Contessa is the new face of fashion. Destined to make its appearance on the covers of the glossy style magazines, Contessa is a strikingly geometric sans serif with a just hint of Art Deco elegance: a bold fashion statement if ever there was one.
Ideal as a display face for feature titles and ad headlines, its simplicity also makes it versatile enough for use as a distinctive text face
1913 Typewriter Carbon is the bold version of GLC foundry’s 1913 Typewriter. It is available in two styles: Normal, and Underlined (Bold).
It is a complete alphabetic font.
It is used as variously as web-site titles, posters design or books editing.
More…
With inkjet printers, it may be used the economic or draft option with a good result too.
We have created this family from the numerous derivatives in use for newspapers since the middle of the 1800s to the 1970s, inspired by the well known Clarendon.
Mainly, the patterns are those used to print Le Petit Journal, a popular French Newspaper of the era (published from 1863 to 1937).
The present version contains Normal, Italic, Bold and Bold Italic styles, in two sub families: 1906 French News for texts and titlings with upper and lower case, and 1906 French News Caps (Caps, small caps, small numerals, for texts and titlings).
We have created this family from the numerous derivatives in use for newspapers since the middle of the 1800s to the 1970s, inspired by the well known Clarendon.
Mainly, the patterns are those used to print Le Petit Journal, a popular French Newspaper of the era (published from 1863 to 1937).
The present version contains Normal, Italic, Bold and Bold Italic styles, in two sub families: 1906 French News for texts and titlings with upper and lower case, and 1906 French News Caps (Caps, small caps, small numerals, for texts and titlings).
family of 4 fonts from Hackberry
This script font was inspired from a lot of manuscripts, notes and drafts, written by the famous American poet Walt Whitman. It is a very elegant type, in spite of a few curious ligatures, often concerning the r or z small letters.
Notice the very characteristic th.
It is used as variously as web-site titles, posters and fliers design or greeting cards, all various sorts of presentations, menus, certificates, letters.
This font, in spite of its small size, supports very strong enlargements as well as small sizes ( the original size was about 36 to 48 pts ). When printed, it remains perfectly legible and elegant from 9/11 pts even if using an ordinary inkjet printer.
This script font was inspired from a lot of manuscripts, notes and drafts, written by the famous American poet Walt Whitman. It is a very elegant type, in spite of a few curious ligatures, often concerning the r or z small letters.
Notice the very characteristic th.
It is used as variously as web-site titles, posters and fliers design or greeting cards, all various sorts of presentations, menus, certificates, letters.
This font, in spite of its small size, supports very strong enlargements as well as small sizes ( the original size was about 36 to 48 pts ). When printed, it remains perfectly legible and elegant from 9/11 pts even if using an ordinary inkjet printer.
family of 2 fonts from GLC
This font is a late 19th Century French script overview inspired by numerous French letters, from around years 1850-1860, during the second French empire, under Napoleon the third. Most of them were written with very tiny characters on light sheets of paper, as postage prices were calculated from the letter’s weight.
family of 2 fonts from GLC
This font is a late 19th Century French script overview inspired by numerous French letters, from around years 1850-1860, during the second French empire, under Napoleon the third. Most of them were written with very tiny characters on light sheets of paper, as postage prices were calculated from the letter’s weight.
Contax Sans is a contemporary typeface design based on generous proportions and clean crisp linesmaking it ideal for long lines of copy and easy reading. It was modeled after and based on one of his most popular new geometric font families Contax Pro. Similar to the proportions and overall spacing of Contax, the new Contax Sans incorporates subtle thick and thin stem variations reminiscent of Hermann Zapf’s Optima family of fonts.
The new typeface series shares all the best aspects of Contax Pro, but is a more delicate and elegant interpretation of the original grotesque and can easily be used in conjunction with or separately for a multitude of typographic solutions.
This family was inspired from a lot of 1848-1850 French engraved documents reproducing handwritten texts talking about the Paris' insurrection days in June 1848 (described by Victor Hugo in Les misrables) .
It seems that all were first written using quill pens, as the strokes are too much heavy and bold for metal pens and even though the engraver work is very fine.
We have added only a few characters, most of them were present in the originals.
The TTF and OTF versions are enriched with more than 50 ligatures or alternate characters.
Contax Sans is a contemporary typeface design based on generous proportions and clean crisp linesmaking it ideal for long lines of copy and easy reading. It was modeled after and based on one of his most popular new geometric font families Contax Pro. Similar to the proportions and overall spacing of Contax, the new Contax Sans incorporates subtle thick and thin stem variations reminiscent of Hermann Zapf’s Optima family of fonts.
The new typeface series shares all the best aspects of Contax Pro, but is a more delicate and elegant interpretation of the original grotesque and can easily be used in conjunction with or separately for a multitude of typographic solutions.
This family was inspired from a lot of 1848-1850 French engraved documents reproducing handwritten texts talking about the Paris' insurrection days in June 1848 (described by Victor Hugo in Les misrables) .
It seems that all were first written using quill pens, as the strokes are too much heavy and bold for metal pens and even though the engraver work is very fine.
We have added only a few characters, most of them were present in the originals.
The TTF and OTF versions are enriched with more than 50 ligatures or alternate characters.
Vowels produce 'end-characters'. These are used whenever a string of symbols start or end.
Consonants make 'middle-characters'.
Numerals are zero-width characters. these can be used whenever you feel like it, they will float above and below the string of symbols. Puncuation adds extra spice.
Hold down ‘shift’ and you get the individual symbols mirrored. (very useful with the vowels.) More…
This family was inspired by the well-known Caslon typeface created by William Caslon, the English font designer, who was, with John Baskerville, the progenitor of English Transitional typeface classification in the mid-18th century (See also our 1776 Independence).
We were inspired by a Caslon style set used by an unknown Flemish printer from Bruges, in the beginning of 1800s, a little before the revival of Caslon style in the 1840s.
Our font covers all Western, Eastern and Central European languages (including Celtic diacritics) and the Turkish alphabet, with a complete small-caps set in each of the two styles. (Please note: The complete character set is available only in TTF and OTF Pro version.)
Vowels produce 'end-characters'. These are used whenever a string of symbols start or end.
Consonants make 'middle-characters'.
Numerals are zero-width characters. these can be used whenever you feel like it, they will float above and below the string of symbols. Puncuation adds extra spice.
Hold down ‘shift’ and you get the individual symbols mirrored. (very useful with the vowels.) More…
This family was inspired by the well-known Caslon typeface created by William Caslon, the English font designer, who was, with John Baskerville, the progenitor of English Transitional typeface classification in the mid-18th century (See also our 1776 Independence).
We were inspired by a Caslon style set used by an unknown Flemish printer from Bruges, in the beginning of 1800s, a little before the revival of Caslon style in the 1840s.
Our font covers all Western, Eastern and Central European languages (including Celtic diacritics) and the Turkish alphabet, with a complete small-caps set in each of the two styles. (Please note: The complete character set is available only in TTF and OTF Pro version.)
family of 4 fonts from Typodermic
Containment is a multilayered font system for creating headlines with fizz, gravel, snow, sand etc. With Containment, you get four fonts: A plain layer, a shadow layer, a crunchy-little-dots layer and a mix of all three. Looking for a companion font for Containment? Try Tandelle.
This font, was created -- inspired from the original manuscript of the French revolutionary song La Marseillaise, becoming later the French national anthem, composed in one night (1792 April 25th) by the 32 year old French captain, Rouget de Lisle.
It is a Pro font containing Western (including Celtic) and Northern European, Icelandic, Baltic, Eastern, Central European and Turkish diacritics. The numerous alternates and ligatures make the font look as close as possible to the real historic hand. Using an OTF software, the features allow variations of each character without anything to do but to select contextual alternates and standard ligatures and/or stylistic alternates options.
family of 4 fonts from Typodermic
Containment is a multilayered font system for creating headlines with fizz, gravel, snow, sand etc. With Containment, you get four fonts: A plain layer, a shadow layer, a crunchy-little-dots layer and a mix of all three. Looking for a companion font for Containment? Try Tandelle.
This font, was created -- inspired from the original manuscript of the French revolutionary song La Marseillaise, becoming later the French national anthem, composed in one night (1792 April 25th) by the 32 year old French captain, Rouget de Lisle.
It is a Pro font containing Western (including Celtic) and Northern European, Icelandic, Baltic, Eastern, Central European and Turkish diacritics. The numerous alternates and ligatures make the font look as close as possible to the real historic hand. Using an OTF software, the features allow variations of each character without anything to do but to select contextual alternates and standard ligatures and/or stylistic alternates options.
font family
Consul Typewriter Pro is a modern OpenType font family reviving the look of old typewriters. Its carefully converterd forms are detailed enough even for high pointsizes while keeping a reasonable number of outline points. You can choose from four different weights and its extended character set includes even formerly unknown glyphs (@). Consul also contains a number of Stylistic alternates, randomly replaced alternative letters to avoid the repetition of letters in a word. As a true typewriter, this font is essentially monospaced, but you can actually set proportional alternates to achieve more balanced look. Consul Pro is a versatile typeface and is perfectly legible even at small sizes and on-screen, however when printed it looks best at its original size around 1112 pt. All four weights share identical widths and fonts are mutually compatible. Consul supports many OpenType features and offers great multilingual support for almost all Latin-based languages. Feel free to download the detailed PDF Specimen.
family of 6 fonts from GLC
This family was inspired by numerous documents and books printed in Paris during the end of the 1700s. Mainly, documents printed by P.G. Simon & N.H. Nyon, “Printers of the parliament” were used for the Normal and italic styles and “Caps”. “Titling” characters were coming from a collection of hymns printed by Nicolas Chapart. In France these Fournier characters, as Baskerville in Great Britain, were the most often in use in the late 1700s, just before the Didot designs.
Consuelo is a typeface created by Eli Hernndez and published by Latinotype that was inspired by brush strokes and it comes with a set of four variants plus their italics and a set of ornaments. It was designed to be suitable to text, titles, magazine, logo etc.
Foundry: Latinotype
Formats: Open Type OTF
Glyphs: Basic Latin/English letters; Only available in some of style in this family: Any Open Type Features, West European diacritics, Euro, Ligatures,Open Type Alternates
Licence:Desktop, Webfont, App, eBook, Server
Released: 2014
Price:all 9fonts $159,00
family of 6 fonts from GLC
This family was inspired by numerous documents and books printed in Paris during the end of the 1700s. Mainly, documents printed by P.G. Simon & N.H. Nyon, “Printers of the parliament” were used for the Normal and italic styles and “Caps”. “Titling” characters were coming from a collection of hymns printed by Nicolas Chapart. In France these Fournier characters, as Baskerville in Great Britain, were the most often in use in the late 1700s, just before the Didot designs.
Construkt is a unicase hybrid headline typeface characterized by its sleek curves and extended forms.
The family of 3 weights and alternative characters allow for greater versatility and a variety of upper and lowercase effects.
family of 1 font from GLC
This font was inspired from the numerous font-types looking like Hand-carved in the 1700’s. The capitals are mainly inspired from the font carved by Fournier in year 1781, the year of the famous American and French decisive victory at Yorktown, and drawn by Benjamin Franklin himself, and the lower cases are inspired from the well known "btarde coule" style, ornamented with final loops and enriched with alternates and ligatures.
In the late medieval period appeared a "semi-cursive" writing, the French "criture de civilit". Quickly, it is carved and melted down in lead for printing.
It is a very elegant running font, with numerous variants, both final than initial characters, many of the accented small characters were present in the model I was inspired by, after Fournier Le jeune , in his catalogue "Modles des caractres de l'imprimerie et des autres choses ncessaires au dit art nouvellement gravs par Simon-Pierre Fournier le jeune" published in 1742 in Paris. More…
Construkt is a unicase hybrid headline typeface characterized by its sleek curves and extended forms.
The family of 3 weights and alternative characters allow for greater versatility and a variety of upper and lowercase effects.
The straight-sided form of condensed Geometric slab-serif, Font Bureau Constructa provides a stronger and more geometric form than the customary design.
This crisp series is based on Morris Fuller Bentons lone font Tower, released by ATF in 1934 as an alternative to the soft curves in Stymie Condensed.
Constructa Thin and Black finally make a useful series, projected from Tower itself by Elizabeth Cory Holzman. More…
The famous Irish poet and novelist Jonathan Swift (Dublin 1667-1745) has a large personal library of which he noticed carefully the book list by himself. We have used a facsimile from this catalogue to reconstruct this present font, as one exemple of the personal poet’s hands but also as a typical exemple of the British quill pen handwriting from about mid 1600’s to the beginning of 1700’s .
More…
The numerous alternates and ligatures allow to made the font looking as closely as possible to the real hand. Using an OTF software, the features allow to vary automatically almost each character of a word without anything to do but to select contextual alternates and standard ligatures and/or stylistic alternates options.
The famous Irish poet and novelist Jonathan Swift (Dublin 1667-1745) has a large personal library of which he noticed carefully the book list by himself. We have used a facsimile from this catalogue to reconstruct this present font, as one exemple of the personal poet’s hands but also as a typical exemple of the British quill pen handwriting from about mid 1600’s to the beginning of 1700’s .
More…
The numerous alternates and ligatures allow to made the font looking as closely as possible to the real hand. Using an OTF software, the features allow to vary automatically almost each character of a word without anything to do but to select contextual alternates and standard ligatures and/or stylistic alternates options.
The straight-sided form of condensed Geometric slab-serif, Font Bureau Constructa provides a stronger and more geometric form than the customary design.
This crisp series is based on Morris Fuller Bentons lone font Tower, released by ATF in 1934 as an alternative to the soft curves in Stymie Condensed.
Constructa Thin and Black finally make a useful series, projected from Tower itself by Elizabeth Cory Holzman. More…
This funny font was created inspired from a contract of sale for a field prepared by a French notary in the end of the year 1682 (December seventh). We have worked to transform the almost illegible original form into a contemporary usable typeface, but keeping the special “writhed” appearance. It is a “pro” font containing Western (including Celtic) Eastern and Central European, Icelandic, Baltic, and Turquish diacritics. The numerous OTF alternates and ligatures(about 5 different glyphs or ligatures for almost each basic lower case letter) made the font looking like a real various hand as closely as we can do it.
Constellation started with a simple geometric concept in the manner of Art Deco which gradually developed to a complete typeface, both upright and italic, total of seven weights. The concept allowed the font to be designed from Ultra Light in both very light and quite black styles.
This Pro font is packed with all European and Cyrillic alphabets, small caps, variable figure sets and features .
