Over the past couple of years I received quite a number of unusual and surprising requests to modify my type designs to suit projects of personal nature, but none top the ones that asked me to typeset and modify tattoos using Burgues Script or Adios. At first the whole idea was amusing to me, kind of like an inside joke. I had worked in corporate branding for a few years before becoming a type designer, and suddenly I was being asked to get involved in personal branding, as literally “personal” and “branding” as the expression can get. After a few such requests I began pondering the whole thing from a professional perspective. It was typography, after all, no matter how unusual the method or medium. A very personal kind of typography, too. The messages being typeset were commemorating friends, family, births, deaths, loves, principles, and things that influenced people in a deep and direct way, so much so that they chose to etch that influence on their bodies and wear it forever. And when you decide to wear something forever, style is of the essence. After digging into the tattooing scene, I have a whole new respect for tattoo artists. Wielding that machine is not easy, and driving pigment into people’s skin is an enormous responsibility. Not to mention that they're some of the very few who still use a crafty, hands-on process that is all but obsolete in other ornamentation methods. Some artists go the extra mile and take the time to develop their own lettering for tattooing purposes, and some are inventive enough to create letters based on the tattoo’s concept. But they are not the norm. Generally speaking, most tattoo artists use generic type designs to typeset words. Even the popular blackletter designs have become quite generic over the past few decades. I still cringe when I see something like Bank Script embedded into people’s skin, turning them into breathing, walking shareholder invitations or government bonds. There’s been quite a few attempts at making fonts out of whatever original tattoo designer typefaces can be found out there - wavy pseudo-comical letters, or rough thick brush scripts, but as far as I could tell a stylish skin script was never attempted in the digital age. And that’s why I decided to design Piel Script. Piel is Spanish for skin. In a way, Piel Script is a removed cousin of Burgues Script. Although the initial sketches were infused with some 1930s showcard lettering ideas (particularly those of B. Boley, whose amazing work was shown in Sign of the Times magazine), most of the important decisions about letter shapes and connectivity were reached by observing whatever strengths and weaknesses can be seen in tattoos using Burgues. Tattoos using Adios also provided some minor input. In retrospect, I suppose Affair exercised some influence as well, albeit in a minor way. I guess what I'm trying to say is there is as much of me in Piel Script as there is in any of the other major scripts I designed, even though the driving vision for it is entirely different from anything else I have ever done. I hope you like Piel Script. If you decide it to use it on your skin, I'll be very flattered. If you decide to use it on your skateboard or book cover, I'll be just as happy. Scripts can't get any more personal than this. Piel Script received the Letter2 award, where they selected the best 53 typefaces of the last decade, organised by ATypI.
OTF | 1 Font | JPEG Preview | 50.5 Mb RAR
Melany Lane from Yellow Design Studio is a flourishy script based on traditional letterforms, but with the added quirks and warmth of hand-drawn type. The base character set has traditionally connected letters and an expressive charm. Contextual alternates add flair with unconnected letters and additional contour options. Mix in swash and stylistic alternates for extra funkiness and fun. Melany Lane features regular and bold versions, 118 eclectic ornaments (also in regular and bold), and a free set of 14 seamless background patterns. It includes over 1300 glyphs and 364 ligatures that create interesting letter combinations and fix overlapping letter pairs. Opentype features including contextual alternates, swash, stylistic sets, ligatures, initial and terminal forms and old-style figures. It performs best with opentype friendly applications.
OTF | 5 Fonts | JPEG Preview | 7.6 Mb RAR
Reina is Sproviero’s didone of the year. We recommend seeing its user’s guide. Inspired in the sweet letters of calligraphy and typography masters of our past; such as Didot, Bodoni and the incredible Herb Lubalin, its aim was to incorporate the decorative accolades from blackletter and copperplate styles of calligraphy into a Modern Roman typeface. Reina reflects sovereignty due to the enveloping atmosphere and the sensation of greatness that can be felt when using it. It has an unique way of standing over paper and screen, being its swashes responsible of an extreme elegance. Similar to what Lian did in his last font Breathe, Reina was designed to be playful yet formal: While none of its alternates are activated it can be useful for short to medium length texts; and when the user chooses to make use of its open-type decorative glyphs, it can be useful for headlines with dazzling results.
Reina is a family with many members. In order to achieve better results when printing, Lian took his time to design the necessary styles: Reina 72 Pro, prepared for display sizes; Reina 36 Pro, for medium sizes; and Reina 12 Pro, the best for text or decorative words in small size. Each of these members have variants inside, which are open-type programmed: The user decides which glyph to alternate, equalizing the amount of decoration wanted. Reina Engraved Pro has the same features than the variants mentioned above. The family also contains variants which were made exclusively for decoration. These are: Reina Words, a set of the most common words used in english, german, italian, french and spanish; Reina Capitals, which consists in a big set of ornamented capitals; and Reina Fleurons, those little friends which always help to embellish our work.
OTF | 12 Fonts | JPEG Preview | 6.4 Mb RAR
Fairly condensed, slightly contrasts and particularly terminals, Klaus FY offers a good legibility in all text sizes. Its broken ductus reminds of blackletter shapes and gives this family a very singular and modern style.
OTF | 10 Fonts | JPEG Preview | 7.6 Mb RAR
http://www.myfonts.com/fonts/insigne/cohort/
- Cohort is a strong and crisp geometric sans serif. Cohort uses a rounded rectangle as its central motif. Although the geometric design is minimalistic, Cohort has a variety of unique letterforms that keep the design from being too predictable and maintains a bit of beautiful nuance with plenty of legibility.
- Cohort’s six different weights give it a great deal of versatility, from its sharp and potent black weight to the fresh and razor sharp thin. Cohort can be used for logotypes, headlines or short blocks of text.
- Cohort includes many useful OpenType features, including a set of upright italic swash alternates, ligatures, small caps, fractions and old style figures, sharper and more unique counterforms and simplified characters for titling.
- OpenType-capable applications such as the Adobe suite or Quark can take full advantage of automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of latin based languages.
Abdo Master Font Family - Arabic-Persian-Urdu-English $730
The Combination of Modern Kufi and Geometrical Styles
14 OTF with WOFF WebFonts | Designer: Abdulsamie Rajab Salem
http://www.myfonts.com/fonts/abdo-fonts/abdo-master/
- Abdo Master is a geometrical style. This is an OpenType Font supporting Arabic, Persian, Urdu, and English. The combination of modern Kufi and Geometrical styles and varying between straight and curved parts made it a beautiful typeface appropriate to the titles and text, and able to meet the desire of the user in the design of ads and modern designs of various types of audio and visual. It comes in fourteen weights from Thin to Black and Outline style.
Dream Script may be that dream named above made true. I have been practicing chancery in the way I learnt from those calligraphers for many years now.
Making a font out of my ink-sketches was a tough work, since they were closer of -being art- than of -being type-. However, this font rescues many aspects of handmade calligraphy: You have to look at it really close to notice it is actually a font, and that was one of my goals. The secret of a good looking chancery is on its subtle details: pen angle is constantly changing, even on the strokes which seem straight. Capitals and swashes have to be done a little faster than lowercase letters. The rhythm has to be even, in spite of its playful look. The fact that makes Dream look alive is that it has many alternates per glyph. This makes each word look unique like it happens in calligraphy: you will find alternates for the beginning/ending of a word/phrase, some for the middle of it, some interchangeable. Also, to accompany the script, you will find Dream Caps, which was inspired in the eternally beautiful trajan capitals. Place them like I did on the posters and you will have great results for sure. The font works great in small, middle and big sizes and can be a great selection for magazines, wedding invitations, perfumes, and posters. Dream Script Pro is the most complete style, it contains all the alternates and ligatures (OT programmed, better if you use Adobe applications). If you plan to use the font for text, be sure to activate the less decorative capitals, which are placed in the “salt” group of alternates. Dream Script Standard has less glyphs than the Pro one, it contains just some ligatures for a better legibility. (OT programmed, better if you use Adobe applications).
OTF | 2 Fonts | JPEG Preview | 5.4 Mb RAR
In 2008 TypeTogether released the Bree typeface, a sleek sans serif that quickly became a favorite among brand and editorial designers. Bree Serif follows the same theme as its predecessor. It is a young and energetic upright italic that approaches readers with hip and somewhat elegant charm. It has a range of styles that can perform as counterparts to the original Bree fonts. At the same time though they bring a whole range of new and individual features that make Bree Serif a separate type family in its own right. The characters in Bree Serif maintain the original flavour of handwriting, but have a more subtle appearance to support optimal editorial usage. The slabby nature of its shapes, particularly in the heavier weights, makes for a strong impression. Some of the characteristic features of its sans serif cousin are present in Bree Serif too, such as the single-story ‘a’, the cursive ‘e’ and the rhythmical ‘k’ and ‘y’. Alternate letters of these are also available when a more neutral look is desired. Bree Serif offers a mixture of fluid and attractive forms that convey a contemporary and vivid aspect.
OTF | 12 Fonts | JPEG Preview | 4.8 Mb RAR
Signor is a soft and easygoing all caps font. Signor is very easy to use and is at its best when you need to make an impact but have a casual feeling.
TTF | 5 Fonts | JPEG Preview | 4.3 Mb RAR
Is the real romanticism over? This is not the intention achieved on a creation of the new version of Only You Pro. Develop a font that reflects the perfect union of sensuality and romanticism: Only You Sexy. It has a soft trait and delicated curves that evokes contemporary and musicality while has erotic and sensual references. The icons are a piece of show. They make reference to hipsters concept a recurring nostalgia and a recovery of an almost forgotten romanticism. Bring all that romance back. Bring the sensuality in your work and graphic texts. This font brings back everything that the true romanticism deserves: a font that allows you to write using beauty, sensuality and the sounds from the hearts. Only You Sexy is handmade, stylish, modern and multilingual. With more than 800 glyphs it is possible to get an infinity of combinations at your disposal. The font doesn't have PDF and works better in softwares that support the complete OpenType function.
OTF | 10 Fonts | JPEG Preview | 13.6 Mb RAR
Mija is a grotesk vernacular handmade typeface whose imperfections make it perfect. It is a fresh hand-painted display face with a warm and organic feel. This full-of-ink-traps typeface is inspired by local vernacular signs. Mija looks good at both large and small sizes. The family is available in a 4-font combo package, suited for solving most common text hierarchy problems in graphic design; Roman, Bold, Italic and Small Caps. Mija is derived from the words ‘mi hija’, which literally translated means ‘my daughter’. Mija is a Latin American Spanish term of endearment most of the time used by an older person to a younger girl or woman.
OTF | 4 Fonts | JPEG Preview | 5.3 Mb RAR
TTF, OTF | 2 FONTS | 2 MB
Léon FY is a handwritten font co-created by a french illustrator and cartoonist. With its spontaneous and friendly design, this typeface will give fun and freshness to your creations. It can also give voices to your drawings! Available in two weights – Regular and Medium – Léon FY includes smallcaps, ligatures and some alternates.
Léon FY font was co-created by Quentin Vijoux & Gia Tran on fontyou.com, the first collaborative type foundry.
Cheap Pine is a tribute to the wood type of the eighteenth century and nineteenth century. You can use Cheap Pine Sans & Cheap Pine Shadow together to influence the color of the shadows. The font contains arrows, hands, stars and other special glyphs available through the OpenType ligatures feature.
OTF | 3 Fonts | JPEG Preview | 3.7 Mb RAR
Inspired by Edward Johnston's type for the London Underground and Eric Gill's Gill Sans®, Camphor™ is also informed by the European sans serifs typified by Adrian Frutiger. However, Camphor copies neither. It is narrower than Johnston's type and eschews the idiosyncrasies of Gill Sans, making for clean and cool, modern sans serif that lends itself to everything from branding and wayfinding to advertising and editorial design. Nick Job says I wanted to draw a modern, uncluttered sans serif family with classical proportions, unashamedly English but with fewer idiosyncrasies than its influential forerunners. And he succeeds. Despite it lack of embellishments, Camphor resists the sterility of other faces designed on the same premise. It is a lean, self assured, legible, and versatile type, coming in six weights, from thin to heavy, all with companion italics, small caps, alternates, and broad language support.
OTF | 12 Fonts | JPEG Preview | 4.7 Mb RAR
Ainslie Font Family $1008 | Designer: Jeremy Dooley 2013
42 OTF and WOFF Files | 72 Languages | 59 MB
http://www.myfonts.com/fonts/insigne/ainslie/
- Get your Aussie on! The new typeface, Ainslie, with its mix of influences from Oz, makes its mark as the first semi-serif from insigne Design.
- Ainslie, named for Mt. Ainslie and Canberra’s inner suburb of the same name, was originally developed for the Canberra Australia Centennial Typeface Competition. Canberra is Australia’s capital, and it’s a planned city designed by American Walter Burley Griffin, a contemporary and one-time associate of Frank Lloyd Wright. Griffin’s plan involved a distinctly geometric design with several focal points--one of which was Mt. Ainslie. This same purely geometric scheme is now the basis for insigne’s new release.
- Similar to the Chatype project in its scope, its challenge, and the way its concept was developed, Ainslie incorporates influences from Canberra and surrounding areas to form a font that is uniquely Australian. In comparison, Chatype was developed for the city of Chattanooga, Tennessee by insigne in conjunction with designer Robbie de Villiers. Chatype took elements from Chattanooga’s industrial character and Cherokee past and merged them with the area’s technological influences.
- Likewise, Ainslie takes Canberra’s distinct, geometric design and blends it with the organic, flowing effect of aboriginal art. Add in touches from the smooth, aerodynamic design of the boomerang and Ainslie gives you a look uniquely Australian yet usable in a wide range of applications.
- The fashionable typeface includes a multitude of alternates that can be accessed in any OpenType-enabled application. These stylish alternates along with a number of swashes as well as meticulously refined details with ball terminals and alternate titling caps keep the font well accessorized. Also included are capital swash alternates, old style figures, and small caps. Peruse the PDF brochure to see these features in action. OpenType enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also offers the glyphs to support a wide range of languages.
- While Ainslie wasn't selected as the final font in the Canberra competition, the outcome allowed for additional adjustments to the typeface. Several approaches were attempted for the final product including a technological hexagonal concept, which may still be developed to another form later. Some of the organic forms were removed and substituted with more abrupt endings, leaving the face looking pretty spiffy and a fair bit more legible. In the end, Ainslie was pulled back to the basic forms from which it was started.
- Give it a go for your next project. It’s guaranteed to be anything but a barbeque stopper.
A large and rare undertaking, Charcuterie is a family of ten distinct yet related typefaces, many of which have their own font families, and three decorative/ornamental typefaces. While most of the Charcuterie typefaces are outfitted with a standard character set, Charcuterie Engraved features 135 swash alternates and Charcuterie Cursive boasts 275. Charcuterie Frames offers a broad and endless approach to creating frames of any width, height and style. Featuring 60 corner elements and 20 top, bottom and side pieces along with a detailed User’s Guide in the ‘Gallery’ on how to construct the frames. Charcuterie Catchwords features nine different styles for a total of 82 glyphs. Charcuterie Ornaments is very practical and features 100 glyphs a vast array of arrows, brackets, rules, icons, ribbons and more. This ambitious, yet accessible, set offers a virtually endless series of combinations, allowing each designer to form a tasty platter of ingredients, one that is uniquely theirs, for each project. Used solo or blended with other fonts from this large family, elements of Charcuterie are well suited for headlines, titling, logos, display, packaging, signage, or advertising. Dig deep into each typeface to find a rich set of fonts (the number depending on the typeface), revealing variations upon variations. The word charcuterie means the preparation of meats. Today, it often refers to a wide and varied selection of meats served together, listed as a single, beautiful, and complex menu item. Charcuterie celebrates the personally crafted -- the sense of the human touch giving it a slightly rough edge that only adds to its charm. The ‘roughness’ derives from a slight stressing and small irregularities in some fonts. This bit of unevenness doesn't dominate the look -- it’s simply the personality and humanity of the type designer cooked into the final piece. Charcuterie is an homage to the inventiveness, passion, and care of peasants who proudly handed down recipes through generations. Their humble fare is used by bistro chefs to create masterpieces by ever so slightly transforming the simple into the sumptuous. Similarly, with Charcuterie the designer can employ the handcrafted look of the many letters within these font families to create a project that is jaunty, quirky, and juicy or one that is a gloriously rich and varied feast for the eyes.
OTF | 22 Fonts | JPEG Preview | 29.3 Mb RAR
Mynaruse Royale is an expansion of Mynaruse Titling. It features script capitals and widely tracked and smaller titling capitals. Mynaruse Royale has plenty of character and, with its powerful and sharp serifs it draws in the eye. Mynaruse Royale is useful in settings that call for titling with an extra touch of elegance, such as a storefront, wedding program or formal invitation. Mynaruse Royale contains a number of OpenType alternates, including alternate forms for the capitals that are large, drop cap like capitals instead of the calligraphic script capitals found in the default forms. Additionally, there are non-widely tracked lowercase forms that work well with the included alternate characters and ligatures. The lowercase forms are 80% smaller in height than the Mynaruse lowercase forms, so the families are not interchangeable, but they can be used together. The calligraphic script capitals could also be used separately as drop capitals. OpenType-capable applications such as the Adobe suite or Quark can take full advantage of automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of latin based languages.
OTF | 6 Fonts | JPEG Preview | 4.7 Mb RAR
Rotokas is a sans serif typography. It is probably the first font designed exclusively to type Rotokas language. Spoken by Bougainville islanders (Papua New Guinea), Rotokas has the world’s smallest alphabet consisting of only twelve latin letters. This typeface has a great performance either on continuous text or at display sizes. Its rounded corners and insinuated ovoidal forms, inspired by papuan artworks, give this typography a warm and friendly feel.
OTF | 1 Font | JPEG Preview | 13.1 Mb RAR
Andes, designed by Daniel Hernández, is a display typeface that has neo-humanist characteristics. Its different terminals, among other elements, give it a look of mixed typography. Andes is a typeface with 10 Upright weights, 10 Italics & Condensed version, ranging from Ultra Light to Black, each of the same x-height. This typeface contains additional italic glyphs (a, y, z, g) that help to emphasise text or words. Andes is based on the design of Merced and both of them share several features. This type is well-suited for use in retail, magazines, logotypes, books, etc.
OTF | 10 Fonts | JPEG Preview | 1 Mb RAR
Schwager is a steampunk slab serif typeface with an industrial accent in a contemporary tone. Its strong structure and male, makes it ideal for titles, headlines and brands of male lifestyle, technology and trend. This typeface contains alternate glyphs that help to emphasize text or headlines.
OTF | 12 Fonts | JPEG Preview | 4.6 Mb RAR
Sisco is a complete font family of 18 weights intended for editorial use and brand identity. Open counterforms give it a touch of modernity and technological. Sisco is designed to be legible in small sizes in both paper and display devices. It contains a set of authentic Small Caps and various sets of numerals, fractions, ligatures, and an extensive map of suitable characters for most languages based on Latin characters. Sisco is a typeface that will bring the future to your graphic projects.
OTF | 18 Fonts | JPEG Preview | 4.9 Mb RAR
Following the success of the Ashemore family, is became clear that a rounded version of Ashemore would be a great addition to the product line that would allow designers even more design choices. Ashemore Softened’s rounder forms compliment the face well as the original font eschewed straight lines. The rounded terminators give the face a sense of friendliness that is unsurpassed. The distinct and flamboyant style of Art Nouveau and the Arts and Crafts style remain, but the blunted terminators give the face a more technological and contemporary look and feel. The Ashemore Softened family has a full range of six weights from thin to black and includes condensed and extended options for a total of 36 fonts. The typeface also includes some unique OpenType alternates that make the superfamily even more versatile. Ashemore Softened is equipped for complex professional typography, including alternates, small caps and many alternate characters. The face also has a number of numeral sets, including tabular figures, fractions, old-style, lining figures and superiors and inferiors. OpenType-capable applications such as Quark or the Adobe Suite can take full advantage of automatic ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Ashemore Softened also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Ashemore Softened supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. The original Ashemore was designed by Jeremy Dooley with production assistance from Lucas Azevedo and Marcelo Magalhaes.
OTF | 36 Fonts | JPEG Preview | 9.3 Mb RAR
