BD Mother Font Download
family of 1 font from Typedifferent
BD Motherss main characteristic is the humorous blend of fat serifs, knobbly curves and the thin square inner shapes.
family of 1 font from Typedifferent
BD Motherss main characteristic is the humorous blend of fat serifs, knobbly curves and the thin square inner shapes.
family of 3 fonts from Neufville Digital
family of 1 font from Typedifferent
BD Motherss main characteristic is the humorous blend of fat serifs, knobbly curves and the thin square inner shapes.
family of 3 fonts from Neufville Digital
family of 2 fonts from ParaType
The hand composition typeface was developed at the Ossip Lehmann type foundry (St. Petersburg) in 1904-07 (after designs by Alexander Leo?).
family of 1 font from Typedifferent
BD Kameron has a pretty strange mix of Art Nouveau curves and modern corporate cleanness.
family of 4 fonts from Typedifferent
The BD Jupiter font family contains the four styles: regular, bold, regular stencil and bold stencil.
Inspired by handwritten roman lettering, Elisabeth maintains a classic antique appearance but its rough edges lend an air of character and charm. Good looks aside, Elisabeth is technologically up to todays standards and works well in many applications. Use at larger sizes, headings, invitations, scrapbooking, menus and advertising.
family of 4 fonts from Typedifferent
The BD Jupiter font family contains the four styles: regular, bold, regular stencil and bold stencil.
font family
Elettra is a completely new type, primarily designed for display or titling. As you can see, Elettra adopting a transitional style between the nineteenth century printing typefaces and the new fonts at the beginning of the twentieth century: in particular serif are elongated, but the oblique or round shapes continuing softly on the horizontal line instead of staying vertical.
family of 1 font from Typedifferent
BD Bermuda is an experimental geometric serif font based on the shape of a triangle.
font family
Elettra is a completely new type, primarily designed for display or titling. As you can see, Elettra adopting a transitional style between the nineteenth century printing typefaces and the new fonts at the beginning of the twentieth century: in particular serif are elongated, but the oblique or round shapes continuing softly on the horizontal line instead of staying vertical.
family of 1 font from Typedifferent
BD Bermuda is an experimental geometric serif font based on the shape of a triangle.
family of 1 font from Nick's Fonts
This hefty little number is an amalgam of two typefaces from the Flower Power era, Dave Wests Elephant Gothic and Wayne Stettlers Neil Bold. Its an extrabold, sassy headline face that will get your message across, loud and clear.
family of 1 font from Nick's Fonts
This hefty little number is an amalgam of two typefaces from the Flower Power era, Dave Wests Elephant Gothic and Wayne Stettlers Neil Bold. Its an extrabold, sassy headline face that will get your message across, loud and clear.
family of 8 fonts from Comicraft
Roll up! Roll up! The world’s largest three (letter-)ring circus of Great and Tall Elephantmen fonts is now touring cities and towns in your area! See the amazing exploits of fonts of heretofore unimagined heights and weights!
family of 1 font from Jeff Levine
Around the turn of the 20th Century, the Inland Type Foundry produced a display face named Studley. It was a variation on a design by another foundry called Florentine.
family of 8 fonts from Comicraft
Roll up! Roll up! The world’s largest three (letter-)ring circus of Great and Tall Elephantmen fonts is now touring cities and towns in your area! See the amazing exploits of fonts of heretofore unimagined heights and weights!
family of 1 font from Jeff Levine
Around the turn of the 20th Century, the Inland Type Foundry produced a display face named Studley. It was a variation on a design by another foundry called Florentine.
A contemporary interpretation of grotesque (historic) typestyle, relying on geometric shapes applied to a grid. Idiosyncrasies within the typeface are based on how this grid is constructed and applied rather than those inherent in drawing type with a pen or cutting from a block of wood.
Other grot types retain the quirks of original woodcut typefaces. Elephant has a different vocabulary of quirks that remove it from being too reverential or constrained to a historic context.
family of 1 font from Sudtipos
Bayoneta is not your usual handcut alphabet, though it can seem so. It can also seem like carefully constructed lettering inspired by Polynesian cultures. By bridging that gap between knife-wielding kitsch and studied display lettering, Bayoneta offers quite a various range of theme possibilities. Its clear and attractive shapes can provide the eye-catching spontaneity on a book cover, the expressive shout on a skateboard or a muscle shirt, the mouth-watering brand on a protein bar package, or the main notice on a theme park ride sign.
A contemporary interpretation of grotesque (historic) typestyle, relying on geometric shapes applied to a grid. Idiosyncrasies within the typeface are based on how this grid is constructed and applied rather than those inherent in drawing type with a pen or cutting from a block of wood.
Other grot types retain the quirks of original woodcut typefaces. Elephant has a different vocabulary of quirks that remove it from being too reverential or constrained to a historic context.
family of 1 font from Sudtipos
Bayoneta is not your usual handcut alphabet, though it can seem so. It can also seem like carefully constructed lettering inspired by Polynesian cultures. By bridging that gap between knife-wielding kitsch and studied display lettering, Bayoneta offers quite a various range of theme possibilities. Its clear and attractive shapes can provide the eye-catching spontaneity on a book cover, the expressive shout on a skateboard or a muscle shirt, the mouth-watering brand on a protein bar package, or the main notice on a theme park ride sign.
Eleonora tends to defy standard categories. Had the typeface been designed in about 1790, it might've been called a “late transitional face” and lumped together with Bell and Bulmer. But it’s a modern typeface, showing more restraint in its finer details than even Baskerville.
Also noteworthy: it has no traditional, script-like italic but a more severe oblique with baseline serifs and other roman features. Has regular, italic, bold, and bold italic styles.
family of 1 font from Nick's Fonts
A hundred-year-old offering from Bauer & Company, named simply “Manuscript,” provided the inspiration for this elegant script face.
Eleonora tends to defy standard categories. Had the typeface been designed in about 1790, it might've been called a “late transitional face” and lumped together with Bell and Bulmer. But it’s a modern typeface, showing more restraint in its finer details than even Baskerville.
Also noteworthy: it has no traditional, script-like italic but a more severe oblique with baseline serifs and other roman features. Has regular, italic, bold, and bold italic styles.