Bride Style, A sweet beautiful delicate script font. Inspired from the wedding modern calligraphy style but presented in a fashion editorial way. Perfectly fit for branding, logo, wedding things, greeting cards, fashion, lookbook, moodboard, presentation, imagine the luxury, beautiful, stylish, and casual in the same time.
Designer(s): Heiko Hoos Publisher: hgo Design Date: 2009 Download Phucy Now → About Phucy Font Example(s) of Phucy
Tummy is part of the Game font set I made few years back; this one is for game packaging and logo design.
Type designer Hannes von Döhren created a display typeface called “Blow Up”. A bubbly, sweet font with nice light effects. Perfect for use in big sizes on posters or flyers.
You can use Blow Up Sans & Blow Up Bling together to influence the color of the light effects.
Official is a very clear and legible font family of 14 fonts. Its simplicity makes Official an ideal style to use in any project you could imagine.
Lovers is a romantic, elegant handwritten calligraphic script, with well over 300 additional characters, including standard and discretionary ligatures, swashes and stylistic alternatives. Use of its extensive OpenType features enable the designer to create text that constantly changes, giving the impression of genuine handwriting, but handwriting that has all the flair and styling of hand-done calligraphy produced towards the end of the twentieth century.
Lovers is based on traditional calligraphic ideals, but I’ve combined these with my own brand of relaxed, handwritten spontaneity, to design a font that is formal yet free and accidental, traditional yet contemporary. More…
The font’s extravagant curves and swashes make it perfect for valentine’s day and wedding media, book covers, greeting cards, and certificates, in fact for any design work that requires a romantic or opulently elegant look. The range of stylistic alternatives and swashes enable users to create a wide range of moods in their work. In many ways it is a calligraphy toolkit.
Lovers contains the accented characters used in the major European languages. What sets it apart from most other calligraphic fonts is that it appears so genuinely handwritten and avoids the uptight formality that characterizes so many of the fonts in this genre.
Try Lovers, enjoy its wealth of OpenType features and let its vigorous yet elegant exuberance delight you and enhance your creativity!
Triunfo is a modern slab serif font family with sports flavor. It comes in 21 variants of weight and wide that allows you to choose the best option to use in your work.
Grandma is a lovely hand-drawn serif font.
It is perfect for greeting cards, children’s books and everything that should have a handmade, kind feeling.
Hannes von Döhren created Love Potion. Three fonts (Regular/Bold/Ornaments) that include extravagant Ligatures, Swash Letters, Catchwords, Arrows, Borders and other little specials. The hand drawn serif type family is intended to be used in applications like: Food, Clothes, Living, Wedding stationery or basically everywhere where love is in the air…
Love Potion is equipped for professional typography. As an exclusively OpenType release, these fonts have an extended character set to support Central and Eastern European as well as Western European languages. In addition to that the fonts contain Standard ligatures, Swash Letters, Catchwords, Arrows, Borders and much more.
Neuron puts a chemist’s twist on standard block-style print to create a fresher version of the elemental alphabet. Widely spaced letters and a slightly tall x-height have a clean effect for great readability. Squarish shapes are stylized to retain curved tails, achieving a neutral appearance that makes it very versatile. A thick width in ExtraBold, Black and Heavy give stand-out strength for headlines and branding, without affecting legibility. This modern sans-serif family includes 16 variants, and covers Latin, Central European and Cyrillic characters.
Type designer Hannes von Döhren created Brevia, a soft sans serif type family consisting of seven weights plus matching italics. The fonts have a hint of a brushed feeling and come across as casual and friendly. Nevertheless Brevia’s architecture is straight, making it perfect for longer texts. Because of its large x-height, it also performs nicely in very small sizes. Brevia’s heavier weights are slightly more curved and have an eye-catching appearance. They unfold their strength especially in bigger sizes. This contemporary type family is intended to be used in applications like: Cosmetics, Service, Food and Advertising – basically everywhere where a pleasant feeling should be conveyed.
Brevia is equipped for highly professional use. More…
The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages. Each font includes small caps, fractions, old style-, lining-, tabular numbers, scientific superior/inferior figures and a set of arrows.
Livory is a serif type family of four fonts including small caps, 25 ornaments & 50 ligatures in each style. It was designed by Hannes von Döhren & Livius F. Dietzel between 2005 and 2010. Livory is influenced by the French Renaissance Antiquas from the 16th century.
It has an organic look with a warm touch and was especially developed for long texts. With its melted corners and individual serifs, Livory has also a smooth and handcrafted appearance in display sizes. More…
With almost 780 glyphs in each font, Livory is equipped for complex, professional typographic work. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages. Each font includes small caps, fractions, old style-, lining-, tabular numbers, scientific superior/inferior figures, ligatures, ornaments and a set of arrows.
Pueblito is a hand drawn font with a rustic and antique appearance. Was inspired from old books and newspapers but express a very own personality and not necessary represent a specific classic style. The family consists of twelve fonts in six weights plus a set of ornaments in order to compose all kind of texts.
Using Pueblito in your projects, you can obtain an original aged flavor and just by adding a subtle texture effect will help you to obtain the desired vintage look.
Mikado is a friendly, casual type family designed by Hannes von Döhren. It is intended to be used everywhere where a pleasant feeling should be conveyed: Games, Food, Service or Advertising. Mikado has a positive, kind of “out-of-the-box-appearance” in big sizes, but because of its straight architecture the fonts are also very legible in smaller sizes and longer texts – in print or on screen.
Mikado is equipped for complex, professional typography with alternate letters, ligatures, arrows, fractions and an extended character set to support Central and Eastern European as well as Western European Languages.
Pluto – and its straight companion Pluto Sans – was designed by Hannes von Döhren. The whole family consists of 16 Pluto Uprights, 16 Pluto Italics, 16 Pluto Sans Uprights and 16 Pluto Sans Italics; 64 fonts in all.
Type designer Hannes von Döhren has created Pluto, a sweet type family consisting of 16 Uprights and 16 Italics; 32 fonts in all. The fonts are informal and friendly at first sight and lend themselves to display settings, however the straight and upright architecture of Pluto also makes it perfect for longer copy. Because of its large x-height, it even performs nicely in very small sizes. This contemporary type family is ideal for use in retail, cosmetics, food and hospitality applications and advertising. More…
Pluto is equipped for complex, professional typography. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages. Each font includes alternate letters, fractions, lining-, tabular numbers, scientific superior/inferior figures and a set of arrows.
Brandon Text is the companion of the famous Brandon Grotesque type family. It has a higher x-height than the Grotesque version and is optimized for long texts, small sizes and screens. This sans serif type family of six weights plus matching italics was designed by Hannes von Döhren in 2012. Influenced by the geometric-style sans serif faces that were popular during the 1920s and 30s, the fonts are based on geometric forms that have been optically corrected for better legibility. Brandon Text has a functional look with a warm touch and works perfectly together with Brandon Grotesque. It is manually hinted and optimized for screens, so it will be a good choice for Websites, eBooks or Apps. More…
The whole Brandon series is equipped for complex, professional typography with different sets of numbers, alternate letters, fractions and an extended character set to support Central and Eastern European as well as Western European Languages.
Pluto Sans – the straight companion of the Pluto Family – was designed by Hannes von Döhren in 2012. This clear Sans Serif family is based on the Pluto architecture and it still has a hint of the friendly feeling the quirky Pluto conveys. With its geometric forms and its large x-height it is perfect for long texts in small sizes and usage in print & on screens. Both Pluto Sans and Pluto have the same range of weights and styles and can perfectly be used together. More…
Pluto Sans is equipped for complex, professional typography. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages. Each font includes alternate letters, fractions, lining-, tabular numbers, scientific superior/inferior figures and a set of arrows. The fonts are manually hinted to deliver the best performance on all screens.
Brandon Grotesque is a sans serif type family of six weights plus matching italics. It was designed by Hannes von Döhren in 2009/10. Influenced by the geometric-style sans serif faces that were popular during the 1920s and 30s, the fonts are based on geometric forms that have been optically corrected for better legibility.
Brandon Grotesque has a functional look with a warm touch. While the thin and the black weights are great performers in display sizes the light, regular and medium weights are well suited to longer texts. The small x-height and the restrained forms lend it a distinctive elegance. More…
Brandon Grotesque is equipped for complex, professional typography. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages.
Brandon Grotesque won the TDC2 Award, 2011.
In the early 1980s, at the start of my career, I had the opportunity to work in a print shop with classic lead setting. In those days I would study issues of U&lc magazine from ITC. What really caught my attention were scripts in the Spencerian style. I’ve been fascinated by this American penmanship tradition ever since.
A few years ago I developed a font. Boris Bencic used it when he was redesigning L’Officiel magazine in Paris. I took these initial forms and developed them into the font Mommie when I started my own foundry. Although I usually design text typefaces, working on Mommie taught me how complex it can be to create a script headline font. The biggest challenge in this process has been to keep it alive and fresh. More…
The Regular weight is only made for very big headlines. The thin lines with the bold drops are very elegant. For smaller sizes use the Medium and Small weight.
It won the TDC 2008 award and was Judges Choice of Christian Schwartz.
In 1939 the Stephenson Blake Company bought a very popular script called Undine Ronde and began marketing under the name Amanda Ronde. Although Undine/Amanda was quite popular and can be seen in many advertisements from the 1930s and 1940s, there seems to be no surviving record stating the original foundry or designer.
We thought that six and half decades of dust layers over the once-popular typeface were enough, so here and now you have its complete and expanded digital incarnation, Adore. More…
It is quite easy to see why this typeface was popular. A round script with graceful meaty curves is rarely found and can be used in plenty of applications. Wedding paraphernalia, chapter titles, posters, poetry, book covers, religious literature… you name it, Adore can fit it.
Aside from its totality being unmatched by currently available designs, Adore also possesses some of the most unique and imaginative letter shapes. The narrow loops on the B, P and R, the minuscule-like Z, the looped b and d, the descending h… all these shapes contribute to a breathtaking and adorable calligraphic work unlike any other.
The original design came in a basic alphabet, but we have updated it for current digital technologies, and expanded it to include plenty of alternates and ligatures, as well as some ornaments.
The Postscript Type 1 and True Type versions come in two fonts, the second containing the alternates and extras, while the Open Type version is a single font containing all the alternates and extras in conveniently programmed features, easily accessible at the push of a button in OpenType-supporting software.
We also encourage you to take a look at Typodermic’s Mecheria font, which is further experimentation with the same letter forms, resulting in a quirky, friendly, curly, angular gothic-like creature.
It shouldn’t be a surprise to anyone that these letter shapes are familiar. They have the unmistakable color and weight of Cooper Black, Oswald Cooper’s most famous typeface from 1921. What should be a surprise is that these letters are actually from George Auriol’s Robur Noir (or Robur Black), published in France circa 1909 by the Peignot foundry as a bolder, solid counterpart to its popular Auriol typeface (1901). This face precedes Cooper Black by a dozen of years and a whole Great War. More…
Cooper Black has always been a bit of a strange typographical apparition to anyone who tried to explain its original purpose, instant popularity in the 1920s, and major revival in the late 1960s. BB&S and Oswald Cooper PR aside, it is quite evident that the majority of Cooper Black’s forms did not evolve from Cooper Old Style, as its originators claimed. And the claim that it collected various Art Nouveau elements is of course too ambiguous to be questioned. But when compared with Robur Noir, the “elements” in question can hardly be debated.
The chronology of this “machine age” ad face in metal is amusing and stands as somewhat of a general index of post-Great War global industrial competition:
– 1901: Peignot releases Auriol, based on the handwriting of George Auriol (the “quintessential Art Nouveau designer,” according to Steven Heller and Louise Fili), and it becomes very popular.
– 1909-1912: Peignot releases the Robur family of faces. The eight styles released are Robur Noir and its italic, a condensed version called Robur Noir Allongée (Elongated) and its italic, an outline version called Clair De Lune and its condensed/elongated, a lined/striped version called Robur Tigre, and its condensed/elongated counterpart.
– 1914 to 1918: World War One uses up economies on both sides of the Atlantic, claims Georges Peignot with a bullet to the forehead, and non-war industry stalls for 4 years.
– 1921: BB&S releases Cooper Black with a lot of hype to hungry publishing, manufacturing and advertising industries.
– 1924: Robert Middleton releases Ludlow Black.
– 1924: The Stevens Shanks foundry, the British successor to the Figgins legacy, releases its own exact copies of Robur Noir and Robur Noir Allongée, alongside a lined version called Royal Lining.
– 1925: Oswald Cooper releases his Cooper Black Condensed, with similar math to Robur Noir Allongée (20% reduction in width and vectical stroke).
– 1925: Monotype releases Frederick Goudy’s Goudy Heavy, an “answer to Cooper Black”. Type historians gravely note it as the “teacher steals from his student” scandal. Goudy Heavy Condensed follows a few years later.
– 1928: Linotype releases Chauncey Griffith’s Pabst Extra Bold. The condensed counterpart is released in 1931.
When type production technologies changed and it was time to retool the old faces for the Typositor age, Cooper Black was a frontrunning candidate, while Robur Noir was all but erased from history. This was mostly due to its commercial revival by flourishing and media-driven music and advertising industries. By the late 1960s variations and spinoffs of Cooper Black were in every typesetting catalog. In the early- to mid-1970s, VGC, wanting to capitalize on the Art Nouveau onslaught, published an uncredited exact copy of Robur Black under the name Skylark. But that also went with the dust of history and PR when digital tech came around, and Cooper Black was once again a prime retooling candidate. The “old fellows stole all of our best ideas” indeed.
So almost a hundred years after its initial fizz, Robur is here in digital form, to reclaim its rightful position as the inspiration for, and the best alternative to, Cooper Black. Given that its forms date back to the turn of the century, a time when foundry output had a closer relationship to calligraphic and humanist craft, its shapes are truer to brush strokes and much more idiosyncratic than Cooper Black in their totality’s construct.
Robur and Robur Italic come in all popular font formats. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages. A range of complementary f-ligatures and a few alternates letters are included within the fonts.
New Typeface Design – Freight Round Pro – Released by Phil’s Fonts and GarageFonts
SANDY SPRING, MD, September 27, 2016 – Phil’s Fonts and GarageFonts are pleased to announce the release of Freight Round Pro, an ideal addition to the Freight Pro super series. Its smooth, friendly curves and monolinear strokes will make this family a favorite for food packaging, cosmetics and signage along with text and headlines for publications, ads and collateral. More…
All Freight Pro fonts have advanced typographic features: Small Caps, proportional old style and tabular lining figures, fractions, extended ligature set, alternate characters, dingbats and symbols along with extensive foreign language support.
Phil’s Fonts has been in the type business for over 25 years. The company evolved from one of the most well known and respected photolettering studios in the typesetting industry, Phil’s Photo. Since 1990 Phil’s Fonts has been distributing fonts from large and small foundries. The current selection offers over 100,000 fonts from 75 type foundries and type designers worldwide. Phil’s Fonts also specializes in creating custom typeface designs to your specs. For corporate identity, new products, or to help solve licensing issues, Phil’s can create something new for you.
GarageFonts was established in 1993 primarily as a vehicle to distribute some of the first typeface designs created for Raygun magazine. From the beginning, GarageFonts has been on the cutting edge of new typeface design, helping to change a once tiresome selection of typefaces into a new world of visual excitement. What started as a small library of trend setting designs has now grown to a varied collection of original, accessible text and display typefaces. GarageFonts has something for everyone.
Phil’s Fonts, Inc.
P.O. Box 247,
Sandy Spring, MD 20860
Tel: 1-800-424-2977 or 1-301-879-9222 Fax: 1-301-879-9227
Email: [email protected]
This gem of a script was what metal era typographers called a “continental face”, which essentially meant an old, most likely uncredited, metal face that was common to many European foundries. This particular one ran the rounds in the first half of the twentieth century under the names Donatello, Aigrette, Troubadour, Hertha, Butterfly and Gracia. A little research reveals its true origin to be circa 1926 at the Wagner & Schmidt foundry in Leipzig, where it was a bold script named Troubadour. A cut that was much lighter, more elegant, and much more suitable for larger display applications was made by the Amsterdam Lettergieterij in the late 1930s, under the name Gracia. Gracia was a common sight on perfume bottles, wine labels, chocolate boxes, and book covers in Europe for about four decades. Like many treasures of its kind, it seems to have never been considered for digital retooling until now. More…
Wagner Script corrects and greatly expands on the original metal concept, to include plenty of alternate forms, even as many as four variations on some characters. It also comes with extended range Latin-based language support. The Wagner Script package contains both Wagner Script Pro, a premium feature-loaded OpenType font for advanced typography applications, as well as three TTF fonts for the legacy format user.
SPECIAL OFFER: Buy the full Aegean family, and get Cirque for free. It will make Cirque much more powerful and useful for larger projects. Cirque is a lively Western/Circus/Victorian/Whatever font—it’ll fit in wherever you want to stick it to old Tschichold and make something cool instead. Mix up caps and lower case for curious results. To see more check out the Frost Foundry page at http://facebook.com/frostfoundry
Naïve Line Sans is an unusual handwritten sans serif font designed by Fanny Coulez and Julien Saurin in Paris. Our goal was to draw a font with finely irregular lines that give a human and whimsical feeling.
We designed five weights, finely balanced, to assure a good readability whatever the size.
This font is part of our Naïve superfamily that contains lot of variations: Line, Inline, Serif, Sans Serif, and a special Art Deco one. Just click on our foundry name to see them all! More…
We hope you will enjoy our work. Merci beaucoup!
Dubliners is a fun, hand-drawn, frosting script with alternate giant swash caps. It features glyphs for the entire Western keyboard world including Baltic, Latin, Romanian, and Turkish
support. See more and share it at http://facebook.com/FrostFoundry
Naïve Inline Sans is a layered sans serif handwritten font designed by Fanny Coulez and Julien Saurin in Paris. Our goal was to draw a font with finely irregular lines that give a human and whimsical feeling.
We designed three weights to assure a good readability whatever the size. They can be enhanced with five different interior patterns and three shadows to improve your designs and bring a charming and unusual feeling. To do so, you can simply superimpose the layers with a compatible software like Photoshop, the weight above and the pattern(s) below, then choose a color for each. More…
This font is part of our Naïve superfamily that contains lot of variations: Line, Inline, Serif, Sans Serif, and a special Art Deco one. Just click on our foundry name to see them all!
We hope you will enjoy our work. Merci beaucoup!