This is a revival of a Wagner & Schmidt font, released in the first quarter of the 20th century.

A neat handwritten font in an upright, feminine style. The bar key | contains a cute slice of cake.

Bangilan Script Font I hope this font is interesting to use in your design projects. thank you GFRcreative

MM Zaftig is a display typeface for setting text in posters and headlines where big impact is needed.

Little people that appear to be made with putty stretching themselves in fun configurations to spell out words.

Essential version of PragmataPro™. It contents a selection of glyphs useful for programming in English language only.

Diffie is a funky font that is informal yet legible, in 4 standard versions and 2 FX versions.

a free digitization of ancient types of Ottaviano Scotus, from incunabula times, printed in Germany by Anton Koberger

Dakon Script Font I hope this font is interesting to use in your design projects. Thank you GFRcreative

DB Fright Night is a collection of fun sketches and doodles just in time for Halloween. Happy Haunting!

Gargoyle is designed for use in headings, informal announcements or any project where a friendly look is desired,

A chunky fat font perfect for titles in both a chalkboard sketch style and a regular solid version.

ARTypes Initiales ombrées transcribed from 84-pt letters made by Gillé fils in 1828, descended to Deberny & Peignot.

The Brigida font was influenced by a very common European letter form used in Sweden between 1350-1500.

Westro is great for portraying western look and feel in a poster, banner or any kinds of headlines.

A unique semi geometric type that is inspired by natural round forms that flow in a sweet harmony.

Blarak Script Font I hope this font is interesting to use in your design projects. thank you GFRcreative

A highly decorative set of capitals suggesting nineteenth century forms, designed by Louis Minott for VGC in 1965.

Decorative Arrows JNL is a collection of twenty-six decorative arrows provided in right and left facing directions.

STAR7 Racing Font I hope this font is interesting to use in your design projects. thank you GFRcreative

Kapelka's design was prompted by a candy wrapper and brush lettering. For use in advertising and display typography.

Based on an ancient secret writing system. NOTE: this font comes with an interpretation guide in pdf format.

Mortised Caps join the victoria font Renouveau in a classic mortised frame from golden times of american foundryes.

Asdonuts Display Font I hope this font is interesting to use in your design projects. thank you GFRcreative

Ariesa Blackletters Font I hope this font is interesting to use in your design projects. thank you GFRcreative

This font family is based on original Roman capitals created by Ludovico Vicentino Arrighi in the 16th century.

PragmataFlash is the version of Pragmata to use in Macromedia Flash at 9, 11 and 12 point size.

Patented in 1867, this face adds peaks and shadows to the Egyptian form so popular at the time.

Anderik Script Font I hope this font is interesting to use in your design projects. thank you GFRcreative

Another variation of the many Clarendons created in the 19th century and there are probably more out there.

Dreamline is a set of elegant monoline scripts in three variations that can be mixed with each other.

Evil Type in its purest form Multiple Weights, Alternates, Ready for t-shirt production non-readable NORD weight

Fountain Service JNL was inspired by an exterior neon sign seen in an old photograph from the 1950s.

St Lorie is inspired by handmade lettering in logos, but it was drawn completely by the digital method.

Before Bodoni, there was Didot. With the publication by Francois Ambroise Didot of Paris in 1784 of his prospectus for Tasso’s La Gerusalemme Liberata, the rococo typographical style of Fournier de Jeune was replaced with a spartan, neo-classical style that John Baskerville pioneered. The typeface Didot used for this work was of Didot’s own creation and is considered by both G. Dowding and P. Meggs to be the first modern face. Three years later, Bodoni of Parma is using a very similar face. Just as Bodoni’s typeface evolved over time, so did that of the Didot family. The eldest son of Francois Ambroise Didot, Pierre, ran the printing office; and Firmin ran the typefoundry. Pierre used the flattened, wove paper, again pioneered by Baskerville, to permit a more accurate impression and allow the use of more delicate letterforms. Firmin took full advantage of the improved paper by further refining the typeface introduced by his father. The printing of Racine’s Oeuvres in 1801 (seen in our gallery image #2) shows the symbiotic results of their efforts, especially in the marked increase in the sharpness of the serifs when compared to their owns works of only six years earlier. It has been suggested that one reason Bodoni achieved greater popularity than Didot is the thinner hairlines of Didot were more fragile when cast in metal type and thus more expensive for printers to use than Bodoni. This ceased to be a problem with the advent of phototypesetting, opening the door for a renewed interest in the work of the Didot family and especially that of Firmin Didot. Although further refinements in the Didot typeface were to come (notably the lower case ‘g’ shown in 1819), we have chosen 1801 as the nominal basis for our presentation of HiH Firmin Didot. We like the thick-thin circumflex that replaced the evenly-stroked version of 1795, possible only with the flatter wove paper. We like the unusual coat-hanger cedilla. We like the organic, leaf-like tail of the ‘Q.’ We like the strange, little number ‘2’ and the wonderfully assertive ‘4.’ And we like the distinctive and delightful awkwardness of the double-v (w). Please note that we have provided alternative versions of the upper and lower case w that are slightly more conventional than the original designs. Personally, I find the moderns (often called Didones) hard on the eyes in extended blocks of text. That does not stop me from enjoying their cold, crisp clarity. They represent the Age of Reason and the power of man’s intellect, while reflecting also its limitations. In the title pages set by Bodoni, Bulmer and Didot, I see the spare beauty of a winter landscape. That appeals to a New Englander like myself. Another aspect that appeals to me is setting a page in HiH Firmin Didot and watching people try to figure out what typeface it is. It looks a lot like Bodoni, but it isn't!

Multicolored Fonts Many years ago, when Xerox Corporation still had its own font department, I came to Los Angeles in 1985 to train the IKARUS program. One day Bill Kienzel, head of the Xerox font department at the time, said we should go to the Hollywood Hills together; he knew people there who were experimenting with multicolored fonts. After a little wandering through the winding streets of the many hills, we reached a somewhat overgrown, simple family house standing under trees. A group of very inspired designers were waiting for us there. They immediately showed us the works they created using photomechanical tricks. They were fascinating. The American colors and the whole look seemed noble and enchanting. The problem was that this process was very difficult to implement and required a lot of effort on individual letters. They dreamed of a colored font that could be used for normal typesetting. We thought back and forth about how to save the individually colored letters in a common font, but soon gave up because we didn't see a technical option. So this idea and the memory of the time in Hollywood lay dormant in the back of my mind for many years, until at the beginning of this year 2023 I received an order to produce an outline typeface and the story came back to me. Suddenly I knew how to solve the problem from back then: if only the areas that should have the same color in all letters were saved in their own separate fonts, they could be colored independently of each other and later placed on top of each other. I implemented this in the 5 fonts that are now available with the 3 variants “Outside”, “Middle” and “Inside”. Together with the background, 4 colors can be combined with each other. This method works in text programs such as Word or InDesign. In Photoshop or Illustrator, the individual surfaces can also be colored by converting them into paths if the additional “Complete” variants (which contain all 3 contours) are used. There is also a “Basic” variant that can be used to achieve special effects such as overlay, bleed, etc. The first 5 fonts in this series are all based on the principle of contouring. Anyone who claims that you don't need any special fonts because they can be created automatically from any font using common programs is wrong or is only telling only half the truth. Anyone who has ever dealt with this knows that many individual adjustments to the design are necessary after contouring. This has happened in the 5 fonts that are now available and have very different styles. The dream from back then has come true. The user can set any text, long or short, in multiple colors, freely design the color scheme and apply all the usual typographic settings. Volker Schnebel, November 2023