family of 1 font from Nick's Fonts
This in-yer-face kinda face is based on a broad brush font from “The New ABC of Showcard & Ticketwriting” by C. Milne, published in Australia in the late 1930s. Brought to my attention by Ms. Kat Black, and named in honor of Ms. Kat’s grannie, to whom the book originally belonged.
Bastard was an attempt to draw blackletter forms in a modern context I thought it should be acknowledged that they were drawn on a computer, not just a copy of characters drawn with a broad-nibbed pen.
A set of modular parts was devised to construct what are actually very simple letterforms.
A product of the Inland Type Foundry, some say stolen from a hand lettering job done by Goudy. (Goudy was one of those who said it!)
family of 38 fonts from Storm
Etelka was designed in summer 2005 for purposes of corporate style, product package design and electronic publishing.
family of 1 font from Nick's Fonts
This quirky charmer appeared in the 1898 specimen book of the Cleveland Type Foundry, under the name of “Litho”, so it’s no mystery where it got its name.
Conceptualized by Dalton Maag font developer, Spike Spondike, Blenny is a true individual, with elegant hairlines and exaggerated ball terminals. Soft, voluptuous curves and a retro feel make it suitable for branding, bold headlines, or product labels.
Blenny comes in one weight and supports two script systems, Latin and Thai.
Inspiration comes from everywhere and Spikes early sketches for Blenny played with a vintage, seafaring theme inspired by visits to the beach at St Leonards on the South Coast of England.
Other influences included the retro typefaces used on old electronics equipment and gin bottles. More…
Spike relished the challenge of creating the Thai glyphs whilst maintaining the key features of Blennys design. Creative decisions on the Thai in turn led back to refinements to the original Latin.
Individual glyphs such as the a seem to wrap around themselves in a hug.
Im considering having a tattoo done with it.
