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!
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...
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...
This light manual font, with two styles, is the sans serif version of our slab serif “2011 Slimtype”. It is containing Western and Northern European, Icelandic, Baltic, Eastern, Central European and Turquish specific characters, plus old style numerals, ct, st and f standard ligatures.
The two styles are both legible from 10-11 pts.
This light manual font, with two styles, is a looking like slab serif or typewriter pattern. It is containing Western and Northern European, Icelandic, Baltic, Eastern, Central European and Turquish specific characters, plus old style numerals, ct, st and f standard ligatures.
The two styles are both legible from 10-11 pts.
This light manual font, with two styles, is a looking like slab serif or typewriter pattern. It is containing Western and Northern European, Icelandic, Baltic, Eastern, Central European and Turquish specific characters, plus old style numerals, ct, st and f standard ligatures.
The two styles are both legible from 10-11 pts.
This font is not a historical one, in spite of the fact that it was inspired by the Cancellaresca pattern (look at 1491 Cancellaresca and 1610 Cancellaresca).
We have created this one as a fantasy script for a decorative use, like for invitation, greetings, menus, posters and so on...
This font is not a historical one, in spite of the fact that it was inspired by the Cancellaresca pattern (look at 1491 Cancellaresca and 1610 Cancellaresca).
We have created this one as a fantasy script for a decorative use, like for invitation, greetings, menus, posters and so on...
This font was inspired by the paint brushed letters in use in the 60 - 70s for protest slogans tagged on the cities walls. In those days, we didn't commonly use aerosols like today, so we used paint brushes, with paint or tar cans, drew the letters, and ran away quickly !
Capitals and lower case have the same size, and a lot of alternates characters or ligatures allows the user to vary each letter (until tree alternates for single letters) in each word of a text . Likewise, the words may be easily underscored or intersected by a few stains looking like paint spots, subtituted to the following standards characters: [greater], [less], [dagger], [backslash], [bullet], and [underscore].
family of 2 fonts from GLC
This family was created inspired from two French (one so common and a very rare large one) “toy print” boxes, named Le petit imprimeur, with rubber stamp characters from the 1920’s. The big difference from our 1920 My Toy print is that this font is complete, with upper and lower cases, accented, complete punctuation and some symbols. The doubly of each usual character in each style (A-Z/a-z and numerals) allow to give a rich and variously uneven appearance, looking like the results of the real use of those old rubber stamps, with bad kernings and alignement. The font is containing West (including Celtic), Central, East European, Turkish and Cyrillic characters.
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.
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).
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.
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.
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.
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.)
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.)
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.
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 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.
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.
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…
