Download Abbey Road NF Font Family
Here’s a fresh take on an old favorite, originally named Abbott Old Style, which exudes antique charm, and also suggests exotic locales.
Here’s a fresh take on an old favorite, originally named Abbott Old Style, which exudes antique charm, and also suggests exotic locales.
Cooper Black Italic Pro is a digital interpretation of Oz Coopers original Cooper Black Italic that features OpenType swash caps as alternate glyphs alongside the full upper and lower case character set.
Just as Cooper Black Italic were originally founded with the swash capitals as separate alternate characters, the swash capitals are included in the font as additional glyphs. Included are swash capitals for I, K, L, W, and X, not included in Cooper’s original design.
More…
Originally released in 1926, Cooper Black Italic has gone on to help define the American vernacular design aesthetic through its copious, billowing appearance.
Cooper Black Italic Pro’s characters are drawn from Oz Cooper’s original drawings and do not feature the odd curves that most digital versions of the typeface have.
The typeface is spaced and kerned for maximum usability.
Here’s a fresh take on an old favorite, originally named Abbott Old Style, which exudes antique charm, and also suggests exotic locales.
family of 3 fonts from Mecanorma Collection
font family from Linotype, added yesterday
Linotype CoolWool is part of the Take Type Library, featuring winners of Linotypes International Digital Type Design Contest. This font was designed by A. Leonardi and P. Wollein, who took their inspiration from clothing labels and care instructions. CoolWool is designed to look like it was stitched, a style of typeface which goes back to the hand embroidery of the time of Biedermeier. CoolWool, however, is a distinctly modern font with a technical feel. The font is not suited for longer texts, but CoolWool is good for shorter texts and headlines, especially because of the possibilities allowed by its three different styles, regular, stone washed (bold) and Cotton Club (outline).
font family from Suomi, added yesterday
A Sans font family of five weight for headline and text use, with old style numerals and small caps, and extensive kerning.
Linotype CoolWool is part of the Take Type Library, featuring winners of Linotypes International Digital Type Design Contest. This font was designed by A. Leonardi and P. Wollein, who took their inspiration from clothing labels and care instructions. CoolWool is designed to look like it was stitched, a style of typeface which goes back to the hand embroidery of the time of Biedermeier. CoolWool, however, is a distinctly modern font with a technical feel. The font is not suited for longer texts, but CoolWool is good for shorter texts and headlines, especially because of the possibilities allowed by its three different styles, regular, stone washed (bold) and Cotton Club (outline).
font family from Suomi, added yesterday
A Sans font family of five weight for headline and text use, with old style numerals and small caps, and extensive kerning.
family of 14 fonts from Typodermic
"Coolvetica is a scratch built, sans serif font, based on an American chain store logos circa 1970. This was an era where everyone was modifying Helvetica. Not only for logo designs but even font designers were at it. The Photo Lettering Inc. catalog was loaded with playful helvariations.
The Aban font family was designed by Naghi Naghashian. It is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernization of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design.
Aban supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Aban Font Family is available in three weights: Regular, Bold and ExtraBold, a three stings outline font. More…
The Aban design fulfills the following needs:
A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Aban is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with todays technology in mind.
B Suitability for multiple applications. Gives the widest potential acceptability.
C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Abans simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text.
D An attractive typographic image. Aban was developed for multiple languages and writing conventions.
E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.
family of 14 fonts from Typodermic
"Coolvetica is a scratch built, sans serif font, based on an American chain store logos circa 1970. This was an era where everyone was modifying Helvetica. Not only for logo designs but even font designers were at it. The Photo Lettering Inc. catalog was loaded with playful helvariations.
The Aban font family was designed by Naghi Naghashian. It is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernization of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design.
Aban supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Aban Font Family is available in three weights: Regular, Bold and ExtraBold, a three stings outline font. More…
The Aban design fulfills the following needs:
A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Aban is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with todays technology in mind.
B Suitability for multiple applications. Gives the widest potential acceptability.
C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Abans simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text.
D An attractive typographic image. Aban was developed for multiple languages and writing conventions.
E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.
family of 8 fonts from T-26
When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut.
Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics.
Each glyph across the super family is ‘connected at the hip’ with each styleeach character carries the no frills, simple architecture that endeared so many users to it. More…
The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsetsall with corresponding weightsfor complete flexibility.
Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.
Cool Crayon is a nice typeface I created with the black crayola from my 3 year old son’s crayola box. It was broken (because he tends to throw them around), but I managed to get the glyphs onto a sheet of paper.
Cool Crayon is similar to Crayon Crumble, but is rounder and thicker. Cool Crayon comes with extensive language support.
When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut.
Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics.
Each glyph across the super family is ‘connected at the hip’ with each styleeach character carries the no frills, simple architecture that endeared so many users to it. More…
The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsetsall with corresponding weightsfor complete flexibility.
Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.
family of 2 fonts from Jure Kouh
Cookogram is a package of 50 pictograms which have been drawn in two styles - outline & solid. The pictogram set consists of cooking and eating utensils, pots, pans, glasses, bottles and crockery.
When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut.
Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics.
Each glyph across the super family is ‘connected at the hip’ with each styleeach character carries the no frills, simple architecture that endeared so many users to it. More…
The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsetsall with corresponding weightsfor complete flexibility.
Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.
family of 2 fonts from Jure Kouh
Cookogram is a package of 50 pictograms which have been drawn in two styles - outline & solid. The pictogram set consists of cooking and eating utensils, pots, pans, glasses, bottles and crockery.
Koziupa and Paul are just as good in the kitchen as they are on the drawing board. Cooked is their choice offering of stir-fried and juicy alphabet ready to complement any visual stew you can put together. This meaty course, with even meatier OpenType programming, was designed to crank up the volume on the viewer’s senses of smell and taste, and induce drooling at a mere glance.
Cooked is just as suitable in packaging as it is on posters, books or music stressing the wild, adventurous and extremely pleasurable side of life.
Lot of alternates of each letter are included. Enjoy!
This is the definitive standard African font. It combines wonderful readability with tremendous panache. The fact that it has a full character set (UPPER and lower case), all punctuation and all special characters, means that it can be used in just about any African design context.
If you had only one African font in your arsenal, it would have to be Aarde Black.
The name “Aarde” means “earth” and refers to the gutsy, earthy character of the letterforms.
It includes a full character set: characters for English, French, Italian, German, and Portuguese.
More…
The numerals are mono-spaced, and are very readable so that they will line up correctly in columns of figures. The letters of the alphabet are correctly kerned so that they appear correctly in text.
family of 6 fonts from A2-TYPE
Beckett, 6 Weights. Designed for the Faber & Faber series of book covers: Samuel Beckett Complete Works', published in 2009/10. This face originates from machine-cut era wood type characterized by a hard edge that creates immediate impact on any surface, print or screen!
Koziupa and Paul are just as good in the kitchen as they are on the drawing board. Cooked is their choice offering of stir-fried and juicy alphabet ready to complement any visual stew you can put together. This meaty course, with even meatier OpenType programming, was designed to crank up the volume on the viewer’s senses of smell and taste, and induce drooling at a mere glance.
Cooked is just as suitable in packaging as it is on posters, books or music stressing the wild, adventurous and extremely pleasurable side of life.
Lot of alternates of each letter are included. Enjoy!
family of 6 fonts from A2-TYPE
Beckett, 6 Weights. Designed for the Faber & Faber series of book covers: Samuel Beckett Complete Works', published in 2009/10. This face originates from machine-cut era wood type characterized by a hard edge that creates immediate impact on any surface, print or screen!
Based on custom design work by DTP Types Limited in 1999.
Here’s a Morris line; a traditional and legible font in small sizes, but almost abstract in big sizes.
Named after my son Morris and it’s got nothing to do with a certain musical...
font family
Slightly off-kilter to give this rigid geometric a little personality, Contraption started as a digitization of a film typeface called Intrigue by Lettergraphics. From there, this mechanical typeface was expanded into a giant family of useful widths, weights, and obliques: from spindly thin and light weights, to chunky bold and blacks. An additional Inline style has been developed to further enhance the family dynamic.