Brophy Script is a bold connecting brush alphabet. This brush script typeface was designed in 1953 by the American type designer Harold Broderson. Broderson worked for ATF (the American Type Founders), who were the original publishers of this design. Brophy Script is a version with more handwritten letters than to its other version called Body. This a brush script face that mimics the show card style of lettering, which was very popular throughout the United States during the first half of the 20th Century. The letters appear as if they were drawn quickly and spontaneously with a wide, flat lettering brush. The lowercase letters connect to each other, cursive script style. Brophy Script is the perfect display face to provoke a nostalgic feeling for the 1950s. Anything having to do with apple pie, home cooking, or last minute sales would look great in this face. You could outfit a whole supermarket signage system in a snap with Brophy Script.

Bussi is an inline font family full of extras. It is rich with alternatives and symbols, which makes it a playful font to use. It was inspired by hand lettering and bullet journaling. The font is perfect for branding and packaging to bring your extra brand personality—an ideal font to use for stationery design or even movie titles. Versatile and high-quality Bussi will be your new font love. Bussi was inspired by hand lettering and bullet journaling. The first drafts were designed during studying for my high school graduation, where I would focus more on the headline lettering than on the actual content. I tried to motivate myself by lettering joyful, swirly headlines, and keywords. Originally designed as a caps-only headline font, over the years more and more letters and symbols were added, resulting in nearly 1400 glyphs and 5 different stylistic sets. Designed by Stella Chupik and Schriftlabor team.

Époque Seria is that kind of person who looks really cute when angry. This font was derived from the Époque family. She is the little sister to Époque - a little shorter with her smaller x-height and — how do you say it in the typographic circle — your eyes are also smaller (and you know you squint when things get serious, isn't it?). The genealogy of these font face is undeniable, but Époque Seria has a ‘personality’ very different from her older sister. The reduction of the x-height also shakes somewhat with the cap that had crossbar. To accompany the package of standardization, the letters that don't have their straight axes were changed, which brought to the set more Cs and Gs contemporaries. In addition, other measures were taken as a greater softness in the variation of the weights and the abandonment of the black weight, being considered too heavy for this version.

First conceived as the upper-and lowercase “e” for the logotype of independent publishers Elemental Editions, the letterforms were so well received that they were extended to an entire typeface and formed the basis for a bespoke font – Eef. The type design draws inspiration from the basic elements, the periodic table, functionalist vintage lettering and influences from other classic geometric typefaces with condensed cuts such as Futura and Trade Gothic. The extended set is now developed into a family consisting of three weights – Regular, Medium and Bold. While developing Eef it has been crucial to maintain the integrity of the geometrical shape in each glyph as much as possible, but also add subtle optical adjustments to make the forms more balanced and harmonic. Due to its detailed balance of simplicity, aesthetics and playfulness Eef works perfectly well in a corporate context as it does in editorial use or poster design. Eef feels most comfortable with text ranging from display to medium size.

The Face2Face (F2F) series was inspired by the techno sound of the mid-1990s, personal computers and new font creation software. For years, Alexander Branczyk and his friends formed a unique type design collective, which churned out a substantial amount of fresh, new fonts, none of which complied with the traditional rules of typography. Many of these typefaces were used to create layouts for the leading German techno magazine of the 1990s, Frontpage. Branczyk and his fellows would even set in type at 6 points, in order to make it nearly unreadable. It was a pleasure for the kids to read and decrypt these messages! The three fonts in the F2F Czykago family, F2F Czykago Light, F2F Czykago Semi Serif, and F2F Czykago Trans, were all inspired by the Apple system font Chicago. The F2F Czykago family, along with 38 other Face2Face fonts, is included in the TakeType 5 collection from Linotype. Branczyk designed 16 of these himself."

Nikola is a text typeface that offers a wide range of possibilities. While its regular and medium weights were specially optimized for maximum performance, balanced for excellent legibility and carefully crafted to spread a scent of tradition on long text settings; its extreme weights, on the other hand, were designed with a more display use in mind, and thanks to the flexibility place at disposal by its many alternates, swashes, decorative cartouches, borders and ornaments, can deliver a vintage, reliable, dynamic, fancy and even playful inflection to the text. Nikola includes a large set of over 1400 glyphs, support for more than 200 latin script languages and 1.21 gigawatts of the finest type design generated by classic proportions, the elegance and formality of the early XX century and a glimpse of expressionism on terminals and serifs. Nikola was named after Nikola Tesla as a tribute to the pioneers of the electric age.

The term “Surf Bum” was a slang phrase used to casually describe anyone who spent as much of their time as possible at the beach catching waves in the 1960s. The Revell Company was a well-established maker of plastic model kits such as military airplanes, monsters from Universal horror films and other such items when it hooked up with custom car designer Ed “Big Daddy” Roth to develop a model kit line capitalizing on the surfing fad that was sweeping the West Coast at the time. A number of crazy-looking hot rods, dune buggies and what-have-you were turned out, and one such kit (“Surfite”, with Figure) featured a futuristic one-person dune buggy. It was on the box for the model that the words “with Figure” appear in a casual, brush design type face. Those few letters were the inspiration for creating a new retro type face entitled Surf Bum JNL, which is available in both regular and oblique versions.

Softrobo Pro is the further development of Softrobo font provided by Koval Type Foundry in 2008. Provided in 3 most popular formats: OpenType PS, TrueType and Type1. Fine-built, straight but not official, with soft corners is suitable for short texts, placards and advertising. It was inspired by the 1970s when people were mad about robots, space and so on. I decided to create a font as if it were a progressive font of the 1970s. This font supports the Latin-based languages: Albanian, Basque, Bielorussian (Latin), Breton, Catalonian, Chamorro, Croatian, Czech, Danish, Dutch (with Flemish), English, Estonian & Setu, Faroese, Finnish, French, Frisian, Gaelic (Irish), Galician, German (incl. eszett), Hungarian, Icelandic, Indonesian, Italian, Latvian, Lithuanian, Maori, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Romanian, Saami (Lule & South), Slovak, Slovene, Sorbian Lower, Sorbian Upper, Spanish, Swedish, Tswana, and Turkish. It also supports the Cyrillic-based languages: Belorussian, Bulgarian, Crimian Tatar (Cyrillic), Karachay-Balkar, Kumyk, Macedonian, Russian, Serbian, and Ukrainian, Also included: ligatures, superior & inferior numbers set.

Basic Commercial is a family of fonts based on historical designs from the hot metal type era. First appearing around 1900, these designs were created by type designers whose names have not been recorded, but whose skills cannot be overlooked. These typefaces were popular among groups and movements as diverse as the Bauhaus, Dadaism, and the masters of Swiss/International-Style typography. They influenced a variety of later grotesque fonts, such as Helvetica and Univers. Basic Commercial was distributed for many years in the United States under the name Standard Series. The typeface worked its way into many aspects of daily life and culture; for instance, it became the face chosen for use in the New York City subway system’s signage. The Basic Commercial family members have a clear and objective design. Their forms exhibit almost nothing unusual, but remain both lively and legible nonetheless. Perhaps for this reason, Basic Commercial’s design has been popular with graphic designers for decades.

Solar is a font family designed by Carlos Fabian Carmargo G. Its members, together or separate, can be used in packaging, posters, cards, invitations and logos that need expressive letters with craft features. First, a set of arbitrary ideas were designed on rough paper, and through changes five styles resulted to mix and compose bright words and phrases. Solar Script comes from crossbreeding and the collusion of primitive visceral strokes and calligraphy on textured paper. This way its letters were planned for empty and full areas deteriorated sometimes simulating irregular ink clots. Therefore, the simulate trajectories with bold brushstrokes made that it works especially well in sizes larger than 12 points. Its rhythmic vitality and energy give personality, reflected in uninterrupted rapid and logical talics with strokes. Solar Words has more than 115 words unstable and inclined. Solar Dingbats has more than 100 brightness generating drawings, Solar Sans and Serif are capitals combined with other members of the family.

Sequel Sans is a new chapter in the book of neogrotesque typefaces. Its core idea and its name were conceived in collaboration with the max bill georges vantongerloo foundation. The main inspiration for its design were the sans-serif typefaces used by Max Bill, the larger-than-life Swiss architect, artist, and designer. Honoring these roots, I designed Sequel Sans to be a clean and adaptable font family that is built upon a comprehensive system of styles. 8 weights, each with a corresponding italic, and a matching set of Variable Fonts are available in 4 optical sizes. These range from standard (for text sizes) to Subhead to Headline to Display—larger optical sizes come with tighter spacing and a number of gently adjusted glyph shapes. Like the great neogrotesques found in mid-century Swiss Style designs, Sequel Sans is a vessel that you can fill with any kind of content. It will amplify your message while retaining its own modernist character.

The Face2Face (F2F) series was inspired by the techno sound of the mid-1990s, personal computers and new font creation software. For years, Alessio Leonardi and his friends formed a unique type design collective, which churned out a substantial amount of fresh, new fonts, none of which complied with the traditional rules of typography. Many of these typefaces were used to create layouts for the leading German techno magazine of the 1990s, Frontpage. Leonardi and his fellows would even set in type at 6 points, in order to make it nearly unreadable. It was a pleasure for the kids to read and decrypt these messages! F2F Mekanik Amente appears as if it had once been a normal font whose letters were horribly attacked by a pair of scissors. This font could be a very creative choice for headlines. F2F Mekanik Amente is one of 41 Face2Face fonts included in the Take Type 5 collection from Linotype GmbH. Leonardi designed 11 of these himself."

Fonts Café is offering a brand new pack of fonts and elements; The Bold Pressing Pack, full of bold, strong, powerful, vintage fonts which really stand out to make a strong impact. These fonts bring us back to a time when ink was placed onto wooden blocks, which were then pressed down onto the paper, creating big, bold letters, with the beautiful flaws of a time when things of import were given the due attention they deserved. This pack is designed to quickly capture the attention of anyone who sees it, while making a statement that says you mean business. It includes five different font styles, as well as two different element styles. There's everything from a standard letterpress font, to a font which truly emulates the imperfections of those days, as well as one that stands out above the rest to make a truly bold statement, and more. Check below these powerful fonts in more detail.

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

The Latin, or Roman, alphabet was originally adapted from the Etruscan alphabet during the 7th century BC to write Latin. Since then it has had many different forms, and been adapted to write many other languages. According to Roman legend, the Cimmerian Sibyl, Carmenta, created the Latin alphabet by adapting the Greek alphabet used in the Greek colony of Cumae in southern Italy. This was introduced to Latium by Evander, her son. 60 years after the Trojan war. There is no historical evidence to support this story, which comes from the Roman author, Gaius Julius Hyginus (64BC - 17AD). The earliest known inscriptions in the Latin alphabet date from the 6th century BC. It was adapted from the Etruscan alphabet during the 7th century BC. The letters Y and Z were taken from the Greek alphabet to write Greek loan words. Other letters were added from time to time as the Latin alphabet was adapted for other languages.

A truly faithful ally for every designer looking for fresh yet familiar and reliable font choice. Geller was created as a part of graduation project in Typowa Pracownia at Academy of Fine Arts in Warsaw. It is a typeface family especially intended for newspapers, magazines, and advertising. Geller family comes in two optical sizes - headline and text, so it is a complete solution for editorial purposes. During the design process, the technical needs of certain typographic fractions were examined. The capital letters were specially and purposely designed: its modern proportions (derived from Didone fonts) with optimized inner lights as well as short ascenders and descenders work very well within titles and leads. In addition to a wide range of OpenType features, Geller contains bullets & dingbats providing many possibilities of entry points in editorial design. Compact diacritics, proportionally tall x-height, narrow letter construction, all these features allow easy typesetting of narrow text columns and spreads.

To design a text typeface "at the top with, at the bottom without" serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs. The first tests of the design, by which I checked up whether the basic principle could be used also for the then current technology of setting - for double-sign matrices -, were carried out in 1970. During the first half of the seventies I created first the basic design, then also the slanted Roman and the medium types. These drawings were not very successful. My greatest concern during this initial phase was the upper case A. I had to design it in such a way that the basic principle should be adhered to and the new alphabet, at the same time, should not look too complicated. The necessary prerequisite for a design of a new alphabet for double-sign matrices, i.e. to draw each letter of all the three fonts to the same width, did not agree with this typeface. What came to the greatest harm were the two styles used for emphasis: the italics even more than the medium type. That is why I fundamentally remodelled the basic design in 1980. In the course of this work I tried to forget about the previous technological limitations and to respect only the requirements then placed on typefaces intended for photosetting. As a matter of fact, this was not very difficult; this typeface was from the very beginning conceived in such a way as to have a large x-height of lower-case letters and upper serifs that could be joined without any problems in condensed setting. I gave much more thought to the proportional relations of the individual letters, the continuity of their outer and inner silhouettes, than to the requirements of their production. The greatest number of problems arose in the colour balancing of the individual signs, as it was necessary to achieve that the upper half of each letter should have a visual counterbalance in its lower, simpler half. Specifically, this meant to find the correct shape and degree of thickening of the lower parts of the letters. These had to counterbalance the upper parts of the letters emphasized by serifs, yet they should not look too romantic or decorative, for otherwise the typeface might lose its sober character. Also the shape, length and thickness of the upper serifs had to be resolved differently than in the previous design. In the seventies and at the beginning of the eighties a typeface conceived in this way, let alone one intended for setting of common texts in magazines and books, was to all intents and purposes an experiment with an uncertain end. At this time, before typographic postmodernism, it was not the custom to abandon in such typefaces the clear-cut formal categories, let alone to attempt to combine the serif and sans serif principles in a single design. I had already designed the basic, starting, alphabets of lower case and upper case letters with the intention to derive further styles from them, differing in colour and proportions. These fonts were not to serve merely for emphasis in the context of the basic design, but were to function, especially the bold versions, also as independent display alphabets. At this stage of my work it was, for a change, the upper case L that presented the greatest problem. Its lower left part had to counterbalance the symmetrical two-sided serif in the upper half of the letter. The ITC Company submitted this design to text tests, which, in their view, were successful. The director of this company Aaron Burns then invited me to add further styles, in order to create an entire, extensive typeface family. At that time, without the possibility to use a computer and given my other considerable workload, this was a task I could not manage. I tried to come back to this, by then already very large project, several times, but every time some other, at the moment very urgent, work diverted me from it. At the beginning of the nineties several alphabets appeared which were based on the same principle. It seemed to me that to continue working on my semi-finished designs was pointless. They were, therefore, abandoned until the spring of 2005, when František Štorm digitalized the basic design. František gave the typeface the working title Areplos and this name stuck. Then he made me add small capitals and the entire bold type, inducing me at the same time to consider what to do with the italics in order that they might be at least a little italic in character, and not merely slanted Roman alphabets, as was my original intention. In the course of the subsequent summer holidays, when the weather was bad, we met in his little cottage in South Bohemia, between two ponds, and resuscitated this more than twenty-five-years-old typeface. It was like this: We were drinking good tea, František worked on the computer, added accents and some remaining signs, inclined and interpolated, while I was looking over his shoulder. There is hardly any typeface that originated in a more harmonious setting. Solpera, summer 2005 I first encountered this typeface at the exhibition of Contemporary Czech Type Design in 1982. It was there, in the Portheim Summer Palace in Prague, that I, at the age of sixteen, decided to become a typographer. Having no knowledge about the technologies, the rules of construction of an alphabet or about cultural connections, I perceived Jan Solpera's typeface as the acme of excellence. Now, many years after, replete with experience of revitalization of typefaces of both living and deceased Czech type designers, I am able to compare their differing approaches. Jan Solpera put up a fight against the digital technology and exerted creative pressure to counteract my rather loose approach. Jan prepared dozens of fresh pencil drawings on thin sketching paper in which he elaborated in detail all the style-creating elements of the alphabet. I can say with full responsibility that I have never worked on anything as meticulous as the design of the Areplos typeface. I did not invent this name; it is the name of Jan Solpera's miniature publishing house, in which he issued for example an enchanting series of memoirs of a certain shopkeeper of Jindrichuv Hradec. The idea that the publishing house and the typeface might have the same name crossed my mind instinctively as a symbol of the original designation of Areplos - to serve for text setting. What you can see here originated in Trebon and in a cottage outside the village of Domanín - I even wanted to rename my firm to The Trebon Type Foundry. When mists enfold the pond and gloom pervades one's soul, the so-called typographic weather sets in - the time to sit, peer at the monitor and click the mouse, as also our students who were present would attest. Areplos is reminiscent of the essential inspirational period of a whole generation of Czech type designers - of the seventies and eighties, which were, however, at the same time the incubation period of my generation. I believe that this typeface will be received favourably, for it represents the better aspect of the eighties. Today, at the time when the infection by ITC typefaces has not been quite cured yet, it does absolutely no harm to remind ourselves of the high quality and timeless typefaces designed then in this country.In technical terms, this family consists of two times four OpenType designs, with five types of figures, ligatures and small capitals as well as an extensive assortment of both eastern and western diacritics. I can see as a basic text typeface of smaller periodicals and informative job-prints, a typeface usable for posters and programmes of various events, but also for corporate identity. Štorm, summer 2005

Roller Poster is named after Alfred Roller. In 1902, Roller created a poster to advertise the 16th exhibit of Austrian Artists and Sculptures Association, representing the Vienna Secession movement. The exhibit was to take place in Vienna during January & February 1903. The location is not mentioned because everyone in Vienna knew it would be held at the exhibit hall in the Secession Building at Friedrichstraþe 12, a few blocks south of the Opernring, near the Naschmarkt. Designed by Joseph Maria Olbrich in 1897, the buiilding has been restored and stands today as one finest of the many fine examples of Art Nouveau architecture in Vienna (see vienna_secession_bldg.jpg). Because of its dome, it is called “the golden cabbage.” The poster itself is unique. The word “secession” is in one type style and takes up two-thirds of the elongated poster. At the bottom of the poster are the details in a different lettering style. It is this second style at the bottom that is the basis for the font Roller Poster. In keeping with our regular naming conventions, we were going to call it Roller Gezeichnete (hand-drawn), but the wonderful play on both words and the shape of the three S’s in secession was too compelling. In November 1965 there was an exhibit of Jugendstil and Expressionist art at the University of California. Alfred Roller’s Secession Poster was part of that exhibit. Wes Wilson was designing promotional material at Contact Printing in San Francisco. Among their clients was a rock promoter named Bill Graham, staging dance-concerts at Fillmore Auditorium. Wilson saw the catalog from the UC exhibit and Roller’s lettering. Wilson adapted Roller’s letter forms to his own fluid style. The result was the poster for the August 12-13, 1966 Jefferson Airplane/Grateful Dead concert at Fillmore put on by Graham (BG23-1). Wilson continued to use Roller’s letter forms on most of the posters he did for Graham through May 1967, when he stopped working for Graham. The posters were extremely successful and the lettering style along with Roller’s letter forms were picked up by other artists, including Bonnie MacLean, Clifford Charles Seeley, James Gardner, and others. The Secession poster and the Fillmore posters have inspired a number of fonts in addition to ours. Among them are JONAH BLACK (& WHITE) by Rececca Alaccari, LOVE SOLID by Leslie Carbarga and MOJO by Jim Parkinson. Each is different and yet each clearly shows its bloodlines. Our font differs in two ways: 1) the general differences in the interpretation of the letter forms and 2) the modification of the basic letter form to incorporate the diacriticals within the implied frame of the letter, after the manner of the original design by Roller. We borrowed Carbarga’s solution to the slashed O and used it, in a modified form, for other characters as well to accomplish the same purpose. We recommend that you buy ours and at least one of the other three. According to Alaccari, a version called URBAN was released by Franklin Lettering in the 70’s (and is shown on page 51 of The Solotype Catalog). For comparison of our font to original design, see image files roller_poster_2s.jpg of original poster and roller_poster_2sx.jpg showing reconstruction using our font for the lower portion (recontructed area indicated by blue bar). Please note the consistency of character width. In the lower case, 23 of the basic 26 letters are 1/2 EM Square wide. The ‘i’ is an eighth narrower, while the ‘m’& ‘w’ are one quarter wider. All the Upper Case letters are 1/8 EM wider than the lower case. This is to make it easier to fill a geometrical shape like a rectangle, allowing you to capture a little of the flavor of Wes Wilson’s Fillmore West poster using only a word processor. We have also included a number of shapes for use as spacers and endcaps. If you have a drawing program that allows you to edit an ‘envelope’ around the letters to distort their shape, you can really get creative. I used Corel Draw for the gallary images, but there are other programs that can accomplish the same thing. The image file “roller_poster_keys.jpg” shows the complete character set with the keystrokes required for each character (see “HiH_Font_readme.txt” for instruction on inserting the non-keyboard characters). The file “roller_poster_widths.jpg” shows the exact width of each character in EM units (based on 1000 units per EM square). You will notice that the font is set wide for readability. However, most programs will allow you to tighten up on the character spacing after the manner of Roller & Wilson. In MS Word, for example, go to the FORMAT menu > FONT > CHARACTER SPACING. Go to the second Drop-Down Menu, labeled ‘Spacing’ and select "condensed' and then set the amount that you want to condense ‘by’ (key on the little arrows); two points (2.0) is a godd place to start. Let your motto be EXPLORE & EXPERIMENT. Art Nouveau has always been one of my favorite movements in art -- I grew up in a home with a couple of Mucha prints hanging on the living room wall. Perhaps because of that and because I lived through the sixties, I have enjoyed researching and designing this font more than any other I have worked on. Let’s face it (pardon the pun), Roller Poster is a FUN font. You owe it to yourself to have fun using it.

Print Oddities JNL gathers various cartoons, embellishments, spot illustrations, border elements and arrows into one nostalgic collection; all re-drawn from vintage source material.

Stencil Extras JNL contains twenty-six stencil borders, frames, arrows, pointing hands, plants, wildlife and decorative embellishments all re-drawn from vintage source material.

I've 2 grand children, the youngest is just 3 years old. Her name is Sarah and see is Bella. And so we have Sarabella.....

INTRODUCTION When I started the first Selfie back in 2014 I was aware that I was designing something innovative at some point, because at that time there were not too many, (if any) fonts which rescued so many calligraphy features being at the same time a monolinear sans. I took inspiration from the galerías’ neon signs of my home city, Buenos Aires, and incorporated the logic and ductus of the spencerian style. The result was a very versatile font with many ligatures, swashes and a friendly look. But… I wasn’t cognizant of how successful the font would become! Selfie is maybe the font of my library that I see the most when I finally go out, (type-designers tend to be their entire lives glued to a screen), when I travel, and also the font that I mostly get emails about, asking for little tweaks, new capitals, new swashes. Selfie was used by several renowned clients, became part of many ‘top fonts of the year’ lists and was published in many magazines and books about type-design. These recognitions were, at the same time, cuddles for me and my Selfie and functioned as a driving force in 2020 to start this project which I called Selfie Neue. THE FONT "Selfie for everything" Selfie Neue, because it’s totally new: All its glyphs were re-drawn, all the proportions changed for better, and the old and somehow naive forms of the first Selfie were redesigned. Selfie Neue is now a family of many members (you can choose between a Rounded or a Sharp look), from Thin to Black, and from Short to Tall (because I noticed the feel of the font changed notoriously when altering its proportions). It also includes swashy Caps, which will serve as a perfect match for the lowercase and some incredibly cute icons/dingbats (designed by the talented Melissa Cronenbold, see also Selfie Neue Rounded for more!) which, as you see in the posters, make the font even more attractive and easy to use. You'll find tons of alternates per glyph. It's impossible to get tired with Selfie! Like it happened with the old Selfie, Selfie Neue Sharp was thought for a really wide range of uses. Magazines, Book-covers, digital media, restaurants, logos, clothing, etc. Hey! The font is also a VF (Variable Font)! So you can have fun with its two axes: x-height and weight, in applications that support them. Let me take a New Sharp Selfie! TECHNICAL If you plan to print Selfie Neue VF (Rounded or Sharp), please remember to convert it to outlines first. The majority of the posters above have the "contextual" alternates activated, and this makes the capitals a little smaller. I'd recommend deactivating it if you plan to use Selfie for just one word. Use the font always with the "fi" feature activated so everything ligatures properly. The slant of the font is 24,7 degrees, so if you plan to have its stems vertical, you may use Selfie with that rotation in mind. THANKS FOR READING

Maga shares the skeleton with one of our first typefaces (Quaestor, from 2004), but we didn't want to simply expand an existent design, so we took a step forward—not just with improved features and new weights, but also making the italics more usable than its predecessor. The balance between the counters and the space between letters makes this a very space-saving typeface with plenty of legibility, yet stylish enough for contemporary magazine design.

This family of decorated initial letters was inspired from a French catalogue dedicated to engravers, embroiders and jewelers. unfortunately, we don't know the name of the illustrator, no more than the publisher, because a large part of the pages seems to have been lost or have been damaging, so, we have had to redrawn a few of figures. The font is containing standard Latin capitals without diacritics, identically repeated in lower case keys, and numerals.

A Modern Classy Beauty Elegant Font that we created special for Luxury and Fashion branding needs, And specially for this font, We prepared any alternate characters to help you create unlimited variations for your creative needs. Guaine - Modern Beauty Elegant Font ready with: Any options to get creative variations (combination of Any Alternates) Preview as a inspirations that you can do with Guaine font Ready with Lowercase and Uppercase characters Wish you enjoy our font. :)

Kandij is a Dutch word and it means ‘Rock Sugar’. We Dutch use it in a lot of products, from ‘ontbijtkoek’ (a rye based spiced cake we sometimes eat for breakfast) to Fryske Sûkerbôle, A Frisian sweet bread. Kandij is a fat and happy font. I’d probably use it for any book or product aimed at children, as it has a certain lumpy cuteness. Comes with diacritics and swashes for the upper case letters.

Moutarde is French for mustard. At home we don’t eat that much mustard, as it is a condiment that goes well with burgers and hotdogs. We eat Asian food a lot, so our hot sauce of choice usually is sambal. Moutarde is a good name for this fine, handmade font. Moutarde font is a rounded, easy to read, display font that comes with all the condiments - including a set of alternate a’s.

A serif display type family inspired by two popular fonts: Albertus and Friz Quadrata. We made an hybridization matching those kind of fonts that have flared and oversized serifs. ​​​​​​​Vallejo Serif is a versatile font because of the shapes that are adaptable to many sort of typographic compositions, we recommend to use it in headlines. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages.

A DISTANT SOIL is a classic bold and beautiful science fiction/fantasy comic book series by creator, writer, artist AND letterer Colleen Doran! A DISTANT SOIL is being remastered and re-released by those awfully nice chaps at Image Comics and Colleen commissioned Comicraft to create the definitive bold and beautiful Colleen Doran font, based on her original pen lettering, so that she might re-letter the series without excessive eye strain or hand cramp.

Originally ZionTrain was built as a Cyrillic typeface for public transport navigation system. We wanted comprehensible, distinctive letterforms, that can help everybody on the way from Babylon to Zion. Here, on MyFonts, we present the ZionTrain STD versions with western latin including smallcaps and oldstyle figures in some faces in TrueType format; also western, central, baltic and turkish latin charsets, smallcaps, oldstyle numerals, few alternates, some arrows and fractions in ZionTrain OT OpenType format.

Meet the first typographic family designed by Papanapa. Inspired by leftover chunks of wood found in a workshop we conducted with one of our clients, this type carries an elegant and distinctive personality due to its unexpected angles. Tocco is available in 8 weights, from Thin to Black, and it was designed to be used primarily on headlines, titles or small texts. It also supports basic Latin. We hope you enjoy it!

Introduction New Font! Mifer Holland- A new font that we created special for branding needs, with unique characters and awesome alternative characters are ready to add value of your brand. It so nice to leverage designer or product owner that need solutions to make their design look more beauty and modern. And specially for Mifer Holland font, We prepared any ligature and any alternate characters to help you create unlimited variations for your creative needs.

Bloomberg Script is a typeface designed from the exploration with the different tools we use to write each day on post its, notebooks, etc. But, applying the traditional handwriting repair method in the construction, spacing the glyphs, and giving it texture of fast strokes, ideal for handletters... is more organic. And finally, we have this typeface, a very comfortable letters to read on packaging, poster ads, screen and every display applications; this is Bloomberg Script.

There is a very simple reason why the name of this font includes a potato. Or potatoe, if you prefer. It was carefully carved out of 14,5 kg of potatoes. Or 32.0 lb of potatos. Every single letter, every digit and every symbol. Manually, of course, and care-fully. It took a while. Longer than digitizing it, but since we love great quality, we put just as much care into this process.

Virsace Bigiora is a Modern Stylistic Sans Serif A new Sans serif that we created special for branding needs, with extra ligature in unique shape add value of your brand. It so nice to leverage designer or product owner that need solutions to make their design look more stylish and modern. And specially for Virsace Bigiora font, We prepared any ligatures, and any alternate characters to help you create unlimited variations for your creative needs.