Clara Solomina

Download Now Server 1 Download Now Server 2 Download Now Server 3 Dan Hardie, a Miami-based graphic artist and creative consultant at Mutiny, Inc. shared an image he’d spotted online of some interesting signage formerly on the front of the Miami Medical Building. Comprised of hand-cut metal characters (with a thoroughly avant-garde “Art Deco meets Modernist” approach), this instantly became a font design idea unusual and quirky enough to develop as a digital typeface. The end result is Office Visit JNL , which is available in both regular and oblique versions. Download Office Visit JNL Fonts Family From Jeff Levine Download Office Visit JNL Fonts Family From Jeff Levine

Download Now Server 1 Download Now Server 3 Download Now Server 2 BallPill  — a trapless typeface in 5 weights language: all latin glyphs Download Ballpill Fonts Family From bb-bureau

Download Now Server 1 Download Now Server 3 Download Now Server 2 SK Brushwood is an experimental geometric font based on chaotic lines. It is inspired by the Greek stone script, but nevertheless it is modern. The main component of the letter shape is straight and sloping lines ending in straight corners, which makes it look like brushwood. This is why the font gets its name. SK Brushwood is perfect for headlines, posters, print work, and the Internet. Download SK Brushwood Fonts Family From Shriftovik

Download Now Server 1 Download Now Server 3 Download Now Server 2 While searching through microfilm of an old, 1932 newspaper, I stumbled on the word "Poultry" written with trapezoidal letters. I did not recall seeing lettering like this and it inspired me to design a typeface that could produce a similar result.  Poultry Sign has six styles in two widths, each with three weights. It is monoline, monospaced, and all caps. The letters on the lower-case keys reverse the trapezoid of those on the upper-case keys. The designer's expectation is that the most common use for this typeface will alternate upper-case and lower-case keys. The spacing of the letters is identical within each width so the styles can be layered to produce bi-colored or tri-colored letters. There is a second set of numbers that can be accessed with an OpenType stylistic alternative.

Download Now Server 1 Download Now Server 3 Download Now Server 2 Heller Sans JNL is based on the main letterforms of an experimental alphabet designed by Steven Heller; noted author of over 170 books on design and visual culture. Some modifications were made in turning his design into a digital font. In his own words, here is the background to this typeface: “I recently recovered this from the junk heap. It is a yellowing photostat of my first and only typeface design (1969-70). Total folly! At the time I was smitten by Art Moderne lettering. I called it “Klaus Boobala Bold” because I liked the K and B. I’ve lost the letters S through Z, which were made. The letters were drawn with compass, Techno pen (that frequently clogged). as well as a triangle and T-square. The inline and outline made no real logical sense. I based the design, in part, on Kabel, Avan

Download Now Server 1 Download Now Server 3 Download Now Server 2 Rever is an experimental typeface by a young designer Sasha Smirnov. It clearly alludes to 19th century typefaces with reverse contrast, but still the character shapes are as simple and geometric as possible. Rever answers the question “What can a reverse-contrast typeface look like today?” Its set of styles is non-traditional: in addition to a regular one, there are also an oblique (slanted to the left, not to the right!) and a stencil styles. The typeface can work for typographic experiments of any kind -- web, print or motion design. The font was released by Paratype in 2019. Download Rever Fonts Family From ParaType

Download Now Server 1 Download Now Server 3 Download Now Server 2 Rever is an experimental typeface by a young designer Sasha Smirnov. It clearly alludes to 19th century typefaces with reverse contrast, but still the character shapes are as simple and geometric as possible. Rever answers the question “What can a reverse-contrast typeface look like today?” Its set of styles is non-traditional: in addition to a regular one, there are also an oblique (slanted to the left, not to the right!) and a stencil styles. The typeface can work for typographic experiments of any kind -- web, print or motion design. The font was released by Paratype in 2019. Download Rever Fonts Family From ParaType

Download Now Server 1 Download Now Server 3 Download Now Server 2 Sihmitree is a gimmick typeface in which all glyphs have reflective (mirror) or rotational symmetry (or both). Sihmitree has two weights and is caps only, with most of the lower-case letters identical to the upper-case letters. It includes only those accented characters that are symmetrical. The letters of the alphabet are often used to explain symmetry. BCDEK are given as examples of shapes that can easily be formed with symmetry over a horizontal line. AMQTUVWY can easily be formed so that they mirror over a vertical line. Letters HIOX can be formed so they mirror over both horizontal and vertical lines, and as a result they will also have rotational symmetry. Letters NSZ can be formed so that they reproduce themselves with a rotation of 180º. That leaves letters FGJLPR, which are usually consider

Download Now Server 1 Download Now Server 3 Download Now Server 2 TG Axima is a neo-humanist sans, with 6 weights & 2 widths with a total of 12 font. Inspired from humanist fonts like Frutiger and gill sans with touched post-modern. TG Axima is a perfect match for editorial design even for experimental design. Looks great at the small details or the bigger size. Download TG Axima Fonts Family From Tegami Type

Download Now Server 1 Download Now Server 3 Download Now Server 2 Katlynne is unpredictable. Katlynne is erratic. Katlynne is beautiful. Katlynne is an alternating contrast, sans serif type family. Arbitrarily separating the characters into ‘rounder’ and ‘straighter’ letterforms to determine what contrast each glyph will take. Katlynne is inspired by the observations made while watching the inexperienced use of broad tip pens. I found how and when individuals rotated their pen gave a visually intrusive, if not also pleasantly conspicuous effect. Often, the pen would naturally rotate horizontally (vertical contrast) on the rounder letterforms, and vertically (reverse contrast) on the straighter ones. This is more or less the formula Katlynne adopts as the contrast changes throughout the styles. Katlynne’s severity of contrast varies from ‘Negative Three’ to ‘Posi

Download Now Server 1 Download Now Server 3 Download Now Server 2 Styro is a family of modernist-style stencil fonts. There are eight weights available, ranging in color from Thin through Black. All of the typeface’s weights are virtually monospaced, and with each weight of the family, the outside ‘strokes’ building up the letterforms increase in thickness. Styro’s characters are very condensed, and their design employs a reductionist formal vocabulary. For example, the counter-forms are expressed by thin lines that run inside of the letters, from their tops to their bottoms. These ‘counters’ are optically of the same width as the spaces between each letter. Many of the fonts’ stroke terminals – like those on the top of the ‘a’ or on the bottom of the ‘g’ – are reduced to simple geometric shapes. Diacritic marks take the form of light thin lines, which create a nic

Download Now Server 1 Download Now Server 3 Download Now Server 2 Kihim in a single-weight display typeface. It is grid-based design – and a very decorative one at that. All of its letterforms are set on an extreme angle. The ‘tops’ and ‘bottoms’ of each stroke reflect that angle, giving the typeface a ‘rotalic’ feeling, as if each letterform was rotated clockwise. Designed by Hitesh Malaviya, Kilhim is his interpretations of the late artist Nasreen Mohamedi’s drawings and photographs. Through the interplay of light and shadows, her work explored the creation and consumption of form. It featured highly structured grids, just like this typeface. Her work achieved a unique level of abstraction, in which simple marks caused grids to form and deform. In her photography, she concentrated on sparseness and shapes. Physical space occupied by the body was a point of depart

Download Now Server 1 Download Now Server 3 Download Now Server 2 Varidox, a variable typeface design, allows users to connect with specific design combinations with slightly varied differences in style. These variations in design enable the user to reach a wider scope of audiences. As the name suggests, Varidox is a paradox of sorts--that is, a combination of two disparate forms with two major driving influences. In the case of type design, the conflict lies in the age-old conundrum of artistic expression versus marketplace demand. Should the focus center primarily on functionality for the customer or err on the side of advancing creativity? If both are required, where does the proper balance lie? Viewed as an art, type design selections are often guided by the pulse of the industry, usually emphasizing unique and contemporary shapes. Critics are often leading