OTF | 9.15 MB
A cross between a Roman type face and a slug, a type face with blurred letters, inspired by a tropical snake remotely contained in the letter "g". Or a mere attempt to come up, at all costs, with something new and original. This type face has a truly avant-garde solution of the enclosed forms; these create horizontal connecting lines which help to hold the line together. It is interesting that Cobra looks good in any size, which cannot be said at all about the majority of respectably-looking letters. This type face is very suitable for posters where its dynamics and softness stand out in large sizes, as well as for small experimental books for bibliophiles where it surprises us with its commendable legibility.
OTF | 16.6 MB
Sans-serif typefaces compensate for their basic handicap – an absence of serifs – with a softening modulation typical of roman typefaces. Grotesques often inherit a hypertrophy of the x-height, which is very efficient, but not very beautiful. They are like dogs with fat bodies and short legs. Why do we love old Garamonds? Beside beautifully modelled details, they possess aspect-ratios of parts within characters that timelessly and beauteously parallel the anatomy of the human body. Proportions of thighs, arms or legs have their universal rules, but cannot be measured by pixels and millimetres. These sometimes produce almost unnoticeable inner tensions, perceptible only very slowly, after a period of living with the type. Serifed typefaces are open to many possibilities in this regard; when a character is mounted on its edges with serifs, what is happening in between is more freely up to the designer. In the case of grotesques, everything is visible; the shape of the letter must exist in absolute nakedness and total simplicity, and must somehow also be spirited and original.
OTF | 3.9 MB
The idea of a brand-new grotesk is certainly rather foolish – there are already lots of these typefaces in the world and, quite simply, nothing is more beautiful than the original Gill. The sans-serif chapter of typography is now closed by hundreds of technically perfect imitations of Syntax and Frutiger. The only chance, when looking for inspiration, is to go very far ...A grotesk does not afford such a variety as a serif typeface, it is dull and can soon tire the eye. This is why books are not set in sans serif faces. A grotesk is, however, always welcome for expressing different degrees of emphasis, for headings, marginal notes, captions, registers, in short for any service accompaniment of a book, including its titlings. We also often come across a text in which we want to distinguish the individual speaking or writing persons by the use of different typefaces. The condition is that such grotesk should blend in perfectly with the proportions, colour and above all with the expression of the basic, serif typeface. In the area of non-fiction typography, what we appreciate in sans-serif typefaces is that they are clamorous in inscriptions and economic in the setting. John Sans is to be a modest servant and at the same time an original loudspeaker; it wishes to inhabit libraries of educated persons and to shout from billboards.
Nemocon is a display font family designed by Carlos Fabian Camargo G. Nemocon It is ideal to make attractive messages. Nemocon has over 2200 glyphs distributed in 6 files OT designed from handmade lettering and usability testing. Nemocon Script (1382 glyphs): based on the rotation of a flat tip brush. Its letters correspond to the uninterrupted calligraphic logic, as well as similar ingredients as the ones used in font Brush Script by Robert E. Smith, created for the American Type Founders in 1942. Nemocon Tuscan (375 glyphs): Inspired by representative types of wood from the 19th century, specifically speedball brawny Tuscan capitals with serifs fishtail shaped. Nemocon Catchwords (115 glyphs) + Nemocon Catchwords Shadow (115 glyphs): categorically inflated words with and without shadows, to accompany, highlight and prioritize. Nemocon Dingbats (114 glyphs) + Nemocon Containers(150 glyphs): unconventional pictograms consisting warm and comforting thoughts designed to highlight words or phrases which needed multicolored illustrations or drawings in black and white.
OTF | 6 Fonts | JPEG Preview | 4.2 Mb RAR
VANITY is new modern & sans-serif type family designed in 2014 including a set of 12 fonts, from light to bold, plain to italic, narrow to wide, now available in OTF and TTF formats to anyone. This type family can be used both for personal and commercial works such as online/offline magazines and/or books, posters, photography, websites, branding & identity, or TV spots. Please note that only the following characters are actually available in the samples given at the end of this project: lower cases, upper cases and also numbers - no accented glyphs or punctuation marks. The full type family and sources files are only available upon request for: agencies, companies and professional designers & photographers.
OTF + TTF | 12 Fonts | JPEG Preview | 4.7 Mb RAR
543 Ornaments | 179 Frames | Ai | EPS | 148 MB
Authentic French penmanship, straight from the late 19th century!
This sumptuous vector pack is perfect for wedding invitations, elegant stationery and certificates. Its 543 ornaments and 179 frames are taken from Specimen Album catalog, by the Charles Derriey French type foundry (1862).
OTF | 1.3MB
It has been designed for the project ‘Open Switzerland’, by Base design (www.basedesign.com), which wants to conciliate a commitment to ‘Swiss’ graphic design — with all its quality of precision and rigour – with a contemporary view of Switzerland, far from its common stereotypes.Open minded, neat and modern, sometimes a bit raw, but always clean and discrete, Basetica ironically recalls the ‘Swiss International Style’ of the 50s and 60s.
Graphie is a modern geometric sans-serif family designed by Ryoichi Tsunekawa and the whole family consists of 16 style: eight weights from Thin to ExtraBold and their matching Italics. The range of styles provides flexibility for title, headline and body text. And the clear-cut-corner, vibrant straight lines and large x-heights give them legibility, readability and keenness. The basic skeleton of their letterform was designed geometrically and optically corrected. The sophisticated geometric design gives them universality, neutrality and sense of unity and make it possible to be used across a wide range of applications in all medias, all purposes. Graphie supports almost all European languages: Western, Central, South Eastern Europeans and afrikaans. And superior figures, inferior figures, denominators, numerators and fraction can be accessed by using OpenType features.
OTF | 16 Fonts | JPEG Preview | 12.5 Mb RAR
An informal sans serif typeface carefully cut from the template of Regan and Regan Slab. Smooth curves are combined with simple angles to form a modern, legible font with a charming personality. Regan Alt is ideally suited to wide range of applications including advertising, fashion, retail and the web. Details include 10 weights with italics, 540 characters, 5 variations of numerals, small caps, stylistic alternatives, manually edited kerning and Opentype features.
TTF | 20 Fonts | JPEG Preview | 3.6 Mb RAR