Bellissimo Display boasts an impressive range of handsome all caps ligatures that would make even Herb Lubalin jealous. Despite its iconic features, Bellissimo works surprisingly well as a text face as well. Small capitals, alternate glyphs and both lower and upper case figures are intrinsic in the design.
OTF | 3 Fonts | JPEG Preview | 4.8 Mb RAR
The name “Bicyclette” was chosen because this typeface is all about balance and elegance. The idea was to create a highly contrasted sans-serif family carefully balanced between gentle curves and sharp angles, with large capitals opposing uncommonly short lower case, through six distinctive weights. The letters are wide, and the capitals pop up in headlines while the lower case leaves a lot of white space between the text lines because of its small x-height. The edges are rounded (but not so much for the family to be called rounded), just enough to make the text feel slightly softer, gentler, while retaining some of that technical sans sharpness. The Bicyclette character set supports Western and Central European languages, and includes an extended set of monetary symbols. Each weight includes small caps, ligatures, proportional lining and oldstyle numbers, tabular figures, fractions and scientific superior/inferior figures.
OTF | 7 Fonts | JPEG Preview | 5 Mb RAR
As in Victorian times, the precious, hand-lettered look of custom stationery is back in vogue. Enter Courtesy Script, an original creation by Alejandro Paul. Courtesy captures the elegance and propriety of finely practiced Spencerian penmanship, in particular the Zanerian school. Its lowercase is notably understated, a simple monoline with very wide connections that ease readability. In the capitals, Courtesy adds variety in both the weight of the strokes, and in degrees of flourish — from merely fancy to over-the-top engrossery. Based on an alphabet found in a 19th-century penmanship journal, Ale created hundreds of additional, stylistically complementary letterforms. Alternate capitals and lowercase letters, swashed lowercase forms, and ending and ornamental swashes; numerals, punctuation, and non-English and accented characters. With virtually endless ways to customize its use, Courtesy helps designers create fluid, signature looks on stationery and invitations, book covers, fashion layouts, and packaging.
OTF | 1 Font | JPEG Preview | 32.8 Mb RAR
Bend is a contemporary ribbon type family. Unlike most typefaces of that genre Bend is a sans serif. It is the top view angle and the characteristic stripes that create an elegant illusion of volume. A prominent feature of Bend is the ascending baseline. Simply rotating the text element by 14 degrees reveals the 3D effect and Bend’s full potential. Bend comes in two widths and with three different layers for chromatic results. As a display typeface Bend likes to be set in big sizes and short sentences.
OTF | 6 Fonts | JPEG Preview | 5.7 Mb RAR
William Caslon released his first typefaces in 1722. Caslon’s types were based on seventeenth-century Dutch old style designs, which were then used extensively in England. Because of their remarkable practicality, Caslon’s designs met with instant success. Caslon’s types became popular throughout Europe and the American colonies; printer Benjamin Franklin hardly used any other typeface. The first printings of the American Declaration of Independence and the Constitution were set in Caslon. For her Caslon revival, designer Carol Twombly studied specimen pages printed by William Caslon between 1734 and 1770. The OpenType “Pro” version merges formerly separate fonts (expert, swash, small caps, etc.), and adds both central European language support and several additional ligatures. Ideally suited for text in sizes ranging from 6- to 14-point, Adobe Caslon Pro is the right choice for magazines, journals, book publishing, and corporate communications.
OTF | 6 Fonts | JPEG Preview | 5.2 Mb RAR
Designed by Eric Gill and released by the Monotype Corporation between 1928 and 1930, Gill Sans is based on the typeface Edward Johnston, the innovative British letterer and teacher, designed in 1916 for the signage of the London Underground. Gill’s alphabet is more classical in proportion and contains his signature flared capital R and eyeglass lowercase g. With distinct roots in pen-written letters, Gill Sans is classified as a humanist sans serif, making it very legible and readable in text and display work. The condensed, bold, and display versions are excellent for packaging or posters.
OTF | 15 Fonts | JPEG Preview | 1 Mb RAR
F.H.Ernst Schneidler, type designer and teacher, originally designed Schneidler Old Style in 1936 for the Bauer foundry. Stempel Schneidler is based on the typefaces of Venetian printers from the Renaissance period and possesses their grace, beauty, and classical proportions. Stempel Schneidler is a fine, legible text type that also works well in display. One of Schneidler’s more unique features is its question marks.
OTF | 10 Fonts | JPEG Preview | 2.7 Mb RAR
As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univers family consists of twenty-one typefaces, and Frutiger has used this numerical system on other designs, including Serifa and Frutiger. Linotype also has adopted this numerical system for many other faces. All twenty-one Univers faces were designed to work together, so they can be mixed in a variety of ways. Their legibility lends itself to a large variety of applications, from text and headlines to packaging and signage.
OTF | 27 Fonts | JPEG Preview | 1.2 Mb RAR
Developed for Volkswagen AG in 1979, VAG Rounded is a variation on nineteenth-century grotesque sans serif designs. What is unusual about VAG Rounded is that the terminal of every stroke is rounded.
OTF | 4 Fonts | JPEG Preview | 2.7 Mb RAR
Uma is a typeface family consisting of two weights: light and bold. The typography is fresh, informal and friendly at first glance, but the constructive architecture makes it elegant and modern. It works equally as well in large or small sizes, and the combination between the two weights is very interesting to work with. It is a contemporary typeface, ideal for use in magazines, brochures, flyers and advertising among other applications. Uma may seem simple at a first glance, but it is very functional and professional, with aesthetic enchanting details. Uma has a wide range of functionality and has a great personality. Designed by Ariel Di Lisio and digitized by Ale Paul, Uma includes alternates, fractions, ligatures and a wide range of latin languages.
OTF | 2 Fonts | JPEG Preview | 4.3 Mb RAR
Alfina is a chancery typeface that shows a modern temperament, but is inspired by the eponymous town of Torre Alfina, one of the most beautiful medieval villages of Italy, situated on the edge of the plateau Alfina, a few miles from of Orvieto. The place where is the castle is steeped in history. Its roots date back to the Lombard kingdom (seventh century); later it was under the rule of Monaldeschi (1200-1700) and more recently (1880) the property of the rich French banker Count Edoardo Cahen of Antwerp, who was responsible for the present aspect of the Castle. Alfina has soft lines, very slender upper cases and thin overlapping strokes; The stylistic alternates are particularly important, and the type is enriched by many, different OpenType features.
OTF | 1 Font | JPEG Preview | 11.2 Mb RAR
Aubaine (2012), the youngest typeface by designer Jean Paul Beumer, is to be seen as the elegant and graceful grandniece of the more modernist and business minded gentleman Helvetica who was born in 1957 in Switzerland and who is himself a descendant of the erratic “Baron Akzidenz Grotesk” (1896) – said to be the first widely used sans serif. This unsurpassed Aubaine is literally and figuratively a blessing in type territory, finally a girl that is really going to make it! Aubaine is assuredly a pleasant addition to the more upscale branch of the family of sans serifs. Aubaine therefore offers a variety of light weights and is characterized by round, smooth shapes and a large x-height. Also in small sizes Aubaine remains a friendly font with bright open counters. Excellent for use on sound aesthetic packaging of all kinds of desirable wellness and design products – including the “sweet” small print.
OTF | 7 Fonts | JPEG Preview | 4.7 Mb RAR
Arcus OpenType is a geometrically constructed font. The grounding principle is the round curve. The homogeneous character of this font is guaranteed by using this principle not only in drawings of particular letters but in the shaping of diacritical signs, too. The scope of the typeface weight is from Extra Light to Extra Bold while the complete font family includes 6 weights and their respective, well turned italics. This font contains a wide range of alternative signs, small capitals, lining and oldstyle numerals, fractions, superiors, inferiors, ligatures and discretionary ligatures; all this is within the frame of OpenType functions. This font type is not made for the typography of extensive texts. Best it can be used for headline display typeface or in creating logotypes and corporate identities.
OTF | 12 Fonts | JPEG Preview | 6.1 Mb RAR
Delicious Pro from Yes Please is a bold, contemporary take on the classic Americana script. Inspired by the vibrant history of early 20th Century American packaging vernaculars, Delicious Pro delivers unique flavor packed with gestural personality perfect for headlines, packaging and more! Delicious Pro features conventional ligatures, a standard set of accents and symbols, and a full set of extended custom styling ligatures to provide a versatile end-user experience. Delicious Pro has played hard for Nike Women’s Training, Nike Sportswear, IFC and more. Delicious Pro is designed by Lee Schulz.
TTF | 1 Font | JPEG Preview | 8.5 Mb RAR
Ondise is a curvy and warm hand-lettered calligraphy script with a natural, dancing baseline. This Opentype font was created with a pointed pen & ink, and includes six different ampersands as well as a swash feature that automatically substitutes beginning & end of word letters. To enable alternate ampersands, simply turn on the contextual alternates feature and type &1, &2, &3, etc. Opentype coding automatically substitutes the new ‘and’.
OTF | 1 Font | JPEG Preview | 9.4 Mb RAR
The Hunt Brothers, penmen extraordinaire, presented the pattern for this face as Upright Ornamental, it’s a little loopy and a whole lotta fun. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.
OTF | 1 Font | JPEG Preview | 2.1 Mb RAR
Typeface Little Cecily was designed on the base of Russian calligraphy sample book for primary schools “Propisi pryamogo pis’ma” (Moscow, 1914). Such kind of scripts was implemented in school programs at the end of 19th — beginning of 20th century. There was an opinion that the straight writing is easier for learning and better for children from a medical point of view. The letterforms of the typeface are characterized by simplified constructions and upright design which distinguishes it from the list of typical school scripts and convey to it a naive charm and originality. The character set covers standard Western and Cyrillic code pages and contains some additional letters from the old Russian orthography. Besides it includes alternative letters that were presented in original book and contextual forms for connected writing. The font was designed by Olga Umpeleva. Released by ParaType in 2011.
OTF | 1 Font | JPEG Preview | 1.2 Mb RAR
Inspired by the Bronze Age of comics, “Fight to the Finish BB” comes with EIGHT sound effects fonts; four with clean edges, and four with rough edges. Talk about covering all the bases. All have extended European character sets, as always!
OTF | 8 Fonts | JPEG Preview | 1.1 Mb RAR
Feast is a calligraphy style font designed by Alissa Mazzenga. Her hand-sculpted letterforms emanate a powerful, yet delicate presence. Their magic resides in the ethereal movement of fluid wisps of ink, forming soft arched lines and design that stands alone. This hand written style font is based on Alissa’s signature calligraphy style and pairs beautifully with fonts like Frosted and Icing.
OTF | 1 Font | JPEG Preview | 1.4 Mb RAR
Monolite is a geometric sans serif display typeface. This geometric typeface is not to be messed with; its clear-cut edges and modern styling gives Monolite the attitude it needs to leave a lasting impression.
OTF | 1 Font | JPEG Preview | 5 Mb RAR
Dutch type designer Fred Smeijers created this sans FontFont between 1997 and 2012. The family has 28 weights, ranging from Thin to Black in Condensed and Medium (including italics) and is ideally suited for book text, editorial and publishing, logo, branding and creative industries, small text as well as web and screen design. FF Quadraat Sans provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic writing system.
OTF + PDF | 24 Fonts | JPEG Preview | 16.5 Mb RAR
Montague Script takes its name from a small hilltown of western Massachusetts rich in culture and history. I lived in this beloved community for a number of years and it’s where I first began my study of calligraphy and lettering. While most brush scripts take their cue from mid-twentieth century samples, Montague Script is a fresh, contemporary alternative. It comes directly from lettering written with a #3 sable brush on smooth vellum and is digitized with the same sensibility a lettering artist writes with. Montague reflects a dynamic interplay between form and rhythm not usually associated with type. Words suggest a baseline, yet are not bound by it. Beginnings, endings, alternates and ligatures come in as needed while you type. Many more alternates are available in the glyph palette of most current graphic software. Exuberant swash versions of upper and lowercase letters, as well as ligatures can be accessed through both the type and glyph palettes. Montague Script is a natural for advertising, point of purchase displays, packaging and logo design, cards, invitations, journals and much more. You will be delighted at how well it can dress up a project and how easily it sets.
OTF | 1 Font | JPEG Preview | 4 Mb RAR