Corleone was originally designed as a two font family in 2001 and offered for free. This year we've expanded the font family to twelve fonts including small caps and italics. While the new Corleone has been greatly refined and is a much more professional quality font we've decided to still offer the original two fonts for free. Corleone is the perfect font for t-shirts and other merch, the new small caps make this font stand out and bring attention to whatever you use it on. Corleone is the font you can't refuse. Tech notes: Corleone was designed after a famous movie logo in the 1970's with a title name that sounds a lot like The Grandfather if you know what I mean. The movies had three installments, my original font was patterned after the logo for the third movie, the new Corleone Primo and Secondo versions are patterned after the logos of the first two movies. The differences are noticed mostly in the lowercase letters. One thing you will not find in this font family is the puppeteer or puppet master hand because it's been registered as a separate trademark of Paramount Pictures. If you're using an application that works in layers then you'll be interested in the four extra over score glyphs included in some of the versions of this font. Sorry, MS Word does not work in layers so this feature will not work in MS Word. When you open up the glyph map in Adobe Creative Suite you should see the over score glyphs when you scroll down to the bottom. These extra over score glyphs allow you to extend the top line of a single capital letter, with four different lengths you should be able to mix and match to achieve the length that you desire. When using the over score glyphs it's best to divide your word or headline into separate text objects, the cap being one object and the remaining letters being the second. If you try using the over score glyphs on a single text object then with each over score that you add the text after it will get pushed down the line.

Super Puff MX is a Y2K inspired variable display typeface that takes from early 2000's futurism, pop, and cartoon aesthetics. Due to its heavy weight and alternates it offers, it's perfect for a variety of logos, 3D, and motion graphics. SPMX was designed specifically for those use cases, and its wide range of styles and alternates gives you lots of freedom for creating unique graphics that still capture the same fun, futuristic, and playful early 2000's aesthetic. Features & What's Included: Variable font file that allows you to choose any slant degree from Regular to Full Tilt. OTF font files in 4 styles or slants, from Regular to Full Tilt. This is included because many young, talented designers around the world don't have access to programs that can take advantage of a variable font. I want them to have the option of using properly slanted and kerned oblique instances of Super Puff. Robust OpenType features including a vast pool of alternates and stylistic sets giving you lots of choices when choosing letters, numbers, and punctuation. Two stylistic sets for letters and numbers One stylistic set for punctuation and symbols One stylistic set that replaces punctuation with Y2K style icons Extensive Latin language support covering almost all of Europe and South America. All multilingual glyphs have access to alternates as well. Super Puff MX was designed and developed by Abe Zeinali/Xuveki.

Graham Cracker is a fun, cartoony and child-like font that can't help but fill you with happiness! The font was inspired by hand-drawn lettering on an old 1960s movie poster, and contains over 175 interlocking ligatures that add a hand-lettered feel. Stylistic substitutions like this are where the OpenType technology really shines, allowing computer fonts to more closely mimic the variations of hand drawn lettering. The ligatures can be found under the Discretionary Ligatures OT feature, or applied from the glyph palette. Jukebox fonts are available in OpenType format and downloadable packages contain both .otf and .ttf versions of the font. They are compatible on both Mac and Windows. All fonts contain basic OpenType features as well as support for Latin-based and most Eastern European languages.

Made in Germany, Referenz Grotesk is a typeface full of references referring to the type design history of Stuttgart State Academy of Art and Design. Its typographic history holds a broad spectrum of shapes and characters, including F.H. Ernst Schneidler (1882–1956), Imre Reiner (1900–1987), Walter Brudi (1907–1987), Kurt Weidemann (1922–2011) and Frank Heine (1964–2003). During extensive research phases for Referenz Grotesk included collection and analysis. This led to further research in the Academy’s collection and archive where the majority of Weidemann’s estate is housed next to works of other designers and professors like F.H. Ernst Schneidler and Walter Brudi. Another place of research was the typesetting workshop where Schneidler had previously taught and worked. Some of his freshly cast fonts were tested and used there for the first time and are still stored in several of the type cases. Regarding the more recent history, for instance about the Emigre designer Frank Heine, former colleagues and professors have been consulted. These studies resulted in the new font Referenz Grotesk that includes traces of Kurt Weidemann’s Corporate as well as calligraphic hints that link to Schneidler’s Stuttgarter Schule (Stuttgart School) where writing played an important role during the form finding process. For the regular text fonts these features are integrated in a subtle manner whereas several alternative glyphs pick up more expressive forms. The final sans serif type family has a clarity and contemporary straightness that becomes more characteristic in its heavier weights. Additionally more than 60 alternative glyphs per weight allow for individual combinations that can be tailored specifically for each application and context. They open up a broad range of visual expressions, from subtle to playful and eccentric characteristics. Referenz Grotesk is available in six weights: Light, Regular, Medium, Bold, Extra Bold and Black, plus italics. In addition, the family includes multiple OpenType functions such as Stylistic Sets, Tabular Figures and Case Sensitive forms. Variable version of the font is included when you license the full pack.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980's. Many of these sleek logotypes are lacking an expansive family to enhance and express their brand in a richer sense, becoming true brand workhorses. The Aspire SmallCaps family finds its origin of inspiration in the ACURA automotive company logo, and from there expands to an 6 font family of weights & oblique styles, striving to become a workhorse. Aspire SmallCaps is perhaps the most true to form tribute to the original all capitals inspiration logotype. It maintains all capital forms (whether standard or smallcaps) and yet is still strikingly powerful in its presence and readability including numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here's what's included with the Aspire SmallCaps Family bundle: - 438 glyphs per style - including Capitals, Small Caps, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) - Stylistic Alternates - alternate characters that remove the angled stencil cuts for a more standardized text look. - 3 weights in the family: Light, Regular, & Black. - 3 obliques in the family, one for each weight: Light, Regular, & Black. - Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Aspire SmallCaps Family is for you: - You're in need of automotive sans font family with a range of weights and obliques - You're love that ACURA letter styling, and want to design anything within that genre - You're looking for an alternative to Eurostile with more stylized letterforms. - You're looking for a battle-tech typeface for your futuristic war chest labelling. - You just like to collect quality fonts to add to your design arsenal

My name is Teruyoshi Matsui. I am a Brush Art Designer. My foundry ‘Brush Art Design Office’ is situated at the foot of an active volcano ‘ Mt. Aso ’ in the Kumamoto Prefecture, the southern part of Japan. I design the letters of the alphabet with a Japanese brush. I have created the brush font named ‘ Lethal Fake ’ in my unique brush style. At the beginning of making the font I was going to name it ‘BrushType Lethal’ and tell you, “ Be careful using it. That’s because it ’s Lethal ”. But actually I was very disappointed when it was finished. I tried to make it lethal, but it was not. So I changed the font name into ‘ Lethal Fake ’. This time I have to say to you, “ Be careful using it. That’s because it’s not Lethal ”. Thank you.

FA Berlewi is inspired by stencil lettering of a vanguard creator, Henryk Berlewi, who was a precursor of contemporary typography, a painter and a creator of the mechano-facture (Mechano-Faktura) theory. In 1924 he designed a poster for his mechano-facture one-man show in Warsaw Austro-Daimler car salon. An attention-grabbing composition with stencil lettering was doubtless a real innovation and according to Berlewi - the first typographic poster to be made in Poland.

The roly-poly serifs, inspired by West Banjo, designed by Dave West, add such irrepressible charm to this typeface that you just want to pinch its little cheeks, if you are so inclined. Equally at home in the 1960s, when it was originally released, as the 1860s, from which it drew its inspiration. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Talbot Type Keymer is inspired by Margaret Calvert's Transport typeface, designed for the British road sign system in the early 1960s. Keymer mixes geometric and humanist traits to achieve a modern, clean, elegant appearance. It is a legible and versatile text and display face available in seven weights. Keymer features an extended character set to include old style numerals, accented characters for Central European languages and bespoke characters in the italic for a more flowing look.

Portsmouth is a strong, sturdy typeface with historical character. Its inspiration comes from the height and strength of the wooden tall ships that sailed into port in their day. With caps and small caps, this typeface is great for headlines or subheads for design projects that need a historical or retro feel, such as from the 1940s and earlier. Seven different styles that can be layered allow for different colored drop shadows, outlines and fill for even more customization.

A new series of eclectic decorative initials, Capital Ideas 1 NF features numbers and uppercase letters rendered in nixietube displays, along with a whimsical walk through the alphabet patterned after Milton Glaser's Hologram. Capital Ideas 2 NF features K. H. Schaefer's eponynmous Versalien for Schriftguss AG in 1927, and Walter Haettenschweiler's Breitfette Unziale from 1958, along with a fancy nine-element box border. Dressing up your next projects with these snappy caps is, indeed, a capital idea.

XLeafMeAlone is a collection of leaf silhouettes from common Indiana trees based on actual leaves. Various leaves, selected for their good looks not their intelligence, were scanned and hand-traced. Some species, such as some oaks, are over-represented because they are more picturesque than others, such as apple or peach. LeafMeAlone was featured in the “Type Drawer” column of Personal Publishing (later renamed Business Publishing--I do not know if it still exists) in November of 1990.

Steve Jackaman has refined and optimized Jolly Roger for digital release. The original design was created in 1970 by the legendary American type designer Phil Martin, founder and creator of the Alphabet Innovations and TypeSpectra type collections. Although quirky, playful and highly unusual, Phil describes Jolly Roger as his personal favorite out of his entire library of over 400 typefaces. We are proud and humbled to reintroduce the design in honor of our good friend and colleague.

Louis is a faithful digital rendition and expansion of a design called Fanfare, originally drawn by Louis Oppenheim in 1927. Redrawn digitally by Rod MacDonald, and engineered in-house by Canada Type, Louis includes the many alternates that came with the original design, and then some. It was also expanded into three variations, including a soft-cornered style, and a rough woodcut one. And of course, the codepage support covers the majority of Latin-based languages.

The hand composition typeface was created at Polygraphmash type design bureau in 1959 by a well-known Soviet book and type designer Pavel Kuzanyan (1901-1992). It was reproduced in the 1960s for slugcasting and machine display composition. Sharp contrast, strong weight, slightly condensed Modern Serif with calligraphic elements. The typeface is useful in text and display composition, in scientific, fiction and art books. The revised and completed digital version was designed at ParaType in 2002 by Lyubov Kuznetsova.

Agent was inspired by the classic fun lettering of 1930s Dutch alphabetician Martin Meijer. Casual and playful, Agent is a carefully considered amalgam of the art brush's organic forms and the easily read, ironic forms of the comic book. Ideal for signs as well as packaging of products aiming to be memorable and fun. Agent ships in all common formats, and contains plenty of alternates, as we all as support for a wide range of Latin-based languages.

The object of Grover was to join two distinctive typeface designs: the basic European gothic of the late nineteenth century and the ‘rounded’ style found in 1960s America. The result is a clear, friendly face with subtle yet unforgettable features. Named after Grover Washington, Jr., the jazz saxophone player, Grover is geometrically constructed and yet very human in appearance. Sans and slab serif variations, true italic weights, as well as small caps afford Grover versatility and unique display characteristics.

Neva Regular with Italic was created by Moscow book and type designer Pavel Kuzanyan (1901-1992) at Polygrafmash in 1970 for slugcasting and display composition. Based on simple strict letterforms of Russian classical typefaces. Neva typeface was rewarded on the Gutenberg international type design contest in 1971 (Leipzig). The typeface is useful in text and display composition, in fiction and art books. The digital version and bold styles were designed for ParaType in 2002 by Lyubov Kuznetsova.

On April 20, 1950, film comedian Jerry Lewis indulged his love of cameras by opening up Jerry Lewis’ Camera Exchange on Vine Street in Hollywood. It closed in 1951. Thanks to an image preserved within newsreel footage of the shop’s grand opening night, a glimpse of the post-Art Deco signage with its unusual, block style lettering inspired a digital version. Highly unusual and best for novelty projects, Shutterbug JNL is available in both regular and oblique versions.

Secombe is a lively fun family of typefaces in the spirit of the turn of the last century. It's a boisterous fun design, named in honor of the late Harry Secombe (or if you prefer, Neddy Seagoon). Secome is a family of two 'small capitals' display faces, offered in a regular solid form and the 'Grande' form, engraved and shadowed. Ideal for posters, book covers and any other design work where a feel of the 1900s is needed.

Presenting… a Western style alphabet from the 1960 edition of Samuel Welo’s “Studio Handbook for Artists and Advertisers”… Extra bold, featuring slab serifs and concave corners, this type style could easily have been found on building signage in the Old West… but in redrawing it digitally, it’s been named Modern West JNL because at one time, this would have been considered a modern style of lettering. Modern West JNL is available in both regular and oblique versions.

Up until the advent of vinyl plotters, computers and a myriad of other typesetting and printing changes the world has experienced over the past few decades, the art of hand lettering flourished. An early 1900s book on show card writing displayed a nice example of a Grotesk typeface (a popular style of sans serif of the time). This has been redrawn digitally as Simply Grotesk JNL and is available in four varieties - regular, oblique, condensed and condensed oblique.

Sunfleur is a high dose of peace and love. With flared edges and rounded terminals, its playful forms were inspired by the flower child style of the 1960s. The waxing and waning curves of the letters complement each other for optimal readability and flow. Sunfleur also features a series of happy flower icons. Bring positive energy to logos, headlines, packaging, editorial, and posters. Includes all uppercase characters with punctuation, glyphs, diacritics, numerals, icons, and multilingual support.

Early 1900s songwriters had a penchant for devising lengthy titles for their compositions. A perfect example from 1909, "It Is Hard to Kiss Your Sweetheart When the Last Kiss Means 'Good Bye'" is a whopping fourteen words long. The sheet music for this piece has a hand lettered, Art Nouveau sans serif design which became the working model for La Vie Nouveau JNL [which translates to "the new life"], and is available in both regular and oblique versions.

The object of Grover was to join two distinctive typeface designs: the basic European gothic of the late nineteenth century and the ‘rounded’ style found in 1960s America. The result is a clear, friendly face with subtle yet unforgettable features. Named after Grover Washington, Jr., the jazz saxophone player, Grover is geometrically constructed and yet very human in appearance. Sans and slab serif variations, true italic weights, as well as small caps afford Grover versatility and unique display characteristics.

Utilize the elegance of Art Nouveau in modern form with Lotus Grove. Lotus Grove is a high-contrast serif typeface with deep roots in Art Nouveau aesthetics. In contrast to its archetypal models, Lotus Grove boasts a clean-cut and smooth design, perfectly suited for modern requirements. It is a fancy typeface that suits any kind of display use. Lotus Grove is equipped with Stylistic Alternates for letters G, E, K, R, S, T and ampersand.

Brice refers to cultural products of the 80s such as music, art, literature, fashion, dance, film, that are consumed by the majority of society population. The Characteristic of Brice are in the small bouncy serif with a dynamic contrast, like R, B, S, K, P, etc. Perfect for Logotype, Caption, & Header. Brice are available in 5 Widths (Condensed - SemiCondensed - Normal - SemiExpanded - Expanded) with matches 6 weights (ExtraLight - Light - Normal - SemiBold - Bold - Black) and support for 75+ language.

Handsome in its own way, More versatile than one could say. Four alternates to each letter, Because in this family Spontaneity do matter. (And just in case someone wonders, Yes, there are alternates for numbers!) Seven cuts the family holds. Six of them Are for saying with words. And the very last, (Before someone asks) Holds some very cool dingbats. ​Books, app​s​, ​mags, To just name a few, ​Now go with Somehand And try something new​ :)​

Inspired by the idea of the plastic model kits, TCF Plastico is a modular typeface that reflects the spirit of the 60’s, the Pop culture and the industrial design of that era. Despite the very simple and straightforward geometric shapes, TCF Plastico is a very delightful and humorous typeface. TCF Plastico was designed with a couple of special OpenType features in order to ensure the connection between all of the characters, but only when necessary.

80’s technotronic meets out of this world style in Rutland AOE. From its beefy weight to its narrow counters, Rutland AOE started as a digitization of a film typeface called Maccaro by LetterGraphics. This bulky technotastic typeface was taken from its limited character set and fleshed out to include an expanded language glyph set. This interstellar alphabet funhouse screams electronica/house flyers, space games, alien invasions and more. Rutland AOE is ready to abduct your designs.

Rackem PB started as a digitization of a film typeface known as "Eightball" by LetterGraphics, not to be confused with Eightball that was released by other film type companies of a totally different look. This crazy typestyle had all the flavor it needed to make regular appearances in 70's sticker body modification ads for Chevrolet cars and trucks side panels. Loaded with hooptie appeal, it's something you really need to take for a ride to appreciate its novelty.

Pompeian Cursive is a calligraphically-inspired display typeface featuring a limited number of alternate characters and a handful of graceful ligatures. A lively set of non-lining numerals accompanies, as well as a few calligraphically-inspired flourishes for ornament. The history of this typeface: Oswald Cooper’s relationship with the Barnhart Brothers & Spindler foundry was one instigated under the auspices of creating new styles of type in lieu of following stylistic trends. In 1927, BB&S requested that Cooper create a script-like cursive typeface design in step with Lucien Bernhard’s Schoenschrift and ATF’s similarly-styled Liberty typeface. In response to BB&S’s desire to emulate instead of innovate, Cooper wrote to Mcarthur, “I am desolated to see Barnhart’s hoist the black flag. Your own efforts through the years to boost the foundry into a place in the sun as an originator seem wasted.” Still, Cooper took up the task at hand, creating a delicate, sophisticated type design which he named Pompeian Cursive. The typeface featured a limited number of alternate characters and a handful of graceful ligatures. A lively set of non-lining numerals accompanied, as well as a few calligraphically-inspired flourishes for ornamenting the end of lines of type accompanied the typeface, as well. By reviewing the few remaining original drawings for the type, as well as copious samples of Pompeian Cursive from both Cooper & BB&S' proofing process and period-specific type specimens, Wordshape presents the first digital version of this classic hybrid script/sans typeface, complete with all original alternate characters and ornaments. Pompeian Cursive has been intensively spaced and kerned for the finest setting for weddings, announcements, and general display work. - What was the inspiration for designing the font? While researching a biographic essay for Japan’s IDEA Magazine, I came across the original proofs and drawings for Pompeian Cursive. While a number of foundries have released interpretations of Cooper’s assorted typefaces, they stray from the original rather dramatically in parts. Cooper is without a doubt my favorite type and lettering designer, and to bring a refined return to his original intentions is an immense gift. - What are its main characteristics and features? Pompeian Cursive is a typeface which functions as both a display face and a limited text face. It features classy, thoughtful, and delicate swash capitals and rugged lowercase characters with a low x-height and gracefully long ascenders and descenders. - Usage recommendations: Display type or text-setting. Perfect for newspaper work, editorial design, materials intended to invoke an "old-timey" flavor, or just about anything in need of personality.

Rusticana is a part of the 1990 program Type before Gutenberg, which included the work of twelve contemporary font designers and represented styles from across the ages. Linotype offers a package including all these fonts on its web page, www.fonts.de. Rusticana was designed by Adrian Frutiger and appeared with Linotype in 1993. Its historical roots go back to the Roman Capitalis, the all caps engraved writing of ancient Rome which reached its peak in the first century. From this style evolved other Roman forms, and one, Rustica, proved particularly good for text on bronze, as opposed to in stone. The Rusticana of Frutiger has open, seemingly irregular forms which lend a distinctive rhythm to text.

The techno sound of the 1990s, a personal computer, font creation software, and some inspiration all came together to inspire the F2F (Face2Face) font series. Alessio Leonardi and his friends had the demand to create new unusual typefaces, which would be used in the leading German techno magazine of the day, Frontpage. Even typeset as small as 6-points, in nearly undecipherable layouts, it was a pleasure for the kids to read and try to decrypt the messages. Hearts, candles, bombs, and peace signs are just some of the great elements you'll find in F2F Simbolico. This collection of ruggedly drawn symbols is meant to bring a smile to the reader's face.

There are thousands of pieces of vintage sheet music available for collectors and curiosity seekers. Prior to the 1930s, a large percentage of them had wonderfully hand-lettered titles on the covers, but gradually there was a shift by music publishers to utilizing metal type for the bulk of their output. Normally set in an all-caps format, certain type faces reappeared in growing frequency and familiarity. Composer JNL is one such example of a “workhorse” font, and has been re-drawn and reinterpreted by Jeff Levine Fonts in both regular and oblique versions. It is based on the design "Glamour", released by Lanston Monotype in 1948; which in turn was based on "Corvinus", designed by Imre Reiner.

Inspired by the large American wood type of the Wild West, Richard Yeend created Italienne Std in 2002. Italienne Std is both very condensed and very decorative. It sports heavy, band like serifs, reminiscent of other italienne-style fonts, like Westside. Italienne-style fonts rose in popularity during the early 19th Century, when designers were first beginning to experiment with extreme contrast within letterforms, and across lines of text. Interestingly enough, letterforms with similar designs were just as common during the 1970s as during the 1870s, so you may use Italienne Std for applications ranging from country music concerts to disco parties. Italienne Std is part of the Take Type 5 collection from Liinotype GmbH."