Verb is back, this time in the form of Verb Compressed. Comprising of 18 weights Verb Compressed is another successor to the hugely popular Verb family, and also comes in on introductory offer again with 18 fonts for just £6!
Like the original Verb family, Verb Extra Condensed from Yellow Design Studio is confident, friendly and energetic, but has been carefully re-drawn with space saving proportions. At text sizes it’s legible and economic, while at larger sizes it reveals lively shapes and personality. It includes over 800 glyphs and a full compliment of professional typographic features. Download Verb Extra Condensed Light for free!
Save yourself a fortune (90% OFF to be exact) and grab the Verb font family today for just £6!
Frontage is a charming layered type system with endless design possibilities using different combinations of fonts and colors. Achieve a realistic 3D effect by adding the shadow font or just use the capital letters of the regular and bold cut for stark artwork. The typeface’s design is based on a simple grid which creates the friendly, handcrafted look of facade signs. It is generously spaced for maximum impact of your message. As a display typeface Frontage loves color and is suitable for headlines and logotypes. Details include 224 characters in six styles and manually edited kerning.
Nanami is a brand new Japanese inspired type family. Originally influenced by early swiss geometric-style sans serif faces that were popular in use throughout Japan during the 1970s. Nanami consist of 18 individual weights ranging from Thin through to Black. It also has extensive support for over 27 languages, and as a font family that works well both in headlines and bodycopy, Nanami is the perfect choice for a whole variety of creative briefs.
Don’t miss out on this Killer Deal. Hiruko Pro family (20 Fonts) for just $24! Hiruko Pro is a brand new, improved version of our original release from back in 2008. We have made many improvements to the original family, which now includes a variety of redrawn characters, improved kerning, and 4 brand new weights to help give the overall family more balance. Hiruko Pro works well both as a headline and a text font, and it also renders nicely on the web. This type family has been produced to the highest standard, with each weight supporting 27 different languages. Hiruko Pro consists of 20 weights, ranging from Extra Light to Black, with Hiruko Pro Outline Oblique available for free.
Gaslon is a slight reinterpretation and major expansion of a 1973 film type called Corvina Black, originally designed for VGC by A. Bihari. While the original typeface was popular in its own right, there were some things in it that were too quirky to work in the display applications it was intended for. Some of the letter combinations just didn’t work to their visual optimum. For example the a and o were too similar, ditto the C and G, the E, F and J were too overwhelming to be set properly within certain display uses. Gaslon eliminates these problems by the inclusion of plenty of alternates for the vast majority of the original letters. In fact, the original a is itself now an alternate to a gorgeous new one. The Gaslon Alt font includes tremendous possibilities for both unicase use, and proper use in conjunction with the main font. This is our true homage to a typeface that had great potential more than three decades ago, but was overlooked by digitizers because of a few quirks it had in film type contexts. Full of curves and invitation, Gaslon ranks very high among the friendliest poster faces ever made. It is ideal for friendly store signs, children book covers, and plenty of other applications. In fact, if you’re planning on contributing to a few protests around your neighbourhood or city, you would probably be better off using Gaslon to help your sign/placard carry words and slogans that are big but friendly. Nothing beats “DOWN WITH GAS PRICES” set in a nice imaginative mix of the many Gaslon letters. The OpenType version of Gaslon is a single font that contains all the alternates and niceties programmed within features accessible by OT-friendly programs.
It’s big. It’s very big. Spade is a double whammy of pure slab footprint, sharp and soft, cowboy and cowgirl, country and western, shot and chaser, settlement and new frontier. It’s also quite modern in many aspects, not the least of which are the many curvy alternates included, and the smooth flow of the biform shapes when used with the main caps.
Clocking in at over 670 characters per font, Spade comes loaded with very comprehensive Latin-based language support and OpenType features up to the hilt.
In spite of its name, this font family embodies the ultimate classic modern advertising typeface, rather than concern itself with revivalism or Didone authenticity. Naturally the spirit of the original Didot faces still exists in this family, but over twelve years of work on it have made it more fitting to the luxurious expression of our day and age, rather than nineteenth century Europe. Upscale and stylish, Didot Headline is an essential tool for any designer involved in magazines, books, tasteful music, or overall luxury packaging that requires clean and large classic typography with an unmistakable modern spin. We recommend the use of Didot Headline between 12 and 48 points. For larger display use, check out its sister family, Didot Display.
Based on a specimen of an obscure and uncredited old face called Kitterland, Hamlet is one of those curiosities hardly ever noticed in the world of modern fonts, the kind that infuses a variety of historic Blackletter and calligraphy traits in an otherwise Roman alphabet. Such typefaces, what few of them exist, are almost always classified by typophiles as traditional decorative Roman alphabets. We beg to differ. We think such hybrids are fascinating enough to deserve a classification of their own. And we think today’s aspiring letterers and type designers would benefit from paying special attention to this kind of hybrid alphabet, not only because it has much more hand than machine in it, but also because it is a prime example of how to succeed in mixing different lettering techniques into one self-contained and distinctly functional alphabet.
Hiruko Pro is a brand new improved version of an original release back in 2008. Many improvements to the original family including the re-drawing of a variety of characters, improved kerning, and 4 brand new weights to help give the overall family more balance. Hiruko Pro works well both as a headline and a text font, and it also renders nicely on the web. This type family has been produced to the highest standard with each weight supporting 27 different languages.
HypeForType are offering probably the best font family deal in history! You can get the complete Solomon font family (12 weights) for just £6/$9! That’s an unheard of saving of £173! Don’t miss out though as this offer is due to end very soon, add the incredible Solomon to your type toolkit!
Wonder Brush is a display typographer’s guilty pleasure. It’s one of very few fonts ever made that can take intense abuse and still look natural.
Partly based on a 1969 Friedrich Poppl design called Poppl Stretto, but considerably fused with ideas found in interwar magazine ad lettering and signage, Wonder Brush caters to the idea that most graphic designers would rather use design elements they can enjoy. When you spend your days being “challenged” and “creatively tested” and “communicating the message,” you can definitely use a little bit of playtime. And this font gives you just that, playtime on the job.
This is the stencil cousin of Canada Type’s hugely popular unicase font, Social Gothic.
The stenciling is a unique treatment unlike familiar stencil acts, with round cuts through curves and straight ones through straight strokes. This treatment works well with the biform construct of the face by emphasizing its clean outlines and enhancing its minor humanist totality.
Social Stencil is a multi-script font that contains support for most Latin-based languages, as well as Cyrillic and Greek. It also comes with plenty of built-in alternates.
Hortensia, designed around 1900 by Emil Gursch for his own Berlin foundry, is a typeface most expressive of the post-Victorian aesthetic that was all the rage in both Europe and America during the second half of the 19th century and up until the Great War. It is a reduced aesthetic of sharp points and natural curves that almost want to apologize for their own elegance, but clearly embody the simple excitement about the blossoming of industry and crafts during the period. This deco script trend would get a re-run for about a decade on either side of the second World War — especially in the entertainment and financial industries — before giving way to art nouveau and big brush faces.
Hortensia was Gursch’s most popular typeface, used extensively and prominently in many beautiful type catalogs, and a commonly seen design element in Germany for quite a while after its release.
This digital version brings plenty of fixes and additions to the original metal Hortensia design, including many alternates sprinkled throughout the character set, and support for a wide range of Latin-based languages (including Central European, Baltic, Turkish and Welsh).
BAQ Rounded is a fully developed solid typeface which contains full Latin characters, and fully developed character sets. It is perfect for anyone looking to work with a chunky font which has full character support for all languages. It’s also highly legible, and always good for extra impact. This OpenType font offers great opportunity for creating bold and impacting headlines, typographical work on digital forms or print. Full friendly and almost impossible to miss BAQ offers a great use of quick impact typographical treatment through a variety of media. Inspired by a use of geometrical circles BAQ is constructed in a way in which each letter can work perfectly alongside each other resulting in a very tightly knit family. BAQ has seen recent success amongst some high profile brands, and continues to stand out from the crowd in the fat typographic market place.
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