Introducing Acting! A robust slab typeface that effortlessly combines nostalgia with contemporary boldness. What sets Acting apart is its distinctive circular elements within each letter, adding a unique touch while maintaining clean and balanced shapes. With alternative glyphs, it truly comes to life. Acting offers versatility with three widths: Condensed, Normal, and Expanded, along with an oblique version, resulting in a total of six styles. Whether you're working on branding, titles, or headlines, Acting is your perfect choice for your project! What's included? Acting Main File Unique Letterforms Works on PC & Mac Simple Installations Accessible in Adobe Illustrator, Adobe Photoshop, Microsoft Word even Canva! PUA Encoded Characters. Fully accessible without additional design software. Multilingual Supports: (Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Zulu) Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/

Started during 2012, LCT Palissade is a letter type belonging to the Didone classification. It takes over the Italian characters from the XVII century. Century affected by a huge artistic and industrial mutation, we assist to the eruption of the railroad network and Turner’s paintings. In typography, the Didones(XVIIe) begins to concede the place to the Egyptians XIXe. We noticed an evolution to rectangular drawings, that were heavier and darker. LCT Palissade is in fact the study of a history flow, crossing through the industrial revolution and romanticism; the result of a strong letter type, solid, strict the drawing is orientated towards very dark, reminiscent of the characters beginning XIXe. The serifs are the summary between the British characters from the end of (XVIe) and the Italian ones beginning of (XVIIe). In order to spread out the romanticism, they are very fine to allow a largest contrast and keep the elegance of the global shape.

This Font is born basing itself on several standard typographic models. Inspired by our calligraphic drawings, the idea was to synthesize these many shapes into a unique font that can be used commonly. The slab base has been gradually humanized. The serifs have been carved, refined, rounded off, in order to galvanize the font and ease the task of reading in lower case. The angle of attack of the round letters is an echo of the 15 Century typographic heritage. It was important for us to create an expressive and humanized font, which could also be used for edition. The purpose was to confront the Ancient typographic canon of beauty with some funny and fancyful elements.

Big modern sans-serif family, for multiple use.

The LCT Ragnarök is inspired by the cinematographic universe. Its thick and generous shape makes this typeface naturally stand out. In addition, its lines embody soft serifs thus adding elegance to it. This original font endows two styles; regular and slant. It is an asset for the creation of titles, logos or even generics. LCT Ragnarök encompasses a rich alphabet going from Latin PRO going to Greek , Polytonic Greek and Cyrillic.

Inspired by the idea of found paper objects, this font centers around a strict grid. Combining dot-matrix printers with subtle serifs, it combines old and new. Recommended usage is as a display font.

A very light, elegant, condensed typeface, which must be used very large (at least 100 points).

Another one of those faces that caught my eye in one of my art deco type books, and I wanted it. After I finished the face, I noticed that there is a more clean-cut version of this face in digital format, but my version retains more of the funkiness of the original drawings.

A wonderful, very condensed, 3D font. A few years ago, I was commissioned to digitize the letters from this typeface for the words 'LEGENDS OF RODEO' and liked the look of it so much that I went ahead and digitized the rest of the alphabet. This CastleType revival is very clean-cut and contains uppercase, numerals, and punctuation. Sculptura was originally designed by the Swiss designer, Walter J. Diethelm (1913-1986) in 1957.

CastleType was commissioned in 1991 by San Francisco Focus magazine to digitize three members of the Standard family. This is a Continental lineale that was popular in Switzerland in the 1950s and later in the United States. A cousin to the classic sans serifs, Standard is an alternative that is considerably warmer and a bit more idiosyncratic. In 2008, CastleType released additional members of the Standard CT family to make it a complete typographic solution with three widths (normal, condensed, extended) of four weights each (Regular, Medium, Bold, and Extra Bold). Some of the original Standard fonts, particularly Standard Regular, appear to have been hastily designed (or perhaps too closely imitated Helvetica); these have been greatly improved in the CastleType versions with more harmonious proportions and other refinements. The three lighter weights of the Extended subfamily were designed from scratch based on the new Standard CT Regular and Standard CT Extended Extra Bold. More recently, four light weights (Light, Extra Light, Ultra Light, and Hairline) have been added to each of the three widths. The entire Standard CT family includes support for most European languages, OpenType features, arbitrary fractions, and a collection of geometrics, dingbats & fleurons.

Eden Light, originally designed by the American type designer Robert H. Middleton in 1934, was commissioned by Publish magazine for a redesign in 1990. When I found a specimen of Eden Bold a couple years later, I decided to digitize it also. Subsequently, I created a Medium weight. Very squared and compact with thin slab serifs, Eden includes support of all European languages that use the Latin alphabet.

The Latin family of typefaces, first popular in the last half of the nineteenth century, is characterized by its large, sharp, triangular serifs. With six widths (from Extra Condensed to Wide), Latin CT offers the most extensive collection of Latin fonts available, each with a large character set that includes support for all European languages including those that use the Cyrillic alphabet. From the sleek elegance of Latin CT Extra Condensed to the brash boldness of Latin CT Wide, you will find a width to fit your contemporary typographic needs.

CT Ausetan is a typeface designed for perfect reading in continuous text. With humanist proportions and calligraphic details but actual, both in appearance and in function. Its asymmetric serifs and slightly curved stems recall the warmth, dynamism and character of the first humanist typefaces built according to the logic of the flat pen. It has a high x-height and its moderate contrast make reading in small bodies comfortable. The many OpenType features make it a versatile typeface that fits into any publishing project. To cover present-day needs, CT Ausetan consists of six weights and their corresponding italics. Each font includes small caps, ligatures, old-style, lining, proportional and tabular figures, superscript, subscript, numerators, denominators, and fractions as well as various geometric figures and stylistic sets. With an extensive Latin character set, CT Ausetan covers a large number of Latin-based languages. Initially designed for small texts, below 14 pt, its calligraphic details accentuate its personality when used in larger bodies such as headlines.

I was commissioned by Publish magazine to digitize Trio in 1990. Originally designed in a Light weight only, Trio is now available in Medium and Bold weights as well. Uppercase only, but each weight includes two alphabets, one more "deco," the other more "modern."

A well-designed bold art deco font. Very chunky. Uppercase, lowercase, numerals and punctuation. CastleType additions to the Koloss family include Koloss Bold Condensed and Koloss Bold Wave. The latter was used beautifully in the wonderful children's book The Leaf Men (and the Brave Good Bugs) written and illustrated by William Joyce.

Metropolis Bold was commissioned by Publish magazine for their 1990 redesign. Although other digital versions exist, I think this was the first one and is characterized by extremely pointy serifs. It is well to remember in laying out copy for Metropolis to allow plenty of white space in the layout. Metropolis is based on the 1932 Stempel cut as designed by W. Schwerdtner.

The concept of this letter is a tall, well-dressed man with moderate muscles, decent appearance, and manners. We are always impatient. I miss someone who can give me some space. This letter gives you some leeway that you can rely on for a moment.

The concept of this letter is calmness. I created a variety of sans-serif fonts, and when I listed the fonts I had created, I was surprised that their shapes were not very different from each other. Among them, this font calmly caught my eye. The power of quiet progress is felt in this unremarkable form.

The concept of this letter is a young alligator. Young crocodiles have lean bodies and are agile. It has uncontrollable power, and the angular leather vinyl and teeth feel vivid. This font was created to convey the most compressed energy possible through a collection of compressed squares. Although it doesn't attack, it is quite an aggressive letter.

Letters have so many rules that it's boring. Even people who handle letters get tired. I wanted to make it very simple and humorous. This letter is like that. It is simple, has ample space, and is easy to understand the meaning of sentences.

The concept of this letter is health. Eat well, sleep well, exercise comfortably, have strong muscles and endurance. It makes people feel quite positive. It will give great strength to sentences that have meaning that people can understand, rather than inflammatory messages.

This face was recommended to me by Mark Solsburg, president of FontHaus. At first I was a bit reluctant to revive it, if for no other reason than Frederic Goudy’s admission that he created this design “in a moment of typographic weakness.” However, I put the sample that Mark sent me up on my bulletin board, and over a period of time, it grew on me. It finally got to the point that I had to recreate the face, and from the response that I’ve gotten, I’m glad I did! Uppercase only with numerals and punctuation.

A clean-cut blackface type. As with all highly ornate typefaces, this should not be used in all caps.

This font is artistic. The shape of the letters was taken from the dot art that I worked on consistently. Letters are read by habit and feeling. Sometimes I also think for a moment about what this letter is. But, you soon find out. A brief pause and continuation is refreshing.

This version of Goudy Text is based on drawings from which Frederic Goudy based his Goudy Text typeface. However, there is a big difference between his original drawings (in The Alphabet and Elements of Lettering) and the subsequent metal type version, and my version maintains the greater warmth (and irregularities) of the original drawings. Goudy's Lombardy caps look especially nice when used as initial capitals with Goudy Text.

The reason you purchase this font is because it is ‘special’. The creator of this font was born with a love for geometric patterns. I am fundamentally attracted to forms that have a sense of order and freedom of dispersion. This is a font that I came up with accidentally while working. I think that coincidence combined with consistent effort is ‘special'.

The reason you should buy this font is simple and clear. This is because we have accumulated experience in realistic typography. This typeface exists as a unity with diversity. The intuitive form of letters and the subtlety of letter spacing create artistic value in the combination of words and sentences.

Originally designed by American type designer Morris Fuller Benton in 1933, Agency Gothic is a wonderful, narrow, squarish art deco typeface. I was commissioned by Publish magazine to create digital versions of Agency Gothic Open and Agency Gothic Condensed for a redesign in 1990. Since then, I have added four other styles. Agency Gothic CT is uppercase only and supports most European languages that use the Latin or Cyrillic alphabets. The Agency Gothic CT family is available in six weights/styles: Light, Medium, Bold, Condensed, Inline, and Open.

The concept of this letter is ‘pleasure’. The shape of the letters with the rain is refreshing. The hardness of the letters, which can tolerate a certain amount of rain, and the intensity of the strong rain create a sense of pleasure.

I was commissioned by the Emporium (now Macys) to digitize Radiant Bold Extra Condensed (originally designed by Robert Middleton in 1940) for use in their Sunday supplement to the San Francisco Examiner. For several years, I stubbornly refused to add the lowercase letters to the font, because I thought it looked best just used with caps, but finally relented, added the lowercase letters and at the same time created two more weights as well: Light and Medium. Used very large and carefully, these faces can be quite elegant.

1920s sheet music for the song "You Can't Get Away From It" provided the hand lettered title which acted as the basis for Nouveau Roundcorner JNL. A square letter form with rounded terminals, this condensed face is perfect for titling, yet has a bit of an informal, casual charm to it.

Casttano is modern feminine font, every single letters have been carefully crafted to make your text looks beautiful. With modern script style this font will perfect for many different project ex: photography, watermark, quotes, blog header, poster, wedding, branding, logo, fashion, apparel, letter, invitation, stationery, etc. This font including alternate glyph. You can access the alternate glyph via Font Book (Mac user) or Windows Character Map (Windows user). Ligature & alternate glyph: at att bt btt ct ctt dt dtt et ett ft ftt gt gtt ht htt it itt jt jtt kt ktt lt ltt mt mtt nt ntt ot ott pt ptt qt qtt rt rtt st stt ut utt vt vtt wt wtt xt xtt yt ytt zt ztt Foreign languages support: ÀÁÂÃÄÅÆÈÉÊËÌÍÎÏÐÑÒÓÔÕÖÙÚÛÜÝßàáâãäåæèéêëìíîïðñòóôõöùúûüýÿ Thanks for looking.

CONCEPT/CHARACTERISTICS What is a child­like, naive wri­t­ing, acting not boring sta­tic, has enough personality/character and yet is easy to read? › Over­si­zed points › Slightly cur­ved, warm and fri­endly bars › Open, fri­endly forms › Orga­nic, lightly bat­te­red forms APPLICATION AREA The fri­endly, play­ful and warm cha­rac­ter of the font »Kiddy Sans« would look good at dis­play size for party flyer & movie pos­ter, music covers or head­lines in maga­zi­nes or websites… TECHNICAL SPECIFICATIONS Head­line Font | Dis­play Font | Sans Serif Font »kiddy Sans« with 8 styles & 366 gly­phs, inkl. accents & €

Bright Grotesk is inspired by grotesque & humanist typefaces suggesting a serious yet friendly personality. It is designed to be legible in small sizes yet charmingly attractive in large settings. Bright Grotesk is a neutral design with a subtle touch of flair. It feels old but looks new, warm yet active, symmetrical yet organic, classic yet modern. Bright Grotesk has great details that reveals in display sizes and can be felt in small sizes as well.

Charcuterie is a collection of ten distinct yet related typefaces, and three ornamental typefaces. Used individually or blended with other fonts from this large family, elements of Charcuterie are well suited for headlines, titling, logos, display, packaging, signage, or advertising. The entire collection lends itself to experimentation, acting as a complete and complex toolbox, enabling you to work in extraordinarily varied ways. Each Charcuterie typeface has different, yet complementary features. Engraved features 135 swash alternates and Cursive boasts 275. Frames offers a broad and endless approach to creating frames of any proportion and style. Catchwords features nine different styles for a total of 82 glyphs. 100 Ornaments include a vast array of arrows, brackets, rules, icons, ribbons and more. See what’s included! http://bit.ly/2c5OzoK *NOTE* Basic versions DO NOT include swashes, alternates or ornaments These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Mirielle is curvy yet angular at the same time. Whimsical yet orderly. As with all Typadelic fonts, this script typeface is unique and original, with a playful twist.

Stefano is a meld of traditional Roman typeface design and calligraphic hand lettering. It is bold yet refined; elegant yet forceful. Stefano will enhance the urbane and elevate the prosaic.