In 1978 I went to work at Mergenthaler as a letter drawer. Being an inquisitive sort I decided that I should take a stab at this type design 'stuff'. I drew 25 or 30 glyphs before the work found its way to a high shelf in a dark corner of my apartment. Just 23 years later I found the drawings on a different shelf, in a different home, in a different city and decided to finish what I had started. I'm still trying to deal with my predisposition toward procrastination but I've finished the font. The name of the font is the last name of somebody I played softball with before I moved to Beantown. Ronnie Geis was one of the courageous firefighters we lost on September 11th when the WTC collapsed.

Pronk - move forward by leaps and bounds This family includes Clean, Rough and Outline - You're welcome! This is an all caps, tall, bold and round sans serif display font designed for retro-modern designs. This font is perfect for your next logo design or magazine titles. Taking inspiration from many tall fonts and American number plates I created a display font that would be my 'go-to' for a neat tall, bold font. I also wanted something which would take a good amount of treatment like stamp effects and grunge. Pronk works brilliantly as a pegboard font and for neon lettering. Pronk pairs perfectly with Stroom and Gill Sans. I really hope you enjoy this font, please don't hesitate to drop me a message if you have any questions. Features: - Uppercase letters - Numerals

ITC Cyberkugel is the work of British designer Timothy Donaldson, who occasionally likes to write with an extra-fine ballpoint pen. I like the spindly scrawny forms that it gives me when I follow all the usual 'italic' writing conventions", he says. And there lie the origins of ITC Cyberkugel, although the creative process was moved from pen and paper to software and a Wacom tablet. "I like the fact that people will be buying it to give them a 'human', 'organic', 'non-digital' look, and yet no ink has soiled paper. Although the movements of the hand are still the essence, the whole thing was created in cyberspace." The name comes from combining cyberspace and Kugelschreiber, the German word for ballpoint pen. ITC Cyberkugel is a fresh interpretation of traditional calligraphy."

This is a 2023 redesign of Bronzo, originally designed by Rick Valicenti and Mouli Marur in 1991. With this redesign, Bronzo now has 6 new weights, for a total of 9, and 587 more glyphs than it was able to in 1991. Bronzo appears to move forward, yet remain still, via a center stroke that only sticks out on the left, a tense curve that only happens on the right, and a width that sits uncomfortably between square and rectangle. Those three things, combined with a balanced light to dark ratio, are what makes Bronzo appear tense and ready. Bronzo accepts Modernist ideals of minimal, rational construction—but it also adopts luxuriant shapes over Modernism’s sandblasted neutrality. It’s almost an alternate reality, a “what if?” of Modernism. Modernism’s fun, interesting, cute reboot.

Martin, a condensed semi-serif with rounded edges and friendly serifs, shows its charme best in short, pointed sentences, in headlines set in about 20 to 36 p. The playing with serifs in a condensed, very characteristic type design is attractive and the technical skill is convincing. More styles are planned. The idea was to try to apply a given design criteria (also see Volker Schnebel's Marita and Manuel fonts) to every single character. In other words, start with a character and develop all of the others from it. This is quite easy for some characters but extremely difficult for others. This process generates creativity and the characters move away from the initial constructed sketch. Together in a typeface, the individual characters are now all of a piece and character.

AJSHA font, even though being our newest font, is inspired by ancient Japanese and Chinese culture, eastern style of life of about 5000 years before present day, when honor and a good sword were respected. Japanese special sword Katana is known to be handcrafted to be extremely sharp and deadly. Therefore, the shapes of the AJSHA font accompanies the moves of a Katana master when he uses the power of his sword. The font comes in two styles, light and medium. Medium is a bit bolder style while the exact bold or strong version lacks due to the fact that the font's lines needed to be sharp as a swordsman's cuts. We expect this font to be a great asset tool for top-notch designer companies that put quality before everything else.

Pounder Fonts were designed by Tom Nikosey / CozyFonts Foundry. This font, as all my fonts started with pencil sketches based on the letter O. Once I arrived at the comfortable shape I worked out the C, G, & Q. The H, M, T matched the visual weight and so I moved on to E & S. As the E & S are 2 of the most repeated characters in fonts' I wanted a little bit extra here. The font is obviously heavy weighted yet very legible and almost architectural in presence. There are flashes of Art Deco yet futuristic style. After sketching the feel of this font I was excited by the possibility of the numerals styling. I can see these used for many applications. Why the title Pounder? Why not it seems to fit.

This typeface comes from a self initiated project called Sápmi, which aims to contribute to keep a group of minority languages alive through solving issues in the education environment. This re-thought edition takes the name of Aanaar and joins our library with a bigger character set and two new weights which complete the typeface providing a big typographic palette as well as adding stylistic two-story a and g for more advanced readers as well as to enable the typeface to be used in other environments. The typeface was originally designed for children’s text books. Analysing kid’s typeface design, we identified some important problems and solved them within the boundaries we had. The main concern in a typeface which will be used by children is letter recognition, as they have not yet fully develop their reading skills. For example, letters like “a” and “g” share a very similar structure in this particular kind of typefaces, where the only distinctive part is the descender of the “g”. It is known that the lower part of the letter is the less important feature when reading, therefore we decided to make a clear distinction between them by having an “a” with a spur on the top right. This also helped distinguishing “a” and “o”. Children typefaces usually have one story “a”, making “a” usually too close to “o”. Additionally we moved the joint in “a” upwards and narrowed very slightly the “a” to make sure they cannot be mistaken. More generally, the x-height is fairly tall and the typeface has a bit of movement which give it a good rhythm helping moving along nicely when reading. Aanaar consists of 5 weights (Light, Regular, Medium, Bold and Black) plus two Italics (Light Italic and Italic).

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

New York vibes FS Irwin was born in New York while Senior Designer, Fernando Mello, was studying an intensive 5 week typeface design course at the Cooper Union. His brief was to design a perfectly clear typeface that could communicate well, without loud or overtly mannered design features. Fernando was influenced by the subway font in New York: ‘It is very in your face and clear, always in bold. It doesn’t shout much but at the same time is very present and unique. The design is completely different but it was this spirit I wanted to capture for FS Irwin.’ And the vibe of the city: ‘In a similar way to London, New York is so mixed and so cosmopolitan. I was amazed by the different styles and identities I saw there, and tried to encapsulate this essence to create something new, relevant and very now.’ Incisive quality Rather than focusing on quirks or distinctive characteristics, the key to FS Irwin is the quality of its design and spirit of simplicity. The design, proportions and details are usable and authentic and it is suitable for countless situations, without running the risk of being instantaneously noticeable. Families like this can be used on nearly anything, from more playful designs to serious corporate IDs. ‘Extensively tested and precisely drawn text-oriented typefaces are what I enjoy designing the most. There is a beauty and a different approach, a different way of making them interesting, sellable and usable rather than adding flicks or unexpected details.’ Inscriptions and calligraphy FS Irwin’s origin lies in Fernando’s studies in inscriptional lettering and writing-calligraphic exercises at the Cooper Union. Mello started the process by digitising his explorations and adapting them into a more workable sans serif structure. The traditional forms of writing which gave the basis to Latin type as we know it today were the perfect place to start. This influence can be seen in the proportion of the capitals and in slight writing-calligraphic details in the lowercase, such as the slightly angled, chiselled spurs and their open terminals.

Andinistas.net presents Makeup Script. Expressive hand-made typography to design sentences with high textured impact; has 4 creative tools. Our priorities are continually updated and we prefer to use the elevator since taking the stairs is a very long process. If you see a long text, you close it and look for something shorter. For quick calligraphy you need to consume hours and hours of learning, discomfort and effort. Think of calligraphic words or phrases to write about a photo no matter how expressive it may be. Try to write quickly with signature style for logos, labels or packaging for clothes, suitcases, shops, malls, department stores, etc. Do you want to be able to calligraphy well? STUDY. Do you want to be a calligrapher? PRACTICE. Want to produce good ideas? PUSH YOURSELF. If you practice for hours every day, those hours will turn into years, but for many, to think in years of study and practice is too long, since most want everything instantaneous and few want to cultivate skills related to calligraphic patience. Makeup was born in the midst of this type of reflections about countless themes about art, beauty and calligraphy. All the ideas that revolve around makeup parade through its insightful and solitary design, lover of instant and fast writing for graphic design related to food, household goods, fashion, etc. CFCG. teamwork by Carolina Suarez & Illustrations by Eder Salas. In that order of ideas Makeup offers the following tools: • Makeup Script (238 glyphs): It is a script with vibrant fleeting strokes that form capital letters, lowercase letters, numbers and character sets and extended punctuation for Central, Eastern and Western Europe. • Makeup Alternates (238 glyphs): Offers new script possibilities, different from uppercase, lowercase, numbers that work at the beginning or end of words, in a way that your design will look more real and calligraphic. • Makeup Swashes (238 glyphs): These are tiny script letters that reinforce the idea of fast binding between handwritten letters that will fill your design or concepts with power and expressiveness through multiple textured contours. • Makeup Extras (80 glyphs): Here you'll find over 70 exciting, hand-crafted decorations that are ideal for underlining your ideas written in Makeup.

HS Future Sans is the sans serif version of HS Future. It has three weights and was converted to OpenType to support Arabic, Persian and Urdu to be compatible with the various operation systems and modern software. The smoothing of this font and the combination of straight and curved parts without the serif gave the user additional option beside HS Future family. It made it a beautiful typeface appropriate to the titles, and able to meet the desire of the user in the design of ads and modern designs of various types of audio and visual.

Lumierre Bear is playful font family which puts a smile on your projects and will inspire you to create something fun and memorable. It is perfect for headings, flyer, greeting cards, product packaging, book cover, printed quotes, logotype, apparel design, album covers, etc. . Includes: – Lumierre Bear OTF – Lumierre Bear Doodles OTF Features: – Multilingual Support – PUA Encoded – Numerals and Punctuation Thank you for downloading from Ocean Stud.

Dorset marks Léon Hugues first script typeface and first release with the Positype Flourish label. Built crosscurrent to a strict revival or calligraphic digitization, Dorset’s aim was to understand how a font could interact with various calligraphic influences in a single execution and how that interpretation by Léon would lead to new, exclusive design choices. The design purposely chose to connect various gestures from Spencerian handwriting and copperplate calligraphy and meld that with his initial experiments with fine, flat nibs. The result is wholly unique and useful when clear, open, and legible script typography is desired. OpenType features included in this typeface allow the user to seamlessly move from an italic to connected script, while the various stylistic sets can lead you to variations of texture and rhythm, allowing for a more personal and exact expression.

Xunga is a cheerful display typeface. My goal was to design a font able to fit any layout with boldness and playfulness, mixing a sign painter taste in the uppercase and some of my crappy calligraphic reverse contrast explorations with the flat brush for the lowercase. I designed several of widths to fit the page, and though about a different way of expanding the family shifting the horizontal stress axis to move the letter weight in different heights, making a 15 fonts family, suitable for making bold layouts. Xunga has an extended character set for European languages as well as Vietnamese, and shows all its potential with OpenType-savvy applications. Every font includes ligatures, catchwords in discretional ligatures, contextual alternates to avoid conflictive glyph pairs and localized forms to avoid problems with several glyphs and languages.

Graffiti Classic is a graffiti font that blends the improvisational urban quality of graffiti with the smoothness and regularity of a typeface. Growing up in Brooklyn, graffiti appeared to me as an explosion of expression and color in a sea of concrete. Inspired, I became a graffiti artist and practiced in both notebooks and subway tunnels. While I moved on to somewhat more traditional art forms in future years, with Graffiti Classic I pay homage to my artistic roots in a calligraphy marker/tag font. Like my other fonts, the entire Graffiti Classic font is spaced letter to individual letter so that the spacing will work smoothly, in spite of the expressiveness and irregularity of the forms. The Graffiti Classic family also includes an ornaments font, “Taglets,” which has clouds, underlines, arrows, crowns, halos and more to add flavor to your designs.

ITC Motter Sparta is the work of Austrian designer Othmar Motter and for its inspiration, he turned to car design. As we all know, trends in car design affect many other fields of design in a way that shapes tastes." At the end of the 1990s, Motter saw the trend moving away from soft lines and toward a tighter, tenser look: "In this latest trend, sharp clearly-defined edges meet broadly-drawn, dynamic curves and cut them off sharply." And so too is ITC Motter Sparta, with each character form distinct, which also creates a typeface instantly recognizable from a single character. "The sharp straight strokes, cut off almost at right angles, and the strong cross-stroke curves, ending in points, form a charged contrast to the vertical and horizontal straight strokes that give Motter sparta its taut framework.""

Sapphire Script is a hand-lettered modern calligraphy font based on the signature script of Design by Laney. Made with wedding invitations in mind, this font with over 500 playful, romantic characters is perfect for branding, stationery, packaging, social media templates, magazine layouts, artist prints, and more! With 3 or more characters for each uppercase letter and 35 stunning standard ligatures, you'll be able to create that perfectly imperfect calligraphy style. Sapphire Script contains over 500 unique, coded features for a realistic, handwritten look: 35 standard ligatures, full Western European language support, over 100 stylistic alternates, ordinals (1st, 2nd, 3rd, etc.), 2 alternate number sets including 1-10 Roman Numerals, and a few word glyphs (for, to, from, and). Sapphire Script was named for the street where Design by Laney began, and where I moved in downstairs from my future husband!

Say hello to Mealsika Script - A contemporary script with a vintage calligraphy style with moving baseline and an elegant touch.That makes the font look fabulous! It can be used for various purposes such as headings, signatures, logos, wedding invitations, t-shirts, letterhead, signage, labels, news, posters, badges, and more. Features 350+ glyphs and 179 alternate characters including initial and terminal letters, alternates, ligatures and multiple language support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. These are all coded with PUA Unicode. Mac users can use Font Book and Windows users can use Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. Thanks and Happy Creating :)

This is the elaborately expanded version of what is arguably the most classic and popular of all historic Dutch faces: Sjoerd Hendrik de Roos's Hollandse Mediaeval from 1912. Over the decades, many pressmen and typography connoisseurs have gushed loving prose about this typeface. An extended family of two weights, corresponding italics, small caps, four condensed fonts, four book fonts, a set of initials and some very Dutch ornaments, Dutch Mediaeval is a versatile workhorse that flows comfortably and artistically, with the elegance of the main weights nicely complemented by the sturdiness of the bolds. Very few text faces are this clean and inviting while being crafty as well. The Dutch Mediaeval family comes with quite a few OpenType features and extended Latin language support.

Elixir is a strong display pack of five styles and total eleven fonts. Elixir fonts are designed to act together but they also work just fine by themselves. Elixir Script is a monoline Script with plenty of OpenType features: Contextual Alternates helps to keep letter connections smooth whereas Swash, Stylistic or Titling Alternates can be used to add flavour to your words! Elixir Brush is a smooth brush script with Contextual Alternates, Swash and Titling Alternates. Elixir Sans is a sturdy all caps font with wider uppercase letters. Elixir Circus is a circus style version of Elixir Sans. Elixir Serif is a rounded slab serif. Elixir Print is a rugged version of Elixir with rough outlines and worn-out print texture.

This is the elaborately expanded version of what is arguably the most classic and popular of all historic Dutch faces: Sjoerd Hendrik de Roos's Hollandse Mediaeval from 1912. Over the decades, many pressmen and typography connoisseurs have gushed loving prose about this typeface. An extended family of two weights, corresponding italics, small caps, four condensed fonts, four book fonts, a set of initials and some very Dutch ornaments, Dutch Mediaeval is a versatile workhorse that flows comfortably and artistically, with the elegance of the main weights nicely complemented by the sturdiness of the bolds. Very few text faces are this clean and inviting while being crafty as well. The Dutch Mediaeval family comes with quite a few OpenType features and extended Latin language support.

Big Fish is a low contrast Script and Slanted Casuals with bold characters. Big Fish has three weights of Script and a set of Extras that can be used as themselves or combined with script charters for custom swashes. Big Fish is packed with OpenType features: Keep on Contextual Alternates and Standard Ligatures for better flow and try Swashes to spice up your words. Big Fish Casuals is a sturdy casual lettering font with same stroke shapes as the script. Casuals works great with the script but is also a strong font by itself. All Big Fish fonts have wide language support and cover even Cyrillic alphabets. Big Fish is a tremendous pack for any display use from branding to packaging and online to print.

Antry Sans is a cool uppercase typeface. With heavy letterforms in a sturdy appearance, this poster font gets attention while keeping clean. It is legible and clean, optimized for a non-complex design or headline. The Antry Sans font family consists of Thin, Regular and Bold, and each weight as Italic, totalling in six styles. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Sinuous but sturdy; ornate but legible - Gambit Nouveau is modern-day design created in the spirit of Art Nouveau. This delicate and natural typeface features tapered spurs, compact swashes, and spiral curling. You will find it ideally suited for announcements and invitations as well as decorative headlines. And for your convenience, Gambit Nouveau comes equipped with corner and free-standing ornaments plus a wide range of alternate characters. Gambit Nouveau is also available in the OpenType Std format. Some new features including initial forms and old style figures have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Equip, a new versatile geometric sans face in 16 styles, designed on a geometric base, forms together with EquipCondensed and EquipExtended a superfamily of 48 styles. Low contrasted lines and a sturdy ductus give it a strong appearance. It looks open, generous and unsentimental. A large selection of weights and many useful OpenType features allow an easy adjustment for a wide range of applications, in print and on the web. Equip is very well suited for ambitious typography. The Equip family comes in OpenType format with extended language support. All weights contain semi-ligatures (design optimized single characters), proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and arrows.

Sina is a strong, sturdy and self-confident serif accented face. Distinct ascenders and descenders in classical proportions ensure pleasant reading. Robust but assertively warm, it recalls and references the virtues of early classical printing types but presents a distinctly contemporary look. With its even text flow it works very well for long texts. It is also great for headlines and in larger styles. An extended, fine-tuned range of weights renders it suitable for almost every application. Sina comes in 12 styles and in OpenType format. All styles contain standard and discretionary ligatures, small caps, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fractions, and scientific numerals. Sina supports West European, Central and East European languages.

Cell is a sturdy, geometric typeface with many potential applications. Though it is best suited to display sizes, its construction is simple enough for use in smaller settings. Its octagonal, almost mechanical design is softened by rounded corners. The face is characterized by a single thick stroke in each letter, lending it a unique appearance. It also features an oblique counterpart with several italic-style glyphs. Both members of the family also include small capitals mapped to the Private Use Area. Cell was designed to be at once simple and unique. Its grid-based structure is enhanced by slight adjustments for optical consistency. Glyphs which are normally round instead have 45-degree angles at the corners, sticking to the grid system without losing legibility.

Delish Pro is a bouncy brush font family. Hand lettered with lots of character. This delicious family contains 7 fonts in various styles, especially designed to make sure there's always one that fits your design needs. There's an Upright and an Italic version, and both come in a condensed edition, perfect if you're looking for a more efficient use of space. Alternate characters and double letter ligatures give you the ability to fine-tune your design as you please. To compliment the range Delish Pro Sketch and Delish Narrow Pro Sketch were added. A sturdy Caps font with a dry marker effect. To make this family even more flexible an extra treat of 64 swashes and ink splatters are included. Enjoy!

Familytalk is a script font that exudes confidence and elegance in every character. With its thick and sturdy strokes, this font commands attention. The swinging endings on certain letters provide a delightful sense of rhythm and flow to the text. These unique design elements create a sense of movement within the text, making it visually captivating and engaging. Despite its thick weight, Familytalk maintains excellent legibility. Its ability to strike a balance between boldness and grace makes it a versatile choice for projects that demand a stylish script font. Familytalk fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview.

Lately I have been thinking about rabbits. Not that I have a particular love for rabbits - they’re cute, but also kind of stupid. But as Christmas dinner is approaching, I see more rabbit carcasses lining the shelves of supermarkets. These poor animals never saw the light of day, never felt the grass between their paws and never had a ‘true life’. In honour of the hundreds of thousands of rabbits being slaughtered for Christmas this year, I have named this font: Rabbit Escape. Rabbit Escape is a slightly back-slanted typeface - handmade with a permanent marker I bought in Japan. It is quite unusual, maybe a bit weird, but it will serve you well. Comes with a generous stuffing of diacritics.

Perfume - a luxurious display pack. Perfume is a display combo pack of three styles and eight fonts. Perfume fonts are soft and clean and they have a distinguishable character. Perfume Pen is a monoline script with three weights and large x-height. Perfume Pen is equipped with automatic Contextual Alternates that keep the connections smooth. In addition Perfume Pen has Swash, Stylistic and Titling Alternates, boasting over 500 glyphs in total. Perfume Brush is a bold brush script with two weights. Perfume Brush is also equipped with Contextual Alternates to keep connections smooth and Swasha lternates for more imposing character forms. Perfume Sans is a sturdy all caps Sans with three weights. For the best price purchase the whole pack!