Albus is bold and friendly. It is your wizard when you're lost in communication.
Perfect for the not so serious statements, or maybe for the very serious ones? Maybe it fits on your next children’s book, or maybe on your webshop?
The Albus Friends (ornaments) includes speech bubbles, clouds and other fluffy stuff.
You can also buy the whole family for an extra friendly price.
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Life’s always more fun when you reverse the stress. The same goes for the new member of the Cabrito family. Cabrito itself is a recently developed slab serif made for the kid’s book The Clothes Letters Wear.
Cabrito proved to be more popular than I thought, and I promised I would create an inverted style for this new addition to the font world--a variant that would pair well with the original or even stand well on its own.
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The inverted stress gives it a happy-go-lucky appearance, not to be taken too seriously. It’s a pleasantly rounded, not-so-strictly geometric typeface with handwriting-inspired forms.
Whew, that’s a mouthful!
Also bundled are swash alternates, aged design and style figures, and compact caps. Peruse the PDF brochure to examine out these solutions in action. OpenType-enabled purposes such as Adobe suite or Quark will allow ligatures and alternates.
This font family also includes the glyphs for 72 different languages.
Jeremy Dooley designed Inverto to be a welcoming, day-to-day font family. Use it to express friendliness on just about anything, from candy to food to children’s toys. Cabrito Inverto’s one-of-a-kind visual appearance brings a bundle of fun to the party.
Buy Cabrito Inverto to give a boost to your designs every day of the week.
To be independent or to be dependent?
The formula “one plus one is one” is here essential for this to work. The different cases, upper and lower is dependent on one another. To give us clarity they have to work together, to be like one the upper and lower cases must work together.
Expedition One works best in InDesign or equivalent software.
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Change colour if you want to and maybe change the blending mode in the effects window to “multiply” makes it even more sparkling.
Sarine is a sans-serif typeface inspired by signage for traffic. It’s a constructed family designed for technical application. The Sarine family includes 7 weights, from Hairline to Black, with their corresponding italics.
Each font includes OpenType Features such as Stylistic Alternates, Proportional Figure, Tabular Figures, Numerator, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals, Ligatures and Fractions.
To design a font Kapra, I was inspired by a You And Me Monthly published by National Magazines Publisher RSW „Prasa” that appeared from Mai 1960 till December 1973 in Poland. The font Kapra is designed in eight versions – lower and uppercase characters.
This font family is inspired on printed work made by the Elzevir family back in the XVIIth century at Leiden (NL). They worked with material from several type designers, but further investigations sends us to the tracks of one in particular: Robert Granjon.
Granjon italics were way ahead of his time, making some really beautiful signs like swashy ampersands and minuscule v letters. This font also contains old style figures in the same fashion as they were printed, like the flipped number 8 and open forms in 6 and 9.
This is as much a revival as an original design, because of their weights bold and heavy (both with italics) that were inspired on some titles. In this font you can also find a lot of ligatures, small caps, diacritics and even a fleuron for each weight and variation.
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A fatter, more kid-friendly version of KG Lego House, this font is designed specifically for elementary teachers who requested a neat, legible font with a thicker outline.
Conversation hearts! Use ALL CAPS for even lettering. For bouncy letters, alternate uPpEr and LoWeR cases to make the letters bounce up and down.
Guided tour available here.
Port Vintage is a new typeface expanded upon the original Port typeface, released in 2013, and being an experimental Didone typeface with a modern twist, inspired by the well known forms of typography masters such as Bodoni and Didot and the exuberance and elegance of calligraphy typefaces.
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Port Vintage is Open-Type programmed and includes hundreds of alternates, from swashes to titling alternates, ligatures and stylistic sets with each character having a thin version of itself, giving complete freedom to all your creative needs.
All styles, except Port Vintage Ornaments and Port Vintage Words, include italic styles.
Shadowland JNL is a simple titling font with a limited character set. Comprised of just A-Z with basic punctuation, the design is based on a set of wood type of a more modern era. The outer lines are crisp and sharp, while the interior letters have rounded ends.
Banners, arrows with numbers, cartoon cuts, decorative elements and ad helpers make up the assortment of classic images found in Printers Choice JNL. Each were carefully re-drawn from vintage sources to offer a wide variety of topics and uses.
There are times when a customer might look over a dingbat font and like a few of the images because they suit a particular need, but hesitates on purchasing the font because enough of those images isn't available.
For all of the lovers of vintage letterpress cartoon cuts, Cartoon Cavalcade JNL collects sixty two assorted images from many of the Jeff Levine Fonts dingbat collections and places them within one singular file.
Streamwood JNL is an outline sans wood type re-drawn from vintage source material. The design bears strong resemblance to Woodlawn JNL; but is a bit narrower and has a much different set of numbers as well as a more stylized letter “Q”.
If you like a rough-hewn, rugged and vintage typeface, then Shadowlawn JNL will certainly please you. Re-drawn from vintage examples of a hand-cut wood type, the rustic charm of this typeface brings a reminiscence of Old West themes.
Malina is a sans-serif monoline typeface with some humanist touches creating a clear and legible typeface. The Idea is to make hairline display font that elegant and perfect for use at large sizes, with a set of alternative characters such as K, Q and R for your design in any layout.
Gist from Yellow Design Studio is an inline slab serif with a retro yet modern vibe. It’s a collision between monoline slab and indie script. With 627 glyphs per weight, it’s highly customizable…either keep it simple with the base character set or use ligatures, alternates and swashes for extra flair.
All-caps typesettings have an especially retro edge. Also included are line layers for adding color to the inline areas. As a bonus, try Gist Light for free! More…
- In Illustrator if the line layers don't align with the normal layers, change the “First Baseline” setting in the Area Type Options to “Leading”.
- Works best with opentype savvy application, especially those with a glyphs palette like InDesign, Illustrator and Quark.
All glyphs can also be accessed in any layout software by using the application “PopChar” by Ergonis.
Lavigne is a type family that is aimed at publications such as interior design and women’s magazines—anywhere a touch of distinction is desired. In the opinion of its designer, glossy magazines have been boring us with the same type families for years, with only a small group of fonts being used to denote refinement and sophistication.
The philosophy behind Lavigne is to achieve the high contrast and other refinements observed in classic modern serif typefaces, without borrowing too much from history.
Accordingly, the main source of inspiration was careful observation of pointed-pen calligraphy and sketching. More…
It features generous x-height, short ascenders and descenders, open counters, and simplified details that improve its reproduction at small sizes.
Arab Stroke is an exotic typeface with an Arabian touch which makes a variety of applications possible. Whether for products from far away lands travel advertisements or anything needing a dynamic look, Arab Stroke is an excellent choice.
The font is particularly eyecatching in headlines and combines well with sans serif fonts.
Filmotype Havana was among the company’s earliest connecting brush-lettered casuals and was introduced by Filmotype in 1955 as a smoother, condensed weight of its popular cousin Horizon.
Filmotype Havana was developed from the original font filmstrips and includes a full international character complement, automatic fractionals, ordinals, and a wonderful assortment of alternate characters and ligatures to create a genuine connecting hand-painted look in dynamic OpenType format.
Linotype Finerliner is part of the Take Type Library, chosen from the contestants of Linotype’s International Digital Type Design Contest. The American artist Gary Munch, from whom we also have Linotype Ergo and Ergo Sketch, designed Linotype Finerliner as a handwriting font with calligraphic influences.
The small, regularly formed lower case letters contrast nicely with the generous, sweeping capitals. The font is available in a light and medium weight and displays no stroke contrast. The lighter weight, micro, is best used for shorter texts in point sizes 18 or larger and the medium weight, macro, is mainly intended for headlines in larger point sizes.
Why use a simple emoticon to express unhappiness or sadness when you can have an entire font proclaiming your feelings? For the smiley version, see AllSmiles, and if you only want to proclaim a little sadness, you can temper the feelings with a plain version of the typeface, FebDrei.
Ardone is a well-modulated humanist serif font family with Garalde roots. A distant ancestor is Minister (a German font designed by Fahrenwaldt in 1929) through my first font, Diaconia Old Style.
This first style, book, is slightly condensed and very elegant with thin bracketed serifs.
There are many OpenType features with over 600 characters: Caps, lower case, small caps, ligatures, discretionary ligatures, swashes, small cap figures, old style figures, numerators, denominators, accent characters (including CE), ordinal numbers (1st-infinity: lining and oldstyle), and so on.
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Delamere uses conventional sans-serif letterforms but delivered with a strong calligraphic feel.
Eclectic PixelWeb is a collection of three sizes of popular web icons in the pixel aesthetic. With 80+ icons designed for creating e-commerce, navigation, and interface designs.
Use it as a starting point in your favorite vector program, or use the icons as is - they are optimized for sizes at 20 point and will work in Flash and other web graphics programs.
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Jasmina FY is a new lovely low-contrast script font. Its fluid and feminin shapes, gives this font a elegant structure in small size and lots of personality in poster size.
This font will certainly find its pleasure in packaging, headlines, posters and logo design.
Jasmina FY was co-created by Joana Correia & Fontyou on fontyou.com, the first collaborative type foundry.
© images Shutterstock http://www.shutterstock.com/
Maple Street is a great looking traditional serif font composed by the Okaycat design team, Luke Turvey & Natsuko Hayashida, in 2014. Bold didone forms with structural seriffed detail combine at Maple Street to offer a cozy familiar style, without looking dated.
This nicely balanced serif is designed to look outstanding for display or printed publication.
Named for the island that I've had the pleasure of calling home for over a year now, Samui Script is a lovingly made, hand-lettering-style, script font, with a bouncy baseline and exuberant character.
Taking mid 20th century commercial lettering as its inspiration, it is no revival, or pale imitation of past forms. This font can be as contemporary as you need it to be, or as retro, or somewhere inbetween.
A wealth of sophisticated OpenType features lie beneath the bouncy exterior, making for a versatile script font that performs well at headline sizes, but is also legible enough to set small amounts of copy.
See the user guide in the gallery section for a comprehensive overview of features, and see if you can resist the urge to have your own personal sign-writer living inside your computer.
Showcase, the new typeface of Daniel Hernandez and Paula Nazal is a handmade font consisting of a set of types that are composed of four styles, one script, one sans, a slab, sans mini and finally a set of ornaments and dingbats, all made to work together in the same language.
It’s inspired by a pen that writes different typefaces and ornaments, and casually reaches into a harmonious family.
Showcase is very easy to use and allows great versatility, can be used both in a magazine as a restaurant, through windows, cafes, and really anyway you can think of!
Das Grotesk was inspired by earlier nineteenth-century grotesques, but it is much more related to American gothic designs such as those by M.F. Benton. Due to their pure geometric structure, most grotesque typefaces tend to have a rather monotonous and lifeless appearance, thus failing to express the ideals of the modern creed.
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This is a very legible and space-saving typeface with a narrow structure. It was designed with slanted curved ends and sheared terminals applied on several straight strokes. It has two-storey ‘a’ and ‘g’ but includes single-storey alternates.
It provides simultaneous support for Latin, Cyrillic and Greek and is loaded with several advanced typographic features such as small caps.
Castor is a woodtype and letterpress hybrid based on grotesque letterforms. It’s a vintage decorative bold distressed display with 3 options for each letter; Uppercase, lowercase, and alternates.
Castor comes complete with 4 styles plus catchwords, unique ‘catchword dividers’ (horizontal rules), ornaments, as well as a free set of extras! (grunge, dividers and bullets) The catchwords, ornaments, and dividers are designed to compliment the font family giving it a ton of diversity, and the designer unlimited creative options.
Opentype features include alternate letters and numbers, double letter ligatures for realism, subscript numbers,and superscript numbers.
Campton is a simple sans serif with a geometric skeleton, based on the mid to early twentieth century visual trend of achieving neutrality. Although, there are a lot of typefaces focusing on similar principles, tries to find its niche in the field of anonymous typefaces by combining simplicity with a subtle friendliness.
It is perfectly suited for graphic design application ranging from editorial and corporate design via web and interaction design through to product design.
Maculature features grunge, uneven look inspired by letters from old posters and advertisements. Capital glyphs are, although damaged, satisfactorily legible, whereas instead of lowercase letters, capital glyphs are placed, also featuring nearly abstract, hard to read dirty looks damaged spots and stains.
The overall visual experience is rough. Capitals are legible and of small size, whereas the second group can be used only in bigger size, whereby rendering an interesting text texture in the course of alternate use.
The font contains all the Latin accented characters used in European languages, Cyrillic and various ancillary graphemes, ornaments and rough lines.
After its period of exclusivity expired, the corporate typeface of the Saubermacher recycling company was revised and expanded. Now it is available for everyone! Whether on fresh buttermilk, a Honolulu surfer bar, or a hotel on the Arlberg, this preppy script face is versatile and full of character.
Freude was originally developed for the album artwork of the Austrian musician Tombeck. The word Freude means “joy” in German. Supplemented by the addition of lowercase letters and refined by various OpenType features, the Freude typeface is charmingly playful.
Created for everything fun, its design is relaxed and amiable – perfect for mama’s boys, chocolate freaks and pranksters alike. Thanks to its balanced letterforms, Freude is equally entertaining in both large and small sizes.
PF Bague Sans Pro is a versatile monoline typeface with a distinct and eye-catching personality. Despite its inspiration from early 20th century geometrics, it diverts from the mechanical rigidity of those typefaces by incorporating humanist characteristics, such as subtle variations in stroke width and open counter shapes with vertical endings.
This is a very clean and legible typeface with a warm and well-balanced texture which is ideal for intense editorial use in magazines and newspapers. More…
This typeface is automatically transformed into a flexible, charming and stylish typeface with strong modern aesthetics. From classic to modern, from excessive to neutral. Bague Sans Pro is a multipurpose typeface which offers enormous possibilities and variations for editorial design, branding and corporate identity.
Bague Sans Pro signifies freedom and personal style.
Each style consists of 1063 glyphs with more that 330 alternates and ligatures and an extended set of characters which support simultaneously Latin, Cyrillic and Greek. Download the complehensive PDF Specimen Manual to explore the unlimited text variations of Bague Sans Pro.
