that want a rough, modern vintage, freestyle style, and carefully crafted for all graphic design needs. Following Language Support : LATIN EXTENDED ( Western European, Central European, South Eastern European ) Thank You

Jacob Graffiti is a font inspired by graffiti. In order to reflect the feeling of spray paint, the beginning or the end of the characters show a sense of stroke. When designing this font, to add some fun, a pictorial ligature was specially designed: jacob. And it's on the smile face Unicode block too.

This stately typeface takes its inspiration from Erbar Medieval, designed by Jakob Erbar for the Ludwig & Mayer foundry of Frankfurt am Main, released in 1914. Equally at home in headlines or text blocks, this face is both elegant and inviting. Both versions contain the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.