Kaarna Font Family

Category: Fonts, Date: 13-02-2017, 23:15, Views: 153

 

Kaarna is a rough hand drawn sans serif. The underlying shapes and structure are designed in the style of modern sans serifs which are made livelier by the hand drawn look. The condensed proportions make it especially suitable for use in large headlines and to achieve maximum impact.

Hummington Typeface

Category: Fonts, Date: 13-02-2017, 23:14, Views: 140

 

Hummington is an elegant script typeface with a ton of OpenType features, which will help make your designs and digital creations stand out. This font is consist of 700+ characters, 16+ stylistic set alternates, elegant swashes, unique ligatures, old-style figures and multi language support.

Binario Font Family

Category: Fonts, Date: 13-02-2017, 23:11, Views: 145

 

Binario is a geometric sans serif typeface. The design was inspired by elements of Italian Art Deco, early 1900s advertising, and shop signage. Binario to pays homage to early modernism’s optimism, modularity, and efficiency. The shapes of the rounded counters are based on the curve of the classic Roman arch. The bold and regular weights have a vertical emphasis and are suitable for headlines or large body text. The light is more open and provides a nice pairing to the regular or bold as body text or as large display text.

Lauren Font

Category: Fonts, Date: 13-02-2017, 23:09, Views: 41

 

Lauren - a new fresh handmade calligraphy font. Very suitable for greeting cards, branding materials, business cards, quotes, posters, and more!

Butan Font Family

Category: Fonts, Date: 13-02-2017, 23:07, Views: 54

 

Butan was originally designed as a typographic project for the Specialization in Typography Design at the University of Buenos Aires, during the years 2013 and 2014. The project was conceived as a "wayfinding” font, that would be functional for bilingual signage systems. The main guideline for its design was to create a font that could be readable from great distances and it could be potentially used in signage systems. Therefore the neutral aesthetics and clean shapes were very relevant in order to create this particular font.

Blithe Font

Category: Fonts, Date: 13-02-2017, 23:05, Views: 41

 

Bouncy, effortless-looking handwriting can put us at ease or make us smile. Blithe captures the casual flair of a felt-tip pen with clean monoline strokes. Laura Worthington has retained the distinctive quirks of real handwriting – such as characters that dip and dance about the baseline – and imperfectly varied letterforms (see the "ee” ligature, and lowercase "o”s that don’t quite join, or slightly overlap).

Rozza Font

Category: Fonts, Date: 13-02-2017, 23:03, Views: 48

 

Rozza is a single weight stencil cursive fat face font for extremal display use. Looking at this font the story of beauty and the beast comes to mind. That is how I would describe it. On the one hand prickly and dangerous, and on the other - pulsating beauty and passion.

Envelove Font Family

Category: Fonts, Date: 13-02-2017, 22:58, Views: 43

 

«Envelove» is the brand new typographic challenge handwritten by Yani Arabena and designed along with Guille Vizzari and Ale Paul, for Sudtipos.
It all started as a game for Yani. A carefree and spontaneous calligraphy, making use of the pointed nib with black ink, exploring its expressive possibilities pressing against paper. With time that nib turned into her dearest tool to flow through her writing, breeding this particular style of hers that let her trespass the barrier that kept personal and professional passions apart.

Dahlia Script Font

Category: Fonts, Date: 13-02-2017, 22:56, Views: 39

 

Dahlia script a new fresh & modern script with a handmade calligraphy style, decorative characters and a dancing baseline! So beautiful on invitation like greeting cards, branding materials, business cards, quotes, posters, and more!

Tarzana Font Family

Category: Fonts, Date: 13-02-2017, 22:53, Views: 48

 

This text was first published in the Summer of 1998 in Emigre #47.
These two families of sans-serif text faces were developed purely along formal lines. The goal was to balance the neutrality required for a text face with just enough idiosyncrasies to create a slightly unfamiliar design in order to provide new interest.
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