Supporting Cast JNL is a hybrid of similar designs for hand lettering found on title cards from two morality photoplays from 1936 dealing with drug abuse, "Cocaine Fiends" and "Marihuana" respectively. The films were produced with the hope of educating the public against the dangers of illicit drugs, but they have taken on a cult status because of the dated approach to the problem. Despite all this, it is the Deco-influenced hand lettering which is being celebrated in this font release, not the subject matter of the films.

Franko Luin, Marco Polo's designer, on this typeface: Marco Polo is a 'massacrated' oldstyle typeface that can be used in the same way as, e.g., Caslon Antique. I designed it - if the word design is appropriate in this case - to give the users an alternative so that they are not always directed to the same choice. For the same reason I made Marco Polo rounder. The name comes from the famous Venetian globetrotter, who has nothing at all to do with the typeface, since printing and punchcutting were still an invention of the future.

The inspiration for this typeface family came from my childhood experiences at West Monkton, amidst an historic part of the South West of England. Studies of the original incised capitals of the Trajan column in Rome were analysed and polished for this modern version. The lower case letterforms and numerals were then created in sympathy, taking their proportions from the incised letters of local gravestones. Its name honours not only the area where the original alphabet was conceived and drawn, but also the people responsible for fostering my initial interest in letters.

Stuffed Shirt JNL acquires its name from a term popularized during the years when the Art Deco period flourished. The Great Depression further widened the gap between the 'haves' and the 'have nots'. Occasionally, some of those that 'had' (and some who pretended they did) came off as standoffish, egotistical and pompously arrogant. Such individuals were referred to as a "stuffed shirt"; a blowhard who thought he was better than others. In this case, Stuffed Shirt JNL is no more than a dual-line adaptation of Playwright JNL, itself an interpretation of the classic Broadway type design in a way that emulates the hand lettering of old-time sign painters.

The master of the dancing brush, Angel Koziupa, and the node-obsessed perfectionist, Alejandro Paul, offer up another bucket of fun with Malambo. This time Koziupa allows his brush to jitter one whole millimeter, and Paul digitizes with two eyes instead of his usual three. Follow your heart, but consume an ounce of peroxide first. Full of energy and cheeky mischief, Malambo tells the eye amusing stories of mirrorless shaving accidents, wine mistakenly poured over the morning cereal, and someone who trips over his own shadow on the dance floor, yet keeps on dancing. And dancing is what this typeface is all about. Malambo is a traditional Argentine dance performed by the gauchos (the Argentine equivalent of 19th century North American cowboys?). The gauchos are still around in the less than touristic areas of Argentina. And although they dance quite passionately and make the heartiest parrillas, most of them probably don't know what a font is. But you know, and we know. And that's something. Malambo was selected as the Best in show display font at the Biennial Letras Latinas.

Isabel Condensed and Isabel were made out of necessity to create a new font for children and teenagers, that could be enough friendly and versatile for text in words or even easy-to-read long texts. The purpose of Isabel is to combine all the nice and friendly features of the simple letters that the teachers teach to the pupils at primary school, as they starting to learn to read, together with the normal editorial fonts we read every day. In this way it generates a very joyful serif font, or even friendly font, with some conservative aspects. In other words, Isabel is a font that, despite of being a “classic features” typography, is proud to show its innocent and ingenuous elements, this gives to the font a new point of view. The family is composed of 3 parts: the regular version, the italic version and the unicase version. Each one of them has 5 weights. The italic version has 825 characters; the regular and unicase have 739 and are composed for 220 latin languages, plus cyrilic.

Isabel SemiCondensed, together with Isabel condensed and Isabel were made out of necessity to create a new font for children and teenagers, that could be enough friendly and versatile for text in words or even easy-to- read long texts. The purpose of Isabel is to combine all the nice and friendly features of the simple letters that the teachers teach to the pupils at primary school, as they starting to learn to read, together with the normal editorial fonts we read every day. In this way it generates a very joyful serif font, or even friendly font, with some conservative aspects. In other words, Isabel is a font that, despite of being a “classic features” typography, is proud to show its innocent and ingenuous elements, this gives to the font a new point of view. The family is composed of 3 parts: the regular version, the italic version and the unicase version. Each one of them has 5 weights. The italic version has 825 characters; the regular and unicase have 739 and are composed for 220 latin languages, plus cyrilic.

Signsurfer is a unique retro font - a signpainter font, handwritten by me. Inspired by the golden ages of handlettering, this script font highlights: - a bouncy baseline - tight spacing - and full Latin support --- Lots of really cool catchwords & shapes (you will get all the catchwords & shapes seen in the preview pics), five alternates and 37 ligatures help you to really get creative with this one. --- What you can use it for: - branding - logotype - poster - t-shirt designs - all kind of labels - greeting cards - wedding invitations ...and so much more --- This font also works great as a running text, too. = ) --- Process behind it: first I drew all of those fancy letters & catchwords with a brush on paper. I then carefully traced all of those letters & catchwords in Illustrator and transferred them into my Font Creator program. This helped getting the unique sign painters flow. --- Note: You will a need program that support OpenType Features for accessing the alternative glyphs.

This growing family of friendly faces is based on the typeface Bravour, designed in 1913 by Martin Jacoby-Boy for the D. Stempel AG foundry in Frankfurt am Main. The wide stance and very large x-height shared by the family members makes them warm and inviting, and equally suitable for use in headlines or text blocks. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Calligrapher Margaret Layson works in partnership with Australian typographer Harry Pears, bringing designs such as the wonderful Lindisfarne Nova family to life. They both work on the digital incarnation in a true collaboration. Originally from the UK, Margaret began her professional career as a geophysicist. After arriving in Australia in 1968, she began to work as a freelance calligrapher. Over the years she has maintained an interest in the history of writing, particularly the scripts and decorations in manuscripts.

This delicious font family takes its name from the tastiest of Piemonte’s specialities. It has been designed in collaboration with Turin-based calligrapher and artisan Andrea Tardivo. Piemonte soil provides the most delectable hazelnuts, which are the key to creating a mouth-watering chocolate spread called Gianduja. This popular delicacy has a rich graphic history, with lavishly designed packaging. We sought to infuse the sweetness and tradition of Turin’s confectionary into a new font family, reinterpreting Italian models from the first quarter of the last century. All fonts were crafted by hand on paper first and then digitised in a way that retains the handmade quality and aesthetic. This family blends the Turinese touch from the old chocolatiers and the beautifully printed foils they use to wrap each exquisite creation. The extensive display family contains; Gianduja Sans a geometric font based on examples found in Italian art deco era artworks. Gianduja Script has been handwritten with a speedball pen following the standards of “Bella Scrittura” and Gianduja Capitals is a decorative font inspired by the “liberty” lettering signs from Piemonte. To complete the suite we developed an inline Capitals version, a set of icons and decorative elements all with the same handmade characters to perfect partner with each character set.

The typeface Hand Writing of Janina is designed from 2021 for the font foundry Typo Graphic Design by Janina Fels & Manuel Viergutz. The cha­rac­ter of the hand­written script type­face is rough, ruggend and raw. With state-of-the-art OpenType-Feature (like Con­text­ual Alter­na­tes (calt) and Sty­listic Alter­na­tes (salt)). Each upper­case and each lower­case let­ter has auto­ma­ti­cally alter­na­ted two varia­ti­ons to bring humanly-random cha­rac­te­ristics of hand­wri­t­ing to life. 4 font-styles (Book, Bold, Dark & Icons) with 786 glyphs (Latin 3) incl. 100+ decorative extras like icons, arrows, catch words, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates. For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Hand Writing of Janina ■ Font Styles: 4 font-styles (Book, Bold, Dark, Icon) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play Script for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 786 glyphs (Latin 3 incl. decorative extras like icons) ■ Lan­guage Sup­port: 93 languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, Northern Sami, North Ndebele, Norwegian Bokmål, NorwegianNynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu ■ Design Date: 2021 ■ Type Desi­gner: Janina Fels, Manuel Viergutz

This set of letters and ornaments is loosely based on on a typeface that was offered by the DeVinne Press at the turn of the century. We can speculate from its name that this type was used as a display font to try to equate the look of letters on 15th and ­16th century heraldic cartouches, seals, stamps, medals and other inscriptional lettering. The sample was digitized with an “antiqued” outline to further enhance this ancient inscriptional theme. The letters were then grouped in the font with the more traditional Roman letters as the capitals and the Lombardic forms as the miniscules. The original type sample contained some unusual 15th century inscriptional numbers which have been included as extras in the font so the user the has the option to create an authentic looking design.

Johann Carl Ludwig Prillwitz, the German punch cutter and type founder, cut the first classic Didot letters even earlier than Walbaum. The earliest proof of so-called Prillwitz letters is dated 12 April 1790. Inspired by the big discoveries of archaeology and through the translations of classical authors, the bourgeoisie was enthused about the Greek and Roman ideal of aesthetics. The enthusiasm for the Greek and Roman experienced a revival and was also shared by Goethe and contemporaries. »Seeking the country of Greece with one’s soul«. All Literates who are considered nowadays as German Classics of that time kept coming back to the Greek topics, thinking of Schiller and Wieland. The works of Wieland were published in Leipzig by Göschen. Göschen used typefaces which had been produced by until then unknown punch cutter. This punch cutter from Jena created with these typefaces master works of classicist German typography. They can stand without any exaggeration on the same level as that of Didot and Bodoni. This unknown gentleman was known as Johann Carl Ludwig Prillwitz. Prillwitz published his typefaces on 12th April 1790 for the first time. This date is significant because this happened ten years before Walbaum. Prillwitz was an owner of a very successful foundry. When the last of his 7 children died shortly before reaching adulthood his hope of his works was destroyed, Prillwitz lost his will to live. He died six months later. His wife followed him shortly after. The typeface Prillwitz as a digital font was created in three optical styles (Normal, Book and Display). The typeface Prillwitz Press was created especially for a printing in small sizes for newspapers. »Prillwitz Press« combines aesthetic and functional attributes which make written text highly readable. It was originally designed for a newspaper with medium contrast to withstand harsh printing conditions. Its structure is quite narrow which makes this typeface ideal for body text and headlines where space is at premium. For the Normal – even more for the Book – a soft and reader-friendly outline was created through a so-called »Schmitz« and optimized in numerous test prints. The arris character and the common maximal stroke width contrast of the known classicist typefaces (Didot/Bodoni) were edited by the study of the original prints. This was also done in order to reach a very good readability in small type sizes. This typeface is perfectly suited to scientific and belletristic works. Accordingly it has three styles: Regular, Bold and Italic as Highlighting (1). The typeface Prillwitz is a complete new interpretation and continuing development of the conservated originals from 1790. They have been kept in the German Library in Leipzig. It was always given the priority to keep the strong roughness and at the same time optimizing the readability of this striking font. The type family has all important characters for an efficient and typographic high quality work. ----------- (1) Accentuation of particular words or word orders (e.g. proper names, terms etc.). Typographic means for Highlighting could be Italic, SmallCaps or semi-bold.

Compendium is a sequel to my Burgues font from 2007. Actually it is more like a prequel to Burgues. Before Louis Madarasz awed the American Southeast with his disciplined corners and wild hairlines, Platt Rogers Spencer, up in Ohio, had laid down a style all his own, a style that would eventually become the groundwork for the veering calligraphic method that was later defined and developed by Madarasz. After I wrote the above paragraph, I was so surprised by it, particularly by the first two sentences, that I stopped and had to think about it for a week. Why a sequel/prequel? Am I subconsciously joining the ranks of typeface-as-brand designers? Are the tools I build finally taking control of me? Am I having to resort to “milking it” now? Not exactly. Even though the current trend of extending older popular typefaces can play tricks with a type designer’s mind, and maybe even send him into strange directions of planning, my purpose is not the extension of something popular. My purpose is presenting a more comprehensive picture as I keep coming to terms with my obsession with 19th century American penmanship. Those who already know my work probably have an idea about how obsessive I can be about presenting a complete and detailed image of the past through today’s eyes. So it is not hard to understand my need to expand on the Burgues concept in order to reach a fuller picture of how American calligraphy evolved in the 19th century. Burgues was really all about Madarasz, so much so that it bypasses the genius of those who came before him. Compendium seeks to put Madarasz’s work in a better chronological perspective, to show the rounds that led to the sharps, so to speak. And it is nearly criminal to ignore Spencer’s work, simply because it had a much wider influence on the scope of calligraphy in general. While Madarasz’s work managed to survive only through a handful of his students, Spencer’s work was disseminated throughout America by his children after he died in 1867. The Spencer sons were taught by their father and were great calligraphers themselves. They would pass the elegant Spencerian method on to thousands of American penmen and sign painters. Though Compendium has a naturally more normalized, Spencerian flow, its elegance, expressiveness, movement and precision are no less adventurous than Burgues. Nearing 700 glyphs, its character set contains plenty of variation in each letter, and many ornaments for letter beginnings, endings, and some that can even serve to envelope entire words with swashy calligraphic wonder. Those who love to explore typefaces in detail will be rewarded, thanks to OpenType. I am so in love with the technology now that it’s becoming harder for me to let go of a typeface and call it finished. You probably have noticed by now that my fascination with old calligraphy has not excluded my being influenced by modern design trends. This booklet is an example of this fusion of influences. I am living 150 years after the Spencers, so different contextualization and usage perspectives are inevitable. Here the photography of Gonzalo Aguilar join the digital branchings of Compendium to form visuals that dance and wave like the arms of humanity have been doing since time eternal. I hope you like Compendium and find it useful. I'm all Spencered out for now, but at one point, for history’s sake, I will make this a trilogy. When the hairline-and-swash bug visits me again, you will be the first to know. The PDF specimen was designed with the wonderful photography of Gonzalo Aguilar from Mexico. Please download it here http://new.myfonts.com/artwork?id=47049&subdir=original

"Humanista" is the name of a multilingual chancery script font by Bertram Kaiser. The idea in this long-term project was to blend the boundaries between analogue calligraphic handwriting and designing a font digitally, while using all technical possibilities of modern type design. All glyphs were originally written with a broadnib and then carefully vectorized, creating a human charme inside the font. In this design you will find influences from great calligraphy masters like Hermann Zapf or Werner Schneider. The pro version comes along with a big variety of alternate glyphs, initial and terminal forms, swash capitals and ligatures, which gives you the possibility of designing individual text layouts. Inside the font you will also find a set of italic roman capitals plus fitting numerals and interpunction, which can be treated like a font itself. You can activate them through the Open-Type menue (stylistic-set 4) or set manually via the glyphs window (ADOBE applications). When using the feature "swashletters" make sure to also activate the feature "contextual alternates" to get an appealing textdesign with alternating swashletters. This font can be used for display sizes as well as for smaller textsizes like on Invitationcards or in magazines.

Oscar Niemeyer is one of the greatest architects of our time—his unique way of mixing straight lines and abstract curves gives rise to an unmistakable and characteristic style. This typeface is my own tribute to Brazilian architect Oscar Niemeyer. The design process started when my wife and I visited Brazil while she was running a series of workshops on calligraphy. In my spare time, I would walk through the streets of beautiful cities like Rio de Janeiro or São Paulo, enjoying the local architecture and urban life. I had also the opportunity to attend to some of the workshops during which I was able to observe the organic of calligraphy and people. Then, I started to draw some shapes that reflected everything about this beautiful place: Niemeyer’s architecture and work and, in his own words ‘the curves on the body of the beloved woman’. This versatile typeface comes in 8 weights with matching italics, alternative characters, oldstyle figures and much more! Niemeyer is well-suited for logotypes, advertising, publishing, branding and corporate use. Special thanks to everyone in the Latinotype Team (especially to César Araya) for their support, help with corrections and digital editing.

Terfens draws influence from chancery scripts, updating it for the twenty-first century. Terfens Contrast is derived from Terfens' DNA and retains its humanist tone. It’s tall x-height gives it a friendly but not informal feel. With Terfen Contrast, calligraphy-inspired letterforms are rendered with a high contrast nib, lending raw vitality and expressivity. This juxtaposition gives the letters a sense of firmness and energy, but also of heavenly, delicate beauty. Terfens is a full-service branding and packaging solution, containing a lot of personality, combining the passion of a broad nib pen with the beauty of a brush. Terfens is a "workhorse typeface" comprising 48 typefaces in three widths and eight weights. There are ligatures and swashes in all weights, as well as support for more than 72 languages. Another powerful typeface to add to your collection of eye-catching fonts. Terfens draws influence from chancery scripts, updating it for the twenty-first century. Terfens Contrast is derived from Terfens' DNA and retains its humanist tone. It’s tall x-height gives it a friendly but not informal feel. With Terfen Contrast, calligraphy-inspired letterforms are rendered with a high contrast nib, lending raw vitality and expressivity. This juxtaposition gives the letters a sense of firmness and energy, but also of heavenly, delicate beauty. Terfens is a full-service branding and packaging solution, containing a lot of personality, combining the passion of a broad nib pen with the beauty of a brush. Terfens is a "workhorse typeface" comprising 48 typefaces in three widths and eight weights. There are ligatures and swashes in all weights, as well as support for more than 72 languages. Another powerful typeface to add to your collection of eye-catching fonts. • Recommended uses: modern branding and logo design, powerful editorial design, exciting packaging, and a wide range of additional jobs. • 54 font styles, including eight weights, eight italics, and three widths. • Each weight has 500+ glyphs. Useful Opentype features include: Access All Alternates, Discretionary Ligatures, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Numerators, Oldstyle Figures, Ordinals, Scientific Inferiors, Subscript and Superscript.

Cosmic Sans was my first font ever created for a school project. The class I made this font for was my Advanced Typography and was a semester project. I really couldn't think of a title for this font, until one of my good friends said, "Why don't you name it Cosmic Sans?" I searched the internet for any other fonts with that name, and sure enough there wasn't. Thus the name stuck. This font is more or less a display font, thus every secondary character was not created. I hope you enjoy this font and much as I have while creating it!

Aramus is a new serif font in my continuing objective of designing book fonts that I can really use. In many ways, Aramus is a very different direction for me. It comes from a scan of an old display face that has been radically modified to a much smaller x-height than I have been using lately, plus taller ascenders. Many of the characters needed a lot of correction to bring them into my taste. In general, I have decided that many of my fonts create a type color that is too dense. Aramus is an attempt to get away from that look. Although Amitale has been a very successful book family and excellent to work with, I find I still need something more open with a lighter color. Aramus is the first look at the new direction. The original hand-cut serifs vary a lot, different for almost every character. This gives a little looseness and helps the lightness I am looking for. It will be interesting to see where this all goes. This is a normal serif for me in that it has caps, lowercase, small caps with the appropriate figures for each case. This font has all the OpenType features in the set for 2009. I didn't bother with the CE accents (though I can add them upon request. They will be in the final new book family). There are several ligatures for your fun and enjoyment: bb gg ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, small caps, proportional lining figures, proportional oldstyle figures, & small cap figures, plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

Towards the end of the 1400s, in Lyon (France), was living Barthélémy Buyer, descendant of a rich family of merchants. In the end of 1472, he engaged a typographist from Liège (Belgium): Guillaume Le Roy. The first book stemming from their print shop was the Compendium breve ( by Pope Innocent III.) using Blackletter “textura”. Many books followed, most often illustrated with wood carving. In 1483, to print a French translated “Eneide”, they used a venetian “Rotunda” blackletter. Our font was inspired by this “Rotunda” set, with historical forms and ligatures enriched with accented letters and other characters not existing in the original.

Introducing our new font, Almanor Peninsula . Not too shabby a name, right? A display logotype script, not too bold and not too thin either. This font has been created for your sporty display projects, whatever they may be. This font contains the basic script ligature 'tt' with some necessary alternates here and there. Plus some swash for the cherry on top. This font is PUA encoded already, so you can access all the glyphs with the basic character map apps. So have fun with this one !

Her father named her Estella Dawn, or morning star. She truly shines bright, for as the owner of Stella Roberts Fonts, she has dedicated part of her net profits to helping her siblings pay for their medication; they both suffer from Cystic Fibrosis and diabetes. Calm in spirit, loyal to friends and family, nurturing and caring-- Stella has been a friend of Jeff Levine's for years. His Estella JNL font was dedicated to her, as is this other namesake font, Morningstar JNL. The design is a cross between retro-techno and a slight calligraphic touch.

Fs ornaments are unique modular sets of ornaments that are based on ancient patterns and medieval woodcuts. They work very well on modern layouts as well. What is more You can use them not only as ornaments but also as borders. This complexity gives you a carefully planned tool with high decorative qualities. All this depends only on your imagination! With it you can add a genuine touch of distinction to every sophisticated layout but use them carefully. The basic set is Fs ornament 1 while Fs ornament 2 is a distorted version of it. Fs ornament 3 is a woodcut underlying that could be applied underneath ornaments or without them. The usage is very simple-You type them as you normally type letters but instead you get those great decoration! Easy isn't it?

PRISMATIC INTERLACES TYPEFACE! Prismatic Interlaces is a decorative system and ‘Assembling Game’, itself. Settled in squared pieces modules or tiles, embedded by unprecedented Intertwined Prismatic Structures Design, or intricate interlaced bars that may seem quite “impossible” to shape. Although it originated from the ‘Penrose Square’, it may not look totally as an Impossible Figures Type of Optical Illusions. More an “improbable” Effect in its intertwined Design, that even static can seem like a source of Kinetical Sculptures, or drive eyes into a kind of hypnosis. Prismatic Interlaces has two related families, both as a kind of lighter weight versions Prismatic Spirals Default & Pro. While Default is simpler or easier to use, same way as Prismatic Interlaces, Pro provides a more complex intricate Design that requires typing alternating caps. Instructions: Use the Map Font Reference PDF as a guide to learn the 'tiles' position on the keyboard, then easily type and compose puzzle designs with this font! All alphanumeric keys are intuitive or easy to induce, you may easily memorize it all! Plus, often also need to consult it! *Find the Prismatic Interlaces Font Map Reference Interactive PDF Here! (!) Is recommended to Print it to have the Reference in handy or just open the PDF while composing a design with this typeface to also copy and paste, when consulting is required or when it may be difficult to access, depending on the keyboard script or language. As a Tiles Type-System, the line gap space value is 0, this means that tiles line gaps are invisibly grouted, so the user can compose designs, row by row, descending to each following row by clicking Enter, same as line break, while advances on assembling characters. Background History: The first sketches of my Prismatic Knots or Spirals Designs dates back then from 2010, while started developing hand-drawn Celtic Knots and Geometric Drawings in grid paper, while engage to Typography, Sacred Geometry and the “Impossible Figures” genre… I started doing modulation tests from 2013, until around 2018, I got to unravel it in square modules or tiles from the grid, then idealized it as fonts, along with other Type projects. This took 13 years to come out since the first sketches and 6 months in edition. During the production process some additional tiles or missing pieces were thought of and added to the basic set, which firstly had only the borders, corners, crossings, nets, Trivets connectors or T parts and ends, then added with nets and borders integrations. Usage Suggestions: This type-system enables the user to ornate and generate endless decorative patterns, borders, labyrinthine designs, Mosaics, motifs, etc. It can seem just like a puzzle, but a much greater tool instead for higher purposes as to compose Enigmas and use seriously. As like also to write Real Text by assembling the key characters or pieces, this way you can literarily reproduce any Pixel Design or font to its Prismatic Spirals correspondent form, as Kufic Arabic script and further languages and compose messages easily… This Typeface was made to be contemplated, applied, and manufactured on Infinite Decorative Designs as Pavements, Tapestry, Frames, Prints, Fabrics, Bookplates, Coloring Books, Cards, covers or architectonic frontispieces, storefronts, and Jewelry, for example. Usage Tips: Notice that the line-height must be fixed to 100% or 1,0. In some cases, as on Microsoft Word for example, the line-height default is set to 1,15. So you’ll need to change to 1,0 plus remove space after paragraph, in the same dropdown menu on Paragraph section. Considering Word files too, since the text used for mapping the Designs, won't make any literal orthographical sense, the user must select to ignore the Spellcheck underlined in red, by clicking over each misspelled error or in revision, so it can be better appreciated. Also unfolding environments as Adobe Software’s, the Designer will use the character menu to set body size and line gap to same value, as a calculator to fit a layout for example of 1,000 pts high with 9 tiles high, both body size and line gap will be 111.1111 pts. Further Tips: Whenever an architect picks this decorative system to design pavements floor or walls, a printed instruction version of the layout using the ‘map’ font may be helpful and required to the masons that will lay the tiles, to place the pieces and its directions in the right way. Regarding to export PNGs images in Software’s for layered Typesetting as Adobe Illustrator a final procedure may be required, once the designs are done and can be backup it, expanding and applying merge filter, will remove a few possible line glitches and be perfected. Technical Specifications: With 8 styles and 4 subfamilies with 2 complementary weights each (Regular and Bold) therefore, Original Contour, Filled, Decor, with reticle’s decorations and 2 Map fonts with key captions. *All fonts match perfectly when central pasted for layered typesetting. All fonts have 106 glyphs, in which 49 are different keys repeated twice in both caps and shift, plus few more that were repeated for facilitating. It was settled this way in order for exchanging with Prismatic Spirals Pro font which has 96 different keys or 2 versions of each. Concerning tiles manufacturing and Printed Products as stickers or Stencils, any of its repeated pieces was measured and just rotated in different directions in each key, so when sided by other pieces in any direction will fit perfectly without mispatching errors. Copyright Disclaimer: The Font Software’s are protected by Copyright and its licenses grant the user the right to design, apply contours, plus print and manufacture in flat 2D planes only. In case of the advent of the same structures and set of pieces built in 3D Solid form, Font licenses will not be valid or authorized for casting it. © 2023 André T. A. Corrêa “Dr. Andréground” & MMC-TypEngine.

Heer Halewijn (The Song of Lord Halewijn) is a 13th century Dutch folk tale which survives in folk ballad. The story tells of a man called Halewijn, who lives in the woods and who lures pretty women with his songs (whom he then kills). One day a princess visits Halewijn, but when he wants to kill her, she requests he remove his robe, so as not to stain it with her blood. He obliges and when he is undressing, the princess seizes his sword and chops off his head. Halewyn is a handmade font, which was loosely based on my Languedoc font and Garamond. Use it for product packaging, books and posters. Comes in 4 weights (with italics) and a ballad full of diacritics.

"Hello Agatha" - a delightful font pair with a handy set of illustrations This font duo consists of a beautiful script and a playful caps serif font. Together or separate they are perfect for tshirt design, quotes, mug, bag canvas, greeting cards, branding, stationery design, social media, packaging, prints and many more! If you combine them with the illustrations - you can create even more typographic designs, logos, labels and seasonal cards Hello Agatha script comes with tons of alternates for each lower case letter and a selection of standard ligatures so the possibilities are endless. It supports multiple languages and offers PUA encoding. The doodles make this font so perfect.

Luckily, I am not allergic to waffles - but a guy named Ethan Tremblay is...and if you know the story about that guy, you know the name of this font is from! What can I say? A handmade font full of quirkiness and a rough outline. Comes in both Regular (outline) and Solid. Use both versions as they are, or combine them. I've added 4 different versions of each lowercase letter and multilingual support!

The history of this font is those. Once I assorted the old children's books which have stayed from times of my childhood. On one of them I have seen a trade mark of a printing house consisting of two Russian letters "L" and "B". From they were begun also with my font. And though finally from these letters a little that remained, elements of these letters can be seen in font D-block B.

A revival from the past this animated letter will fit right into todays market. With its subtle flair and Latin feeling it will surely give a feeling of pure fun. This style was very popular in the 40s and 50s then it was reborn in the 60s and 70s once again it is coming back and becoming popular again.

Rawuh is a unique gothic blackletter for your designs. If you want to stand out from the crowd and add a touch of elegance, then this is the font you need. The blackletter style works perfectly for any Gothic themed tattoo, label, packaging, branding or project! use this font right away to make awesome projects happen!

This font from the same family as Scripio A and Scripio B. The truth it more likely their cousin, very much it is not similar to them. Though looks not so bad.

This display type family was developed with large headlines in mind. While the fonts work will at large size, they are not overbearing and get the point across without being too “shouty”.

Bound to rules, unbound in the usage. Hyper geometric, and minimal contrast. Circulo V1 is based on a font project I originally started because of a client I had. I wanted to create a display and text font for their product design brand, which is all about reducing the amount of necessary materials and production steps. Before I started the course at tipo-g it was called -“REDUCE“ and was more or less finished. The concept was based on the name. How far can letter shapes be reduced to their core geometric concepts and still be identified as letters? But in a way, it lacked a unique approach and was just a generic geometric Sans Serif with a lack of finesse. There was already a glimpse of characteristics visible which would later define Circulo V1. ‍ The high focus on geometric shapes was not of the same severity, and the angle on the stems was less intense. Those, as I call them, fake serifs turned out to be a significant factor in legibility and the characteristic of the font. Besides those changes and improvements, I decided to implicate a new feature to the concept, a condensed style. I quickly realised that it is impossible to keep my perfect circles and half-circles in this style without breaking my rules for the font. This „problem“ turned out to be the most crucial feature of the condensed set. Circular-based Letters will ignore the rules and boundaries of the condensed style and stay as they are. This feature allows the user to create a unique rhythm in their texts, and if you use the variable font, you can decide how intense this rhythm will be. In this situation, the user can choose which letters are allowed to keep their shapes and which will be put in their condensed corset. All, some or none of them, you decide.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.