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Brandon Printed Font Download

 Brandon Printed
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Eveleth Font Download

 Eveleth

Eveleth from Yellow Design Studio is a premium high-resolution letterpress family with exceptional realism and vintage charm. It features 3 different sub-families each with its own unique printed texture. Each sub-family offers six distress options per letter and 3 options for all other characters allowing incredible control and customization. Bonus “spurs” have been included in every weight to add retro flair. Other features include a complimentary Thin weight, a shadow layer, a set of funky icons, a collection of useful shapes and emblems, and clean (non-distressed) versions.

The font package includes character maps for the Icons and Shapes plus instructions for adding spurs.

Eveleth Tips:

- In Photoshop try different 'anti-aliasing' settings for best results.

- In Illustrator if the shadow layer doesn't align with the normal layer, change the “First Baseline” setting in the Area Type Options to “Em Box Height”.

- Because of its complex outlines, Eveleth may process slowly in some applications.

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ITC Lubalin Graph® Font Download

 ITC Lubalin Graph®
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You Blockhead Font Download

 You Blockhead

Why you little Numbskull! Nitwit! Visigoth! Dimwitted Jackass! Interplanetary Goat! Highwayman! Sea-gherkin! Jellyfish! KnowNothing! Filibuster! Cachinnating cockatoo! Artichoke! Two-timing Troglodyte! Bald-headed budgerigar! Odd-toed Ungulate! Autocrat! Carpetseller! Duck-billed platypus! Dunderheaded coconut! Ectoplasm! Steamroller! Iconoclast! Kleptomaniac! Raggle taggle ruminant! Orangutang! Rapscallion! Ten thousand thundering typhoons! Whippersnapper! Billions of billious barbecued blue blistering barnacles -- you-you... YOU BLOCKHEAD!

Now available with a side of Haddock.

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Bauer Bodoni™ Font Download

 Bauer Bodoni™

Giambattista Bodoni (1740–1813) was called the King of Printers and the Bodoni font owes its creation in 1767 to his masterful cutting techniques. Predecessors in a similar style were the typefaces of Pierre Simon Fournier (1712–1768) and the Didot family (1689–1836).

The Bodoni font distinguishes itself through the strength of its characters and embodies the rational thinking of the Enlightenment. The new typefaces displaced the Old Face and Transitional styles and was the most popular typeface until the mid-19th century. Bodoni’s influence on typography was dominant until the end of the 19th century and, even today, inspires new creations.

Working with this font requires care, as the strong emphasis of the vertical strokes and the marked contrast between the fine and thick lines lessens Bodoni’s legibility, and the font is therefore better in larger print with generous spacing.

Bauer Bodoni appeared in 1926 with the Bauer font foundry. It was designed by typeface designer and book binder, Heinrich Jost (1889–1949), who was the artistic director of the foundry from 1922 until 1948. The forms are closely related to those of the original font and they are more delicate and elegant than many other Bodoni interpretations.

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Novecento Slab Font Download

 Novecento Slab

Novecento Slab is the “slab serif” companion of Novecento Sans, a font family inspired on european typographic tendencies between the second half of 19th century and first half of the 20th.


This font face is designed to be used mostly for headlines, visual identities or short sentences, both in big and small sizes.


Novecento Slab family comes in 32 styles, speaks 76 latin based languages, has 590 glyphs and 16 stylistic opentype features for advanced typography.

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ITC Caslon No. 224™ Font Download

 ITC Caslon No. 224™
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TV Nord EF Font Download

 TV Nord EF

The typeface family TV Nord is based on the corporate typeface NDR Sans which was developed by Elsner+Flake for the Norddeutsche Rundfunk (www.ndr.de) between 1999 and 2001. This new design came into being as part of a complete overhaul of the visual image of the NDR. This became necessary because the NDR, founded in 1954, incorporated the stations of the East German states Mecklenburg-Vorpommern (1992) and Brandenburg (1997) after the re-unification of Germany. The Hamburg advertising agency DMCGroup developed a new and unified image for the NDR which is in existence to this day.

The typeface TV Nord relates to the design of the Trade Gothic and similar American sans serif typefaces of the early part of the last century. Its development concerns itself as much with good legibility for print, as it does for the reproduction on TV screens, which among others, is achieved through its high x-height.

The logotype for the NDR as well was developed from the capitals of the NDR Sans. In 2014, the TV Nord was revised stylistically and expanded to incorporate all European-Latin languages. As part of this effort, further complementary cuts were added.

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Calluna™ Font Download

 Calluna™

Calluna was born more or less by accident.

When I needed a little break from designing Museo I was just fiddling around a bit to see if maybe a full slab serif would be something to have a look at. The first thing I did, of course, was to put slab serifs on the stems of Museo. When I did, something nice happened. Slab-serifs with a direction! I ended up using the idea for something I always wanted to do: making a rather serious text face. The goal was to make a text font, but one with enough interesting details.

In the end it all came down to finding the balance in a typeface between the robustness needed to function as a text face and enough refinement to look good as a display font.

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PF DIN Text® Font Download

 PF DIN Text®

The purpose of the original DIN 1451 standard was to lay down a style of lettering which is timeless and easily legible. Unfortunately, these early letters lacked elegance and were not properly designed for typographic applications. Ever since its first publication in the 1930’s, several type foundries adopted the original designs for digital photocomposition. By early 2000, it became apparent that the existing DIN-based fonts did not fulfil the ever-increasing demand for a diverse set of weights and additional support for non-Latin languages.

Parachute® was set out to fill this gap by introducing the PF DIN series which has become ever since the most comprehensive and sophisticated set of DIN typefaces. It was based on the original standards but was specifically designed to fit typographic requirements. Its letterforms divert from the stiff geometric structure of the original and introduce instead elements which are familiar, softer and easier to read.

The first set of fonts was completed in 2002 as a group of 3 families which included condensed and compressed versions.

With its vast array of weights, the extended language support, but most of all its meticulous and elaborate design, it has proved itself valuable to numerous design agencies around the world. Ever since its first release, it has been used in diverse editorials, packaging, branding and advertising campaigns as well as a great number of websites. It was quoted by Publish magazine as being “an overkill series for complex corporate identity projects”.

The whole PF DIN Text type system (with normal, condensed and compressed styles) includes 45 weights from Hairline to Extra Black including true-italics. Additionally, every font in the Pro series is powered by 270 very useful symbols for packaging, environmental graphics, signage, transportation, computing, fabric care.

There are 2 versions to choose from:

The PRO version is the most powerful. All weights support Latin, Cyrillic, Greek, Central/Eastern European, Romanian, Baltic and Turkish, with 20 advanced opentype features including small caps.

The standard STD version is more economic. All weights support Latin, Central/Eastern European, Romanian, Baltic and Turkish, with 18 advanced opentype features including small caps.

In 2010 Parachute® released 4 new families DIN Monospace, DIN Stencil, DIN Text Arabic and DIN Text Universal. All these are complemented by the popular DIN Display version. Altogether the Parachute DIN series is a set of 8 superfamilies with a total of 96 weights.

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