font family
With initial thoughts of creating something tubular, I had in the back of my mind the kind of contemporary chrome furniture that became ubiquitous throughout the 60s and that concept remained with me throughout the development process.
Sabtu, 30 November 2013
Kuppa
font family
Kuppa is a yummy display unicase with a lot of attitude. Two styles within the Kuppa family a like brothers — look alike and still completely different. Both brothers have 555 symbols, including alternates, ligatures, fractions and even german capital eszett and excluding Cyrillic in Basic version.
Flows Stencil
font family
Okaycat JAPAN proudly presents “Flows Stencil”. Flows Stencil is a gentle script with beautiful illustrated look.
Roble
font family
Roble is a Slab Serif Font, from a mix between Andes & Sanchez, following an harmony with both fonts one sans and one serif with a fresh and dynamic result. Roble is a family of 32 fonts 8 weights plus italics, besides including alternatives versions (Alt) of every font.
Daphne Script™
font family
This gentle script, designed by writing master Georg Salden, is full of grace and vitality. The richness of ideas appear particularly in the curved capital characters. Lower case letters have curved elements primarily at the ascender and descender parts. Daphne Script contains numerous alternate characters and other OpenType features.
Kamis, 28 November 2013
Gentleman™
10 fonts
Gentleman font is a sans-serif font family of 10 weights – from hairline to black – designed by Juraj Chrastina. It is a legible typeface with clear geometry and spiced with nice humanist terminals enhancing its identity. We think Gentleman name suits perfectly to this family because of its beautiful outlines and elegant letterforms yet looking tight, compact and with own presence. Gentlemant is surely good choice both for screen applications and print media. Its multipurpose spreads over poster design, logos, headlines, body texts, stationary and back labels. Also very good for books, magazines and newspapers – excellent choice even for small text size.
Rabu, 27 November 2013
Canaro
font family
Conceived as an exploration of geometrical typedesigns of the early 20th century, Canaro developed into a font of that period with a modern streak. The lack of spurs provide a unique but unobtrusive appearance and support the contemporary character. In addition, the open shapes in combination with a tall x-height, create legibility in small text sizes. Typographic features like alternative lettershapes, ligatures, oldstyle numbers, arrows, fractions, special characters and many more, round up the whole family. Canaro is available in nine weights plus matching italics. Ranging from sharp and elegant thinner cuts to sporty and athletic heavy weights.
Bornholm Dondal
font family
Bornholm Dondal is named after a valley »Dondal« on the only rocky island in Denmark »Bornholm«. It is the fourth face in a series of rough stone cut typefaces, that shares proportions, but differs in any other aspect like different pieces of rock.
It is a powerful face, but still very friendly. Good for very big sizes, but can be used for small texts, movie titles, cartoons …
Trump Gothic Pro™
font family
Trump Gothic is a reconception of ideas from Georg Trump’s seminal 1955 Signum typeface and its later reworking (Kamene) by Czech designer Stanislav Marso. Originally cobbled together for a variety of film projects in the late 1990s and early 2000s, the Trump Gothic family was made available for the general public in 2005. Shortly thereafter, it became a common sight in movie credits, on posters and magazine covers, in fashion branding and on corporate web sites.
Sweeper
font family
Sweeper is a font with several personalities; it’s friendly and scary at the same time, almost like Santa Clause, but nicer. Sweeper has got a handy touch with a lot of different possibilities. You can use it in several occasions. Sweeper is suitable in any environment: the business district in London or the shores of Oxelösund. It’s hella wide and hella fun! Brush you later!!
Raqmi Monoshape
font family
Raqmi Monoshape is a simplified version of the Raqmi font family with unified (non-varying) shapes. This font family supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It includes two weights: regular and light, each of which has normal and left-slanted Italic versions. The script design of this font family follows the Arabetics Mutamathil style utilizing varying x-heights. The Mutamathil type style utilizes only one glyph per Arabic Unicode character or letter, as defined by the Unicode Standards. Raqmi Monoshape includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph.
Raqmi
font family
Raqmi was designed as a serif like font with relatively uniform glyph thicknesses, perfect simplified straight lines and curves, and emphasized isolated letters. This font family supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It includes two weights: regular and light, each of which has normal and left-slanted Italic versions. The script design of this font family follows the Arabetics Mutamathil Taqlidi style utilizing varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Raqmi includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph.
Nagham
font family
Nagham was designed using uniform glyph thickness throughout and exaggerated letter heights to offer a vertical look and feel. It supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. This font family includes two letter spacing flavors: isolated for small text and overlapped for large or display text. The two flavors come with two weights, regular and bold, each of which has normal and left-slanted Italic versions. The script design of this font family follows the Arabetics Mutamathil Taqlidi style utilizing varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Nagham includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph.
Arabetics Harfi
font family
Arabetics Harfi is a Latin Serif typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. Careful spacing and kerning was used to enhance resulting text legibility both scripts. Arabetics Harfi fully supports MS 1252 Western and 1256 Arabic code pages, in addition to all transliteration characters required by the ALA-LC Romanization tables. Users can either select an accented character directly or form it by keying the desired combining diacritic mark following an unaccented character. For Arabic, it fully supports Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks. The Arabic design of this font family follows the Mutamathil Taqlidi type style with connected glyphs, but it emphasizes a horizontal look and feel rather than verticalone, utilizing slightly varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Arabetics Harfi includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph. Arabetics Harfi includes both Arabic and Arabic-Indic numerals, in addition to generous number of punctuation and mathematical symbols. It includes two weights, regular and bold, each of which has normal, right slanted Italic, and left-slanted styles.
Camille
font family
Camille was designed with exaggerated emphasis on letter vertical characteristic, by virtually eliminating the typical Arabic horizontal line look. This font glyph weights and look and feel are heavily influenced by early Kufic Quranic calligraphy style. Camille supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. This font family includes two letter spacing flavors: isolated for small text and overlapped for large or display text. The two spacing flavors have one weight each with a normal and a left-slanted Italic version. The script design of this font family follows the Arabetics Mutamathil Taqlidi style utilizing varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Camille includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph.
Senin, 25 November 2013
Blonk
font family
Looking for a big, bold, black typeface? Meet the fat solid curves of Blonk! This type is based on hand-drawn letterforms with basic curves and angles, so it still retains softness and has a handcrafted feel. Yet, its boldness suits poster design, packaging, and other uses that needs to draw attention, in an quirky yet distinctive way. And don't underestimate his performance in use as body text. All glyphs are handcrafted by illustrative designer Zeptonn.
Jumat, 22 November 2013
Dez Weimar Plakat Pro™
font family
Dez Weimar Plakat Pro was inspired by a 1923 Weimar Bauhaus exhibition poster. It is in strict keeping with Constructivist rectilinear thought of that time. Dez Weimar Plakat Pro includes multiple language support including Greek and Cyrillic-- contains nearly 800 glyphs.
Razom Script
font family
Razom Script is a typeface with deep roots in pointed brush calligraphy that takes advantage of current font technology to go beyond handwriting and reach new limits. A successful blend between printed and handwritten letterforms is visible when comparing upper and lowercase.
The weight of the typeface evolve in a way that pushes the limits of a script typeface to suggest new uses. Normally, families are developed in weights, not proportions. Also, having several weights in a script family is rather rare. But in Razon Script, as the fonts gain weight, big differences show up in the font outlines: the thin weight looks soft and delicate but as we examine darker variables, they also seem to get broken. The counters of the letters rotate from vertical to horizontal during this process.
Black Damon
font family
Looking for a big, bold and curvy font? Here’s Black Damon! She is a hand-drawn typeface with explicit curves and angles that still retains softness and has a handcrafted feel. All glyphs are handcrafted by illustrative designer Zeptonn.
Velik™
font family
Velik is a hand drawn typeface, originally painted in ink and translated into a digital format for you to work and play with. My font journey so far was about embracing love for rational geometry but there is another child like part of my personality that I always wanted to express in work. Velik was inspired by my background in illustration. The font can be characterised as fresh and naive. It uses personality and vibrance. Velik can be used across various projects, suitable for display and text. Details include 445 characters and manually edited kerning.
Rabu, 20 November 2013
Al Fresco
font family
Al Fresco is a breezy, light, yet expressive typeface perfect for packaging products and titling work that call for a youthful, delectable flair. Its elegance carries a subtle earthiness; its beauty is unconventional, both stylish and exuberant. Al Fresco is made even more versatile when titling is activated (in the OpenType palette,) served along with swash forms, contextual alternates, and ornaments to sweeten this tasty typeface.
Klaus FY
font family
Fairly condensed, slightly contrasts and particularly terminals, Klaus FY offers a good legibility in all text sizes. Its broken ductus reminds of blackletter shapes and gives this family a very singular and modern style.
PR-Scrolls-04
font family
Inspired by food labels, signs and coats of arms, PR-Scrolls is a collection of images which can be used for framing text in contexts where antiquity, craftsmanship, or traditional quality are conveyed. There are several sets of glyphs which work together to make a variety of shapes, or banners of custom length. Most of the glyphs are presented in a range of four or more widths.
Seashore Pro
font family
A feminine, graceful script whose thicker horizontals create a wave-like rhythm — hence the name. Seashore is loosely based on an “eccentric” (left-leaning) penmanship style of the late 19th century. Used mainly by professional “engrossers” in certificates and tributes, or by society ladies in their stationery and invitations, it sent a message of true refinement, as the style would have been only been mastered after the more common business, Spencerian, and standard ornamental styles. In fact, unusual script styles were in such demand that type foundries of the era exploded with metal-type knockoffs of increasing fanciness.
Minggu, 17 November 2013
Merry Baubles
font family
Merry Baubles is a set of fleurons in the form of traditional painted glass Christmas Tree ornaments. That’s really all there is to say about this piece of typographic fun.
Misterall
font family
Misterall is a hand made, all-caps, brush font by Bartek Nowak which contains two variations for each letter and a lot of ligatures. It can be used for invitations, greeting cards, posters, advertising, books, menus etc.
Language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages.
Impala Script™
font family
Elegant and graceful as the gazelle for which it is named, Impala Script is the perfect blend of formal and casual. It’s equally comfortable in a display or text setting for many applications. Inspired by late 1940s Hollywood with a touch of Art Deco Sho-Card writing, Impala Script is loaded with a full measure of alternate characters and automatic connecting ligatures in OpenType format – Another great addition to your font library from Sideshow.
Vtg Stencil Germany No1™
font family
The Vtg Stencil series of fonts from astype are based on real world stencils. The Germany No.1 design was derived from authentic antique German stencil-plates.
Fitzronald
font family
Fitzronald is a body text typeface with a strong personality combined with a good legibility in small sizes. It is an excellent book typeface, but it can be used in e.g. advertising and packaging as well. Due to its good legibility at low resolution, the Webfont version is a superb website typeface.
Fitzronald is based on Ronaldson, an American typeface originally cut by MacKellar, Smiths & Jordan in 1884. The popularity of Ronaldson lasted for several decades, and copies of the typeface -- more or less accurate -- was issued by other type foundries in America and Europe. The typeface was also adapted for machine composition by the Monotype and Linotype companies.
Knappolog
font family
Negative sans-serif capitals in squares with rounded corners, looking like computer keys or elevator pushbuttons.
Merry Bauble Letters™
font family
Merry Bauble Letters is designed to complement our 'Merry Baubles' fleuron typeface.
Quite simply, it’s a set of Christmas Tree ornaments with letters painted on them…
Wroxeter™
font family
Wroxeter is Greater Albion Typefounders' customary Black Letter release for Christmas 2013. It’s a typeface family for all times of year though, a good clear traditional black letter re-creation offered in a family of four typeface:- regular, wrought (a hand-tooled look a la Mr F Goudy), oblique and narrow forms. The tradition of typefounders' black letter revivals which don't over-burden themselves with historical precedent continues in this highly refined and polished family.
Jumat, 15 November 2013
Le Havre Layers™
21 fonts
With this charming new layered typeface, the possibilities are endless with your vision behind it. Accomplish the effect you've been searching for by layering these exceptional fonts and altering opacity and color, for a unique custom appearance that yells “hello there!”
Sharik Sans
18 fonts
Sharik Sans (named after the brave and smart dog-hero from my favorite TV series) has a warm and gentle personality. It does not shout; it does not stand out. Sharik serves his master in everyday work.
Kamis, 14 November 2013
Choriza
font family
Choriza is a multilayered font and a kind of spicy spanish sausage. With three layers you can colour any salami, salchichen, sausage, wurst or pudding. Chorizo also means burglar in spanish, so it’s some sort of typographical joke about the today’s spanish politicians.
It comes with Choriza Sans, with its cutted ends to make a sans serif version.
HWT Van Lanen
font family
In 2002 Matthew Carter was commissioned to create a new design to be cut in wood by the then nascent Hamilton Wood Type Museum. This was significant in that this was the one format for which Carter had not yet designed type. The new design emerged as a two-part chromatic type to be cut specifically in wood. Originally called Carter Latin, the font was renamed Van Lanen after one of the Museum’s founders. The first cutting and printing of the type took place in late 2009 and although it has been available through the Museum, contemporary wood-type production is expensive and few have acquired this font in wood.
Stajn Pro
font family
More information about development, usage and characteristics of a Stajn Pro Type Family at stajn-type.com
Felicita
font family
Felicità is based on the design of my »Ellida« font-family.
It was designed with »happiness« in mind. Therefore I used extremely high contrast between the down- and upstrokes, this gives the fonts a lively, happy appearance.
I designed two different basic fonts, that can be mixed or used straight (this is number two).
Then I designed two different sets of Initials (Initials), middle- and end-swings and added a set of embellishment wings and flowers.
Since not everybody uses Open-Type-savy software I designed single fonts to be mixed.
Ellida is suited very well to design short captions & for all kinds of invitations, but as you can see here it can used for longer copy as well just give it enough line spacing.
Tide Sans Condensed
font family
Tide Sans Condensed is fresh, carefree, and just as good looking as its extended brother, Tide Sans.
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