CM - Touch Tone Light 68105
The Touch Tone Light includes ornaments, patterns, banners, arrows, and dingbats. Get random hand lettering with ease by one click via OpenType.
OTF | All Files | RAR 308 KB
YWFT OverCross is one of the most unique type designs to come out of the late 90’s and early 2000’s. It originally started as a typeface design setting out to explore visual form but at the same time keep it’s legibility. At close range, YWFT OverCross is visually beautiful but rather unreadable. But take a step back, and from a distance it is completely legible. Still to this day we still don't understand how a mesh of lines can make these letterforms, but they do. YWFT OverCross was completed in 2002, and converted to opentype in 2010. It has been used by numerous magazines and seen multiple times on independent t-shirt and postcard designs.
OTF, WOFF | 12 Fonts | JPG Preview | 1.6 Mb RAR
A futuristic grid-based interpretation of the classic Prisma by Rudolf Koch (1927-29). Prizma2012 breaks away from typical rounded characteristics of most Multiline designs and embraces 45 degree angles, a rigid grid system and open ended terminals. Intended for use at large sizes, the family comes with four weights for optimal impact.
OTF, WOFF | 4 Fonts | JPG Preview | 1 Mb RAR
14 OTF Fonts | Designers Paul Chen | TURKISH Language Support
Nephrite is a clean and soft family of 14 styles, 7 weights and italics.
Recommended for text, magazine, book, logo and brandings.
Sevigne [sey-vee-nyey] is a highly refined, contemporary geometric sans, inspired by the ambience of high-end fashion and luxury. The inclusion of over 130 unique ligatures expand its sensibility of alluring, well-balanced letterforms and distinctive style. Stylistically, as an all-caps typeface, Sevigne exudes a greater sense of harmony and polish due to its unicase form where the interplay of a limited amount of characters is the focus. Subtle, considered details are found within individual letters, contrasted by the complex, intersecting forms that make up the various ligatures. With multiple stylistic sets added to the expanded ligatures, individual letters and ligature pairs can be carefully exchanged to fine-tune text settings for a unique custom type solution.
OTF, WOFF | 3 Fonts | JPG Preview | 1.2 Mb RAR
YWFT Estencler was originally influenced by many different types of stencil lettering, but then altered to have it’s own unique twist. With an appearance similar to Milton Glaser’s Glaser Stencil, YWFT Estencler takes a more rugged, masculine and tough approach to the stencil idea. YWFT Estencler has been used abundantly by various clients like Wired Magazine, Stones Throw Records and the print magazine Computer Gaming.
OTF, WOFF | 5 Fonts | JPG Preview | 1 Mb RAR
OTF Font File | Designer: Jakob Fischer | Design Date: Jun 26, 2015
Cherily Blussom was made with an inky pen, and little was done to correct the blurry edges. That’s why Cherry Blussom stands out in such an authentic way! Comes with both ligatures and alternates - combine them and spice up your text!
Shenandoah - Lovely, Flowing & Professional Typography $59
OTF Font File | Designer: Mans Greback | Design Date: Jun 25, 2015 | TURKISH SUPPORT
Shenandoah is a beautifully crafted script by Måns Grebäck, and is made for lovely, flowing and professional typography. Shenandoah has bold, crisp lines, giving it a rustic and retro effect whilst keeping it sleek and modern. This typeface and a bit of love could be used for fashion, apparel, stationary, magazines, typography, film, books and marketing!
Prillwitz Pro - Enthusiasm for the Greek & Roman $588
12 OTF Font Files | TURKISH SUPPORT
Designers: Johann Carl Ludwig Prillwitz, Ingo Preuss | Publish Date: Jul 1, 2015
Johann Carl Ludwig Prillwitz, the German punch cutter and type founder, cut the first classic Didot letters even earlier than Walbaum. The earliest proof of so-called Prillwitz letters is dated 12 April 1790. Inspired by the big discoveries of archaeology and through the translations of classical authors, the bourgeoisie was enthused about the Greek and Roman ideal of aesthetics. The enthusiasm for the Greek and Roman experienced a revival and was also shared by Goethe and contemporaries. »Seeking the country of Greece with one’s soul«. All Literates who are considered nowadays as German Classics of that time kept coming back to the Greek topics, thinking of Schiller and Wieland. The works of Wieland were published in Leipzig by Göschen. Göschen used typefaces which had been produced by until then unknown punch cutter. This punch cutter from Jena created with these typefaces master works of classicist German typography. They can stand without any exaggeration on the same level as that of Didot and Bodoni. This unknown gentleman was known as Johann Carl Ludwig Prillwitz. Prillwitz published his typefaces on 12th April 1790 for the first time. This date is significant because this happened ten years before Walbaum. Prillwitz was an owner of a very successful foundry. When the last of his 7 children died shortly before reaching adulthood his hope of his works was destroyed, Prillwitz lost his will to live. He died six months later. His wife followed him shortly after.
The typeface Prillwitz as a digital font was created in three optical styles (Normal, Book and Display). The typeface Prillwitz Press was created especially for a printing in small sizes for newspapers. '‘‘Prillwitz Press’’' combines aesthetic and functional attributes which make written text highly readable. It was originally designed for a newspaper with medium contrast to withstand harsh printing conditions. Its structure is quite narrow which makes this typeface ideal for body text and headlines where space is at premium. For the Normal – even more for the Book – a soft and reader-friendly outline was created through a so-called »Schmitz« and optimized in numerous test prints. The arris character and the common maximal stroke width contrast of the known classicist typefaces (Didot/Bodoni) were edited by the study of the original prints. This was also done in order to reach a very good readability in small type sizes.
This typeface is perfectly suited to scientific and belletristic works. Accordingly it has three styles: Regular, Bold and Italic as Highlighting (1).
The typeface Prillwitz is a complete new interpretation and continuing development of the conservated originals from 1790. They have been kept in the German Library in Leipzig. It was always given the priority to keep the strong roughness and at the same time optimizing the readability of this striking font.
The type family has all important characters for an efficient and typographic high quality work.
(1) Accentuation of particular words or word orders (e.g. proper names, terms etc.).
Typographic means for Highlighting could be Italic, SmallCaps or semi-bold.