This font set is based on Frank Lloyd Wright’s hand-lettering found on the Chicago Midway Gardens working drawings from 1913. This type of architectural lettering is a bit more casual than standard lettering found on most blueprints. It evokes the personality of Frank Lloyd Wright and complements the other fonts in the P22 FLW font series.
Midway One and Midway Two can be used interchangeably to give a more naturalistic feeling of hand lettering. Midway Ornaments features over 100 decorative border elements that can be combined is many ways for surprising and effective decorative motifs.
Midway One and Midway Two have been remastered and now contain over 400 characters including support for Western and Central European languages.
Nitti Grotesk Font Family
Nitti Grotesk is the proportional companion to Nitti and part of a larger collection of Grotesque-inspired typefaces by Pieter van Rosmalen. The series originates in his sans-serif called Capone, which evolved into the display family Stanley, and a monospaced version that became Nitti, named after Francesco Raffaele Nitto, one of Al Capone’s henchmen.
F37 Bobby is a contemporary geometric serif. The design was influenced by the popular, warm serifs from the 1970s. The family comes in 6 weights with matching true italics.
Ocre Font Family
Sightly inspired by the work W. A. Dwiggins, Ocre is a robust type system that resulted from an exploration on contrast between soft outer shapes and sharp inner shapes. It's relatively large x-height, robust serifs and low contrast make it a reliable choice even at smaller sizes, where the sharp inner shapes act as ink traps increasing the overall legibility.
Countach Font Family
Countach, the tough compact sans supercharged with brawn & brains. Developed for The Crew, a critically acclaimed auto racing video game, Countach evokes the muscular and mechanical dynamics of fast cars and urban adventure.
Gnomon Font Family
Gnomon* is built using OpenType variable font technology, a new font standard that allows for user-controlled variables. In the past, font metrics, such as boldness or oblique angle, were limited to the few predetermined options made by the font designer.
Schwarzkopf Font Family
SchwarzKopf is an 18th Century European "Schwabacher" blackletter that features a distressed edge for creating authentic "antique" documents. Old features the long "s" and other archaic forms. Both Old and New variations feature many additional ligatures such as tz, sch, ss, ff and ck.
TT Firs Neue is a contemporary reincarnation of the good old Scandinavian TT Firs sans-serif. In the process of updating the old typeface, we realized that the number of innovations and the amount of work done definitely deserve a full-fledged new release, and thus TT Firs Neue has come to life.
What has changed? Everything, starting from the proportions of letters and ending with a new formula for the interpolation of weights! So, we changed the proportions of uppercase and lowercase characters; corrected the difference in weight between the letters in fonts of different weights. We changed the basic thicknesses of the strokes so that none of their 18 fonts would stand out with their weight and would be completed following a strict system. We created completely new Italics. And, of course, we made changes directly to the style of the typeface and its letters—the letters have become fresher and cleaner from the geometric point of view.
The most interesting change in the font is the significant extension of its scope. While the old type family was primarily focused on display matters—that is, very large short inscriptions, the new version implies active use of the typeface in the text and on the web. With all this, the font’s character has not been weakened, but has even gained some more strength. This can be perfectly seen in the radical extenders of the letters gltf, or in the super-display visual compensators for horizontal strokes in the bold weights of the typeface. Even though the standard display of TT Firs Neue has become brighter and more audacious, you can always calm it down a little by simply turning on stylistic alternates.
And that is not all! And how about small capitals, and other OpenType features, you ask? In TT Firs Neue, you will find small caps (for Latin and Cyrillic alphabets) and a set of stylistic alternates. In addition to the “standard ligatures”, in TT Firs Neue you can find a large number of original ligatures (30 items) for capital letters, which cover popular two- and three-letter high-frequency combinations from Scandinavian languages. In addition, to support the linguistic features of Scandinavian countries, we prepared a set of capital letters with pinned-down diacritics (including their small capital versions). To access this function, you need to use the calt feature (contextual alternates), or enable the second stylistic set (ss02) in InDesign. And that’s not all, there are a lot of useful features in TT Firs Neue, such as: ordn, case, c2sc, smcp, ccmp, frac, sinf, sups, numr, dnom, tnum, onum, lnum, pnum, dlig, liga , salt (ss01), ss02, locl, calt.
Chapman is the result of spending too many hours staring at the often all-capital engraver typefaces from long-gone foundries. The wide serifs, high contrast, and various widths seem to have so much character but also remain so neutral.
From these references, Chapman began to emerge. It seemed natural that the lowercase would be based on a Scotch Roman model, much like the original all-capital faces. Chapman does not pull directly from any one source but from the genres themselves.
It was, from the beginning, the goal to create a typeface that would be relatively neutral but not boring; an adaptable solution that works anywhere and, depending on the chosen width, can be squeezed or stretched to fit anywhere. The idiosyncrasies of the original designs are tamed in some places and turned up in others. The result is something familiar but unique and contemporary.
The lettering and 100 Extras for this font set, the third in P22’s Wright series, are derived from letterforms and decorative embellishments found in Wright’s early work (1893-1910) and in his book, The House Beautiful (1896-97). Wright based his delicate graphic designs on stylized natural plant forms; Terracotta users can adorn their graphic products with these beautiful motifs.
Terracotta Regular and Terracotta Alt have been remastered and now contain almost 400 characters including support for Western and Central European languages.
This font set is the second in a series from P22 type foundry based on the lettering styles of Frank Lloyd Wright. Created in 1931, the Exhibition lettering was intended primarily to accompany Frank Lloyd Wright’s exhibition drawings and models.
Many of the 72 Extras were designed to form continuous linking borders. Combinations of these geometric forms can provide endless variations of decorative elements in the style of Frank Lloyd Wright. Many of these images were based on Mr Wright’s “Saguaro Forms and Cactus Flowers” illustration for an unused Liberty magazine cover of 1926. Other imagery in this set was derived from assorted geometric designs by Wright.
Exhibition Regular, Light, and Bold have been remastered and now contain almost 400 characters including support for Western and Central European languages.
I have a lot of “regular” fonts, but from time to time I need something more emotional for exceptional musical projects. This typeface was first used in spring 2015 for a certain CD cover and merchandising. Its sharp serifs and details fit engravings perfectly. As the work went on, the extreme styles raised from the need to illustrate a bizarre nature of other music genres I’m involved in.
Labor Union Small Font
Labour Union Small, from McLetters, was made to supplement the logo for the student-run group “Students for Labor Action” at Ithaca College. They fight for the fair treatment of employees at the college and are closely connected to the local county’s worker union (Tompkins County Workers Center). Although this font was made for any industrial use as well as anything pertaining to worker’s rights and socialism, the potential uses for this font are endless – and free for all to enjoy, as it should be. It supports 85 different languages with Latin and Cyrillic characters.
Jost Font Family
When Paul Renner designed Futura in 1927 it looked chic and ahead of its time. The great design is due, in part, to Heinrich Jost, who was instrumental in realizing Paul Renner’s ideas. Futura is dazzling in its simplicity, welcoming in its rationality. It’s simple and beautiful. Many fonts find the spotlight for a time, but Futura has remained as relevant and innovative as it was when it was created 90 years ago.
Breite Font Family
Breite is a sans serif typeface. It comes with four fonts Light and Light Condensed, Regular and Condensed, contains uppercase and lowercase letters, numbers, symbols, including some language support. Breite is a multipurpose typeface suitable for wide range design purposes.
Eastiside Brush is Inspired by a casual style from sign painter who create a beautiful lettering trademark.
A classical, timeless, and contemporary.
Eastside Brush comes with 3 style, That’s script style, cursive style, and capital style for all caps letter. It s should be easy to mix and match which best style for your design. Multiple language are available to all fonts.
Mares is a typeface inspired by the American psychedelic movement from the mid 1960’s where capitals and lowercase used to be mixed and distorted to become part of the image.
Mares is a bold and modern psychedelic font for use on special occasions.
The bigger the better.