Download Fieldwork’s PDF Type Specimen Fieldwork brings back the manual tradition of typography production, veering away from lab interpolations. Each of its 24 variants was drawn based on optical evaluation; many of its curves and details were specifically adjusted for each weight, reformulating them to better suit the requirements of the distinct stroke weighs. It is the product of a collaborative effort by the TipoType team, combining their personal strengths and “most importantly” their enriching individual outlooks to achieve a more versatile and fresh outcome. Its shapes successfully combine geometric strokes (in the Geo variants) with the humanistic warmth of the double-storey glyphs (like a and g in the Hum variant) in a system that grows with alternates, swashes and the corresponding italics for every weight. It includes a very thorough coverage for a wide variety of Latin alphabet-based language families. Special thanks to: • José “Pollo” Perdomo: Font production assistent. • Rasmus Jappe Kristiansen: Detroit City project

German Designer Klaus Sutter digitized Mustang, a brush script typeface from the 1950s originally drawn by Imre Reiner (1900-1987) and published in 1956 by D. Stempel AG. Mustang is a right slanted brush type drawn with simple and strong strokes. It has a dynamic character, and could be perfectly applied for emphasis in headlines. Mustang has the character of Imre Reiner's handriting. Imre Reiner was a prominent book illustrator, painter, and typographer during the 1950s.

The term Old West conjures up memories of vintage movies and TV shows featuring saloons and dancehall girls. Old wanted posters and cowboys. Rowdy prospectors in the Goldrush, mountains and lots of wide open space. Many of the lettering styles of those days are still in use, reflecting the past, present, and probably the future here. Western style fonts appear in the signage of bars, restaurants, casinos and ski areas. It's a style that speaks of the way it once was in a nostalgic way. This family of three fonts pays tribute to the Old West and its colorful history, with a semi-plain style, a decorated style, and a really lively rendition of our gaudy and raucous history from a century or more ago.

PiS VinoZupa is based on a logo found on an old Serbian bottle of brandy. The vintage 1971 plum fuel burns down your throat and blinds your eyes, the serifs you draw grow bigger and bigger with every sip you take. A Western-style slab serif font, coming from the finest distilleries in an Eastern European village. Features heavy caps with a few alternating glyphs in the lowercase letters and all the nice diacritics you need for super-drunk Serbian babble.

This font set, created for the Philadelphia Museum of Art, celebrates the work of influential French artist Paul Cézanne. P22’s Cezanne font allows you to beautify your documents with a faithful rendition of the artist’s handwriting, while Cezanne Sketches recreates a variety of imagery from the artist’s work. Cezanne Pro includes full western and central European character sets and Cyrillic for typesetting in dozens of languages. It features several types of numerals, ligatures, snap-on swashes, and word glyphs. The Pro version includes over 1,200 glyphs and “smart features” that will automatically substitute letter combination's to create an even more natural handwriting effect than was possible with Cezanne Regular.

OmegaPixel Font Description I created this font for the game Hyper Ninja Blast (but made it useful to all kinds of games!). While creating the game, I searched for pixel fonts, but could not find a suitable one. The fonts were generally ugly and lacking the basic variations (italic and bold). So I decided to create my own pixel font. Just as pixel art can be better than a high-resolution painting, so pixel fonts don’t need to be always worse than traditional fonts. In OmegaPixel I tried to achieve elegance, readability and flexibility within the limitations of a 6 pixel x-height. With 4 versions (regular, italic, bold and bold italic), and a neutral feel, OmegaPixel can be used in any genre of games. Considering the general lack of money among indie game devs, I’m giving the regular version for free! For inspiration, I often remebered Minion’s lowercase ‘a’, Galliard italic lowercase ‘g’, and the calligraphy of Chinese emperor Huizong.

Catterpilar is a stylist handdraw font. The Catterpilar font works great for any design project, be it web, printing, logotype, posters, badges, signage, product, brand, t-shirt design, etc. Catterpilar font contains almost 215 glyphs with several OpenType Features; Stylistic Alternate, Standard Ligature & Multylangual support. The OpenType Feature can be used to create your own custom typography of your design. The Catterpilar font is a beautiful example of stylist fonts. Please contact me for more information about the font terms and condition.

The Times Europa Office family is designed after the model of the original serif family produced by Walter Tracy and the Linotype Design Studio in 1974. A redesign of the classic Times New Roman typeface, Times Europa was created as its replacement for The Times of London newspaper. In contrast to Times New Roman, Times Europa has sturdier characters and more open counter spaces, which help maintain readability in rougher printing conditions. Times Europa drastically improved on the legibility of the bold and italic styles of Times New Roman. Overall, text set in Times Europa is easier to read, and quicker to digest. Akira Kobayashi, Linotype’s Type Director, brought Times Europa up to speed for the new millennium in 2006. Now optimized for office communication instead of newspaper design, Times Europa Office offers a familiar yet refreshingly new appearance for serif text. Because of The Times of London’s specific printing conditions in the early 1970s, Times Europa originally had some intentional errors built into its letterform design. These inconsistencies created an even image in newspaper text in the long run. However, these design elements bear no role on modern office communication and its needs. Kobayashi redrew these problem forms, eliminating them completely. Now Times Europa’s font weights appear clearer and easier to read than ever before.

Helsing is a serif style font inspired by Bram Stoker’s 1897 Dracula as well as Edward Gorey’s rendition of the story. Helsing is characterized by his slighting skewed baseline, subtle texture, thick and thin contrasts, and decorative legs. Made as a graphic style font, Helsing is perfect for illustrative titles, small bodies of text, and pairing with contrasting lettering style fonts like Asterism.

Ace Attitude is a friendly, readable font with character and flair. When I started designing this font I wanted something that was readable as well as interesting and appealing. Something that showed character. When I look at this font now I think of an old fashioned aviator. One of those poeple that likes to show off and have fun but can still follow rules. This font is perfect for logo's and branding. But its also very versatile would be great in things like magazines, posters, packaging, billboards, etc. Ace Attitude has an impressive 179 Contextual alternates. These are like ligatures, but oh so much better. These contextual alternates will give any project that personal touch - all without any extra effort. All you have to do is make sure that they are turned on in your program. Unfortunately, these do not yet show up in the sample text. To help with this I have created a demo version of the font so that you can still try it out before you spend the money. Ace Attitude also has Over 800 glyphs and includes features such as small caps, ordinals, ligatures, fractions, tabular numbers, proportional numbers, subscript, superscript, numerators and denominators.

Ciabatta is a luscious font made especially for packaging. Thanks to 5 weights, it can be used for all eventualities; powerful in headlines or as lettering, yet very legible in small texts. Its shapes are slightly narrow and based on classical italics but Ciabatta includes alternates with a double-storey ‘a’ and ‘g’ which offer a more formal appearance upright.

Aderyn is a hand drawn, elegant font with a light touch to it. Aderyn is soft and sleek, but also comes in bolder styles to give a little extra oomph to your designs. Aderyn is Welsh for 'bird', a language I meant to master, but never took beyond 'good morning', 'bird' and 'cat'. I know, it's pathetic… Aderyn comes in 12 styles, all of which have kerning, stylistic and contextual alternates for both lower and upper case letters. It even has a smiley!

The new sans-serif Franzi typeface family – as neutral as can be, but at the same time individual and striking. Its unmistakable character lies in the detail, with no effect pushing itself to the fore. As a wide-running typeface with a relatively large x-height, the typeface family is perfectly suited to small text sizes but, with its elegant details, it leaves nothing to be desired in display applications either. Originally designed with constructed, often rectangular elements, Franzi has gradually been rounded during the development process and is now less hard in order to guarantee optimal legibility. A total of 20 well-developed fonts are available: 10 line thicknesses from hairline to black, each of which can be upright and italic. The italics are softly and elegantly drawn, while the upright characters appear much more severe. The design appeal reveals itself in the two-storey ‘a’ – a tribute to legibility in body copy; however, for those who prefer the geometric in applications, an alternative single-storey ‘a’ is also available. All styles have small caps, superscript and subscript lowercase letters, lining, non-lining and small caps figures, fractions as well as several ligatures, alternative fonts, symbols and arrows. The Latin uppercase letters are also available as discreet swash variants. In addition to the extended Latin alphabet, the typeface family also includes the complete Greek, Cyrillic and International Phonetic Alphabet IPA. Franzi was created as a further development of an order to produce a sign for a therapy practice in Vienna’s Franz-Hochedlinger-Gasse – hence the name, which is more common as an abbreviation for Franziska than as a diminutive for the male name Franz: Franzi is therefore a hybrid typeface name which has female tendencies.

Prelo Slab is the serif companion to Prelo, a neutral, highly readable typeface, for identity, editorial and information design. With nine weights and nine italics, from Hairline to Black, Prelo Slab is a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others. Like other DSType fonts, most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters. The curves are soft and smooth, while the serifs are sharp and strong, providing legibility, even in very poor conditions.

According to Wikipedia, a "clip joint" is an establishment, usually a strip club or night club (often claiming to offer adult entertainment or bottle service) in which customers are tricked into paying excessive amounts of money, for surprisingly low-grade goods or services - or sometimes, nothing - in return. These establishments were rampant during the prohibition years. However, the inspiration for Clip Joint JNL comes from a more positive source - a WPA (Works Progress Administration) poster advertising "The Lure of the National Parks". A bold, classic Art Deco design, it typifies the modern and streamlined approach to lettering in the 1930s and 1940s.

Surf Serif is the font that retains some features and proportions of the old-style antiqua, but is adapted for modern conditions, mainly screen ones. Its uncompromising hard lines and corners create an expressive contemporary image being used in larger point sizes accidents. In the text sizes the font proportions, its triangular serifs and the displaced stresses cause some associations with the early Renaissance and even a gothic style. It makes the text useful where brutal modernity must be combined with historical allusions. For example the font seems to be suitable for decoration and advertising of modern Gothic fashion.