Lamiar - Handwritten Decorative San-Serif $54
4 OTF Font Files | Designer: Julia Martinez Diana | TURKISH SUPPORT
Lamiar is a decorative, fun, san serif handwritten font. This rounded monoline font will add an fancy, weird and unique look to your work. It’s recommended for display usage for its glyph quality.
Scion - Toyota SCION Logo Inspiration for Typeface $149
5 OTF Fonts | Designer: Alex Kaczun
‘Scion’ is an original design by Alex Kaczun. The inspiration for the typeface came from the Toyota SCION logo, which bears its name. In Alex’s own words, "I loved the simplicity, proportions and hi-tech look of the logo and decided to create an entire new design series based on its unique look". The fonts come in five flavors: thin, light, regular, bold and black. All the font weights were designed systematically on tabular widths so that the user can make adjustments to overall type color without changing the line length. In addition, Alex Kaczun has provided us with several alternate glyph substitions to further enhance the overall appeal of this contemporary new design. The large Pro font character set, which supports most Central European and many Eastern European languages, makes this typeface series ideally suited for display copy as well as text composition. In the near future, Alex plans to include a narrow, compressed and ultra expanded, along with true-drawn italic variations to further expand the possibilities of this great new display series.
Enamela - Condensed Sans Serif Lettering on Vitreous Enamel Signage Dating $60
6 OTF Fonts | Publisher: K-Type | TURKISH SUPPORT
ENAMELA (rhymes with Pamela) is based on condensed sans serif lettering found on vitreous enamel signage dating from the Victorian era and widely used in Britain for road signs, Post Office signs, the plates on James Ludlow wall postboxes, railway signs and direction signs, as well as for circular Automobile Association wayfinding plaques throughout the first half of the twentieth century. In addition to the Medium and Bold weights found on old enamel signs, a new Regular weight and the addition of a convincingly classic lowercase to match the original capitals, make Enamela Condensed a flexible and highly usable typeface. Each weight has a complementary and complimentary faux italic.
The roots of the lettering date back to Victorian times; a Cherry Blossom Boot Polish enamel advertising sign on the Advertising Antiques website is estimated to date from 1880. Between 1908 and 1915 the lettering was used on ‘bull’s eye’ station signs for the London Underground up to the introduction of Johnston’s Underground type. I initially saw a similarity to the Charles Wright car registration plate font (see K-Type Mandatory) with its quirky terminals stemming from the compression of geometric type. Alan Brignull noted the similarity to a Victorian wood type called Runic, though the terminals on C, G, J and S slope in the opposite direction. The precise origin and identity of the typeface continues to prove elusive. In search of an existing digital font, I sought the help of Luc Devroye in Montreal who identified the closest match as Czech designer František Storm’s Enamelplate D, similarly condensed with the correctly sloping terminals. However, many characters differ substantially from those in local source material, perhaps indicating that continental European enamel lettering varied from its British counterpart, though even in Britain a fair degree of variation can be observed, draughtsmen evidently feeling free to amend the basic letter shapes and exercise individual taste. The middle diagonals of an uppercase M usually extended down to the baseline, becoming rather heavy and congested, but some draughtsmen started following the Gill /Johnston example of a higher pointed vertex, and this more elegant option has been chosen for the new Enamela typeface, though the alternative M with lower vertex is also provided at the Alt-M (µ) keystroke on a Mac, or Alt-0181 on Windows. While some designers preferred a plain vertical throat on the G, others added a crosspiece to help distinguish it from a C, and the latter is the form chosen for the Enamela fonts. However, the G without the horizontal is also present, assigned Unicode FF27 (full width capital G).
Workhorse - Sign Painter’s Gothic $65
2 OTF Fonts | Designer: Greg Reid, Charles Borges de Oliveira
Workhorse is a Sign Painter’s Gothic developed by Master Sign Painter Greg Reid. Workhorse captures the true essence of hand lettering. From the tapered waists to the elegant snaps of the brush; these elements present a warmth unseen in today’s mechanically stiff Gothics. Greg Reid and Charles Borges de Oliveira collaborated to bring this truly one of a kind typeface to fruition. With the power of Open type, Workhorse utilizes Contextual Alternates to create random variations of the capitals and lowercase letters. This allows your text to have subtle differences in the letters without losing form which helps to create an honest hand lettered look. This feature can be turned on or off to suit your individual style. You also have the ability to manually choose the glyph variations from the glyph pallet to help you create one of kind designs. Both versions of Workhorse feature complete variations of the capitals and lowercase letters (56 total), Small Caps and six alternates. The Small Caps are not just the capitals scaled down. They have been designed as a unique second set that adjusts the stroke thickness to match the existing letters, creating what we like to refer to as “Real Small Caps”. Workhorse is a timeless classic that can be used from early Americana advertising all the way up to present day modern use.? No matter how you use Workhorse it always looks and reads well.
Outcast - Heavy Grunge Typeface $50
4 OTF Font Files | Designer: Patrick Griffin | TURKISH SUPPORT
Outcast puts the whole grunge font problem to rest by eliminating repetition. Here we have eight variations on each character (4 all cap fonts), so there is no more need to use the same character twice in any display setting. You have the main interchangeable fonts, then you have Outcast Pro — an amalgamation of all four fonts, synched together in one file and programmed with a contextual alternates feature that randomizes setting on the fly. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages. For those end-of-days shirts and placards everyone is eager to design now. Because true grunge never repeats itself.
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