Tag: advertising
Muller Font
The very first sketches of Muller were made about four years ago. In the process, they changed to the point where they had nothing in common with the original idea. As it is with most work we do, when we
Colt Soft Font
Expanding on the idea of Colt, Colt Soft takes the family closer towards the realm of its original inspiration—type on vehicles from the 60s. During the decade, hefty letters were often embossed into the back of truck tailgates. Because of
Only You Sexy Font
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
Necia Stencil Font
Necia Stencil font family is the stencil version of Necia font family, it has been designed for Graviton Font Foundry by Pablo Balcells in 2014. Necia Stencil consists of 16 styles. The 8 “Stencil 1” styles contain a narrow stem
Ninfa Serif Font
Using the genetic inheritance of semi-serif typography Ninfa, designed in 2008, “Ninfa Serif” has 10 styles and designed to fulfill all needs in the design of text – books and magazines. Published by dooTypeDownload Ninfa Serif
Bobbin Cyrillic Font
To design a font Bobbin I was inspired by a You And Me Monthly published by National Magazines Publisher RSW Prasa that appeared from Mai 1960 till December 1973 in Poland. In the Bobbin family, every variety contains 3 alternative
Ratio Modern Font
Designed in 1923 by Friedrich Kleukens for the Stempel foundry, Ratio was one of the first metal faces to bring the Didone genre to the forefront of industrial mass publishing as a headline and magazine face. Though essentially modern in
Saluzzo Font
The name Saluzzo is given to this font in honor of Giambattista Bodoni (1740–1813). Bodoni was born in the town of Saluzzo, Parma, Italy, and died at the age of 30. Saluzzo is a contemporary interpretation of Bodoni, retaining its
Twine Font
By twisting and weaving separate strands of rope together, a stronger TWINE is created. The distinctive “valleys” that give the twine its twisted and wavy appearance is the result of the twining process. Similarly, TWINE the font, is an exaggerated
Karlsen Round Font
Designed and built in London by TypeUnion, Karlsen Round is a structured, functional typeface which embraces harmony, flow and versatility, but with a cheeky twist. The Karlsen Round Family is made up of 14 styles, which range from a delicate
Becker Gothics Font
The Becker Gothics pay homage to the nineteenth century American lettering master George Becker. Designer James Puckett has given new life to the ingenious gothic alphabets found in Becker’s 1854 lettering manual Ornamental Penmanship. Use this quintet of typographic voices
Necia Font
Necia font family has been designed for Graviton Font Foundry by Pablo Balcells in 2014. It is a modular, geometric and slightly condensed typeface which has been conceived to be primarily a display typeface, but given its clarity it can
Mangerica Italic Font
The italic version of Mangerica is deeply rooted in the calligraphic heritage of the Italics. This way the brush inspired strokes are emphasized as well as an overall calligraphic look. Far from being a mere slant, Mangerica Italic had every
Graphicus DT Font
Graphicus DT is a sans-serif font design, published by DTP Types Limited. Published by DTP Types LimitedDownload Graphicus DT
Encorpada Pro Font
With seven weights and a lot of curves. Freely inspired by the didones shapes, Encorpada Pro now have a extended character set with more than 40 languages supported, Opentype Features and Amazing Swashes in Italic Version. Enjoy It. Published by
Tecnica Slab Stencil Font
Tecnica Slab Stencil font family is the stencil version of Tecnica Slab font family, it has been designed for Graviton Font Foundry by Pablo Balcells in 2014. Tecnica Slab Stencil consists of 8 styles. The 4 “Stencil 1” styles contain
Bodoni Egyptian Pro Font
Beneath the dominant signifier of identity, a surprising dimension of Bodoni is revealed its core architecture, stripped of the famous high contrast cloak. Further subverting typographic norms, a monoline of even width (in all but the heaviest weights) here describes