Vandermark began as a simple daydream of what became the ‘n’ glyph. I considered the elegant balance of a terminal stroke that would never join its supporting stem. The premise was simple, but further experimentation was required for other parts of the alphabet. Vandermark follows a somewhat flexible array of structural rules and curve arrangements that called for considerable sketching to harmonize. The names I choose for my typefaces have to look decent when set in the signature type. Considering its improvisational development, it was only fitting that the namesake is a jazz musician and fellow Chicagoan, Ken Vandermark.
OTF | 2 Fonts | JPEG Preview | 1.3 Mb RAR
Though Zigarre can easily be categorized a brush script, Jim Rimmer actually drew it using a big marker. Jim’s original face, inspired by inter-war German poster lettering, was a rough one, with the marker’s juicy ink roughing it out all over the place. The smooth version, Zigarre Script, was produced as part of a major update and remastering the design underwent in 2012. Both Zigarre Script and Zigarre Rough come with extended Latin language support, as well as a few built-in stylistic alternates. 20% of this font’s revenues will be donated to a GDC scholarship fund, supporting higher typography education in Canada.
OTF | 2 Fonts | JPEG Preview | 1 Mb RAR
Wallet is an expressive handwritten font with loads of personality, suitable for many different projects. It comes in three styles: Felt, Felt bold and Chalk. Wallet has 391 glyphs and supports multiple languages. Opentype features, such as contextual alternates, for replacing beginning and ending glyphs as you type and double letter ligatures are also included. To make full use of its potential Wallet requires an opentype-savvy application.
OTF | 3 Fonts | JPEG Preview | 4.6 Mb RAR
Sketch Caslon Italic is a hand-rendered display typeface with its formal base in the structure of the types of William Caslon.
OTF | 1 Font | JPEG Preview | 1.1 Mb RAR
Hiatus bridges the gap between formal scripts used for invitations and more classic settings and casual scripts that exude a warmer tone. Like many formal scripts, Hiatus is fully connecting. Its low body height combined with generous letterspacing adds an elegant profile to lines of text. Like casual scripts, Hiatus has a warm, hand-lettered appearance with great rhythm. Solid in structure; Hiatus also sets well at smaller sizes. Type enthusiasts will enjoy the variety of options. For optimal text flow, both letters and ligatures have alternate versions programmed to come in at the appropriate place for both beginnings and endings as well as in various contextual settings. In addition, there are variations and flourished versions of almost every letter and ligature. Some ligatures have as many as 12 variations. Also included are fractions, a set of old-style numbers, and a set of ornamental flourishes. Hiatus is a unique contemporary script with the strength of a time-tested classic. Please note that this version supports a wider range of languages compared with the lower-priced version available through other channels.
OTF | 1 Font | JPEG Preview | 1.2 Mb RAR
Take a look at the User’s Guide at the Gallery section for technical information. After the success of Aphrodite Slim (One of MyFonts' best fonts of 2009, which was co-designed with Maximiliano Sproviero) Typesenses presents Parfumerie Script, designed by Sabrina Lopez. With more than 2500 glyphs, Parfumerie is unique amongst the others in its style because it is based on the author’s calligraphy. One of its variables is a Decorative option which combines Copperplate Calligraphy with an ornamental form native of Buenos Aires (where Sabrina lives), the ‘Filete Portenio’, which makes it look original amongst the other fonts. Sabrina has exclusively designed this font for two years, with an obsessive adjustment, in order to provide the world with one of the best scripts ever made. With the idea of ‘Endless way to write a word’, lots of glyphs were Open-type programmed so that users can dive into many alternates and ligatures according to their language.
OTF | 6 Fonts | JPEG Preview | 7 Mb RAR
When Social Gothic first launched in 2007 as a basic single font, it became an instantaneous branding and advertising favorite. It saw wide use by a few fashion outlets and department stores, then soared to new heights of exposure when it became the main face for Sears and the billboard cause standard for a few charity outfits and political organizations throughout Canada’s major urban centres. Social Gothic is a monocase font that combines standard sans serif elements with some distinct “wooden” shapes and oval lowercase components, to make for a totality that achieves a handmade look while maintaining a message delivery that is clean, legible, understated and easy on the eyes. It is a gothic with strongly humanist leanings, something seldom found in the sans serif genre. And now, this newly released Social Gothic family is the re-conceptualized, refined and optimized redux of the many bespoke versions that were commissioned and customized for various proprietary brands and projects over the years. The remastered set consists of four multi-script weights, rough and soft variations, and a very unique stencil treatment. Each of the Social Gothic fonts contains over 550 glyphs and supports over 45 languages.
OTF | 7 Fonts | JPEG Preview | 4.5 Mb RAR
The Hand is a handwritten font designed by Fanny Coulez and Julien Saurin from French foundry La Goupil Paris. We wanted to create the most generic, readable and balanced handwritten font, to work well in every kind of design. It’s an all-caps font with 5 weights and alternates : all the uppercase letters are different from the lowercase letters. We also designed a regular dotted version so you can vary your effects. Merci beaucoup!
OTF | 6 Fonts | JPEG Preview | 4.9 Mb RAR
25 EPS | + HQ JPEG Preview | 172 Mb RAR
Bodoni Sans is a new classic built on the foundation of two centuries of history. Fresh and contemporary, while feeling familiar. Stylish and sophisticated, confident and elegant. Bodoni Sans is more than just chopping off the serifs. The classical proportions of the capitals and x-heights were maintained, but the letterforms were rebalanced for use without serifs. Contemporary modifications were made to some widths, as well as an all new Light weight was created. High contrast is the key feature of Bodoni Sans. To maintain this contrast over a wide range of sizes, three optical sizes were drawn: Standard, Display and Text. Contrast adjustments were made for each optical size for optimal performance. The Standard was designed for the mid range of 12 to 60pt, Display for 48pt and above, and Text for 6 to 12pt. Web/Digital use was also considered while developing Bodoni Sans. The fonts were tested as web formats, and examined on a variety of screens, to ensure seamless use in both print and digital applications.
OTF | 8 Fonts | JPEG Preview | 4.2 Mb RAR
Since Mommie, I gradually got more into swirly ornaments. The massive contrast in the neoclassic style is perfect for thin swirly extentions to the characters. Even in an upright typeface. Narziss is very elegant in big headlinesizes. Use it only very big. What was the inspiration for designing the font? spencerian calligraphies and neoclassic contrast. What are its main characteristics and features? Narziss is very elegant in very big sizes. The Regular version is without any ornament. The Drops version has some character like the e and the k that are more unique. The Swirls version has got carefully added swirls, that come out of the basic stroke and flow into other characters. Usage recommendations: Big headlines in magazines, brochures and invitations.
OTF | 21 Fonts | JPEG Preview | 4.7 Mb RAR
In the era of digital types, the round handmade cursive continues to intrigue many type designers, probably by their beautiful and graceful calligraphic origins. However, what is certainly true, is that all good traditional pen-formed script may be suitable for a wide range of fine graphic works. The Predy typeface is based on the famous style of the 19th Century: The English handwriting made by pen. It is a connected cursive in the tradition of the “ronde”. This typeface is constructed upon their vigorous ascenders with loops, two times the lengths of the descenders with an extremely short x-high. The uppercase is a classical modern roman typeface (Didona) that are accompanying with a set of accurate flourished capitals as alternates of the calligraphic style. Predy font comes with a set of decorative glyphs including old style figures, terminal letters, ligatures, alternates and swashes. This font will lend elegance and sophistication to a wide variety of design projects like wedding, invitations cards, logotypes, packaging and posters.
OTF | 1 Font | JPEG Preview | 8 Mb RAR
Gibbs is a tough, sophisticated sans, named for prolific maritime architect William Francis Gibbs and inspired by his greatest design, the record-breaking mid-century luxury liner SS United States. Taking various cues from the unique cast aluminum signs found on board, the result is truly transatlantic — somewhere in between industrial American vernacular lettering and the English humanist styles of Gill or Johnston. Both stylish and comfortable to read, and with an extensive list of OpenType features, Gibbs allows you to set quality type with ease at both text and display sizes. Built in 1952, the beautiful United States was the most revolutionary ship in the world when new. After a flawless 17-year career, she now sits unused and is in danger of scrapping. Her current owner, the non-profit SS United States Conservancy, wishes to restore the ship as a vibrant waterfront development and museum for future generations to enjoy for decades to come.
TTF | 12 Fonts | JPEG Preview | 7 Mb RAR
The tradition at the New York Times magazine has been to dedicate the year’s last issue to the people who passed away during the year, especially those whose lives have affected us. Art director Nancy Harris Rouemy, whose typographic design sense has earned her many prestigious awards over the years, decided on an all-type magazine cover for the 2008 issue, and commissioned Canada Type to do a new typeface especially for that project. Now Memoriam is finally here in retail form—not least because hundreds of people have asked for it. Though a few other Canada Type faces were used in the magazine with great results over the preceding months (mainly Ambassador Script and Sympathique), Nancy thought a some of the ideas in Jezebel's uppercase and Treasury's lowercase would be a good fit onto an all-type commemorative cover, but with a much higher contrast and the infusion of a more luxurious and elegant brand of poster calligraphy that doesn't date itself. After a few different attempts, the first shapes were born, and six weeks later there were enough forms to do the cover. The typeface was such a success with the editors and designers, it was used all over the magazine, instead of just the cover.
OTF + TTF | 4 Fonts | JPEG Preview | 4.4 Mb RAR
Neacademia is a Latin and Cyrillic type family inspired by the types cut by 15th century Italian punch-cutter Francesco Griffo da Bologna for the famous Venetian printer and publisher Aldus Pius Manutius. The family is designed for lengthy texts of an appropriate nature such as classical literature and art. Different versions of the typeface are optimized for specific point sizes as was traditional in metal type. Recent history of digital type left us surrounded by regularity and perfection in text fonts-- a trend that will only intensify with a switch to digital media. Contemporary luddites with their love for letterpress and hand-made materials are running out of suitable fonts. For that reason, the typeface was designed with specific allowances for letterpress photopolymer printing. When printed digitally, it can tolerate and even benefit from low resolution, rough paper, and low-grade presswork. Neacademia also has a more traditional approach to kerning and caps spacing. Instead of a multitude of kerning pairs, it makes use of alternative contextual letterforms to improve letter spacing. In many ways, it feels like using metal type again! This carefully crafted family already proved its qualities in the Modern Cyrillic 2009 competition where it was awarded in a the “type system” category. Rosetta will introduce the rest of the optical sizes in the course of the following year.
OTF | 4 Fonts | JPEG Preview | 4.3 Mb RAR
Aguda Stencil font family is the stencil version of the Aguda font family and has been designed for Graviton Font Foundry by Pablo Balcells in 2014. Aguda Stencil consists of 8 styles. The 4 “Stencil 1” styles contain a narrow stem for big sizes type and/or rigid materials printing, and the 4 “Stencil 2” styles contain a wide stem for small sizes type and/or light materials printing.
OTF | 8 Fonts | KPEG Preview | 3.2 Mb RAR
Clear skies. Crisp air. Ripe organic produce. Artisan bread at the farmer’s market. Olives. Fragrant bouquets. Guernseys in the meadow. Glimpses of the Golden Gate and the city on the bay. Afternoons in the forest, foraging mushrooms. Day trips to wine country. Toasting to love, peace & hope with good friends. Dungeness crab fresh off the boat. Walks to the Mission with fair-trade coffee in hand. Sharing buttery homemade cupcakes. San Rafael lives the good life! A flirty, sweet hand lettered font, San Rafael strikes just the right balance between sophisticated and casual. San Rafael Mission is perfect when you desire a more generous open breezy feel. San Rafael and San Rafael Mission have a lovely collection of alternative glyphs & ligatures accessible in any OpenType aware application. They are perfect for labels, packaging, logotypes, book titles, gifts & stationery goods. San Rafael pairs beautifully with other Tart Workshop fonts, especially Carrotflower and Sugarplum.
OTF | 2 Fonts | JPEG Preview | 4.4 Mb RAR
Jubilat explores the history of the slab serif in six weights, with generous curves and efficient spacing in both dimensions. Its large lowercase and high contrast make it suitable for headlines, decks, and sidebars. Jubilat is our charter OpenType family, and employs three stylistic sets for hybrid, antique, and geometric alphabets. It also includes alternates, ligatures, case-appropriate punctuation, loose fractions, and broad language support. Developed with input from publication designers on four continents, Jubilat has also been field-tested in diverse circumstances, from dailies on newsprint in the Middle East to high-gloss fashion bibles in the subtropics.
OTF | 12 Fonts | JPEG Preview | 5.5 Mb RAR
She did not live to experience her breakthrough as a poet, but today she is considered one of the pioneers of literary modernity – the American lyricist Emily Dickinson (1830–1886). She left behind a life’s work of manuscripts on scraps of paper, note pads and letters – and a last wish, that these were to be burned. Emily’s younger sister Lavinia did not fulfill her wish – and thus preserved the ingenious manuscript-objects for posterity. For Julia Sysmäläinen, designer of the award winning Kafka type family FF Mister K, Dickinson’s manuscripts were an inspiration and a source for creating her new typeface “Emily In White”. Emily In White – named after Emily Dickinson’s preference for white clothes – captures the most filigree letterforms of the poet’s multifaceted writing style. With hundreds of alternates and ligatures and a complex OpenType feature code it manages to revive the lively sequence of single and connected glyphs of a delicate handwriting which has been described as “breezing” and “reminding of bird tracks”. Language support Western and Central European, over 1800 glyphs.
OTF | 1 Font | JPEG Preview | 6.3 Mb RAR
CA Oskar came into being as a custom typeface for the international Traumzeit music festival. As a substantial part of the new corporate identity, it had to be characteristic, but also flexible in use. Starting with the design of compressed caps for headlines, the typeface was soon expanded by a condensed weight for setting of text and further developed into a fully functional font with two widths and two weights. Both weights are very space-efficient, which was -- apart from aesthetic considerations -- an important issue in the process of the design. CA Oskar is a mixture of industrial harshness and friendly round forms, reflecting the spirit of fusion, which is basically what the whole festival is about. Its very slim proportions in two widths make it an attractive alternative to fonts like Alternate Gothic, but CA Oskar adds an extra portion of personality and a coherent choice of weights.
OTF | 8 Fonts | JPEG Preview | 3.3 Mb RAR
Selfie is a connected sans serif based in vintage signage scripts seen in Galerías of Buenos Aires. These places are, in general, very small shopping centres which pedestrians sometimes use as shortcuts to get to other parts of the city. Their dark corridors take you back in time, and all of a sudden you are surrounded by cassettes, piercings, and old fashioned cloth. For some reason, all these shops use monolined geometric scripts. Surely, neon strings are easier to manipulate when letterforms have simple shapes. My very first aim with Selfie was to make a font that would serve as a company to those self-shot pictures that have become so popular nowadays. However, the font turned into something more interesting: I realised it had enough potential to stand-alone. Selfie proves that geometry itself can be really attractive. In this font, elegance is not achieved with the already-known contrast between thicks and thins of calligraphy, but with the purity of form. Its curves were based in perfectly shaped circles which made the font easy to be used at different angles (some posters show it at a 24.7º angle) without having problems/deformities. In addition to its nice performance when used over photographies; the font can be a good option for packaging and wedding invitations.
OTF | 5 Fonts | JPEG Preview | 13.5 Mb RAR