Zavier Woodward

Thrifty is a clean, contemporary typeface family created for branding and communication design. With a narrow form and clear letter forms, this family is both suited for display and title settings while equally remaining legible in smaller point sizes.
Through it’s nine weights and accompanying italics plus a large glyph set that covers the majority of Latin based languages, Thrifty aims to offer a versatile and functional design. Thanks to the implementation of Opentype features, this family includes different sets of numerals, from tabular, hanging or scientific, it equally includes ligatures and free form fractions. Each weight equally offers a complete set of arrows and 99 different pictograms focused on themes of mobility and transport.

Vintage packaging for Frosty Stencil Flock contained the hand lettered term “spray flock” which served as the basis for Flocking Stencil JNL; available in both regular and oblique versions. 

Commonly referred to as “Spray Snow”, these kits of holiday stencils and spray cans were a popular item in the households of the 1950s and early-to-mid 1960s.

The 1930 sheet music for “A Peach of a Pair” from Paramount Pictures’ “Follow Through” listed the stars and production credits in a wonderfully casual, free-form Art Nouveau hand lettering.

This has been recreated digitally as Casually Nouveau JNL, and is available in both regular and oblique versions.

For another Art Nouveau typeface with a free-form look, try the similarly named Casual Nouveau JNL.

Anyone old enough to remember either the radio or television version of “The Adventures of Ozzie and Harriet” pictures Ozzie Nelson as the easygoing father figure who never seemed to have a real job – he was always hanging around the house.

In truth, the handsome young Ozzie was a bandleader in the 1930s and 1940s and ended up marrying his ‘girl singer’, Harriet Hilliard.

A piece of sheet music from 1933 for “You Have Taken My Heart” was one of the songs Nelson featured with his Columbia Broadcasting System Orchestra.  The title was hand lettered in what can only be described as a slightly eccentric Art Deco Sans serif.

Redrawn and cleaned up to reflect more uniform stroke weights, Bandshell JNL is now available in both regular and oblique versions.

Font by Felipe Estay

Introducing:

Chanthek a font work that is purely handwritten, has its own characteristics with the style of Script font. this is perfect for invitations, signatures, blogs, social media, business cards, product brands.

Chanthek has Stylistic standard, Stylistic Alternate, Stylistic Sets and ligatures. and includes uppercase and lowercase letters, numbers and punctuation marks.

The Features of this fonts is;

  * Standart ligatures
  * Stylistic Alternates
  * Contextual Alternates
  * Stylistic sets

File font Chanthek Include;

  * Chanthek (OpenType,PUA)
  * Chanthek (TrueType, PUA)

OpenType features can be accessed by using OpenType smart programs such as Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. can also be accessed through the character map.

special greetings for all, all of us all smoothly in running the routin

Another font, Another Fool!
This one made me think of cake - you know, a crisp crust and sprinkles on top. Perhaps the recipe includes blueberry and peanuts? Well, this fonts’ recipe includes 6 different versions of each letter as well as multilingual support! Yummy!

Introducing Argio, a fancy sans serif font with optional stencils and loads of styles to choose from. It‘s geometrical and calm character is made for headlines or logos. Don‘t forget to try out the optional stencils to set an eyecatcher and give your work a unique touch. To use one of the five ligatures, just type “theliga” and you will get a unique designed pre-set eyecatcher. And there are even more ligatures!

This package includes all styles (Light+Stencil, Regular+Stencil, Bold+Stencil, Rough and Shadow) of Argio.

Samarquand is a handwritten script design from Roy Preston. Based on the handwriting of a friend, Roy has expanded this friendly, semi-connecting script to include three weights, Light, Regular and Bold, opening up even more design possibilities. The Samarquand fonts support an extended character set, as well as some ligatures, inferior and superior numbers, and unlimited fractions. There are some really nice letterforms in these fonts, particularly that uppercase W! Peruse the posters to see. I’m kind of partial to the Light weight, which is really quite elegant in use, but that Bold can really make a strong statement! Samarquand. Check it out for yourself.

The name of this font brings back memories of an old fried chicken restaurant in Willow Springs Illinois circa 1960’s and 1970’s, my family would all get in the car and take a long drive down to an old country road Illionis Rt 171 through a forest preserve where we’d come upon the old Willowbrook motel with a bar and restaurant next door.

The restaurant was called Kegal’s, when you entered the building you had to walk through the smoky bar first to get to the restaurant, I can still see the hard wood floors with all the finish worn off from decades of foot traffic.  

Up until the mid 1960’s Kegal’s used to raise their own chickens behind the restaurant, back then fried chicken in the Midwest was either coated in flour or bread crumbs, Kegal’s was covered in a beautiful layer of golden bread crumbs. 

Before your meal arrived they’d bring a basket of dinner rolls along with crackers, bread sticks and country butter, on the side they’d serve coleslaw with a vinegar sauce, which is very common in the Midwest, the first time you try it your face puckers up like you just sucked on a lemon but you get used it over time.

After waiting for what seemed like forever to a child the waitress comes out of the kitchen with a huge tray of that golden deliciousness and your mouth begins to water, in her other hand was another tray filled to overflowing with crinkle cut french fries all made by hand, I’d eat a hole handful of those french fries first then take a bite of that tender juicy farm raised chicken.

Today a fine Italian restaurant occupies the old Kegal’s building and the motel is long gone, only my fond memories remain.

Fast forward to 2020 and FontMesa has just made some Fried Chicken as an eight weight type font family with alternates.

With the Fried Chicken slab serif font family we’ve broken some rules by removing a few of the slabs on certain letters for a unique homemade look.

Fried Chicken is perfect for your next product label, t-shirt design, logo,  headline or cookbook cover.

Treat yourself to some good ol’ Fried Chicken today.

TT Norms Std Condensed is the logical development of our bestselling TT Norms. Since the release of TT Norms, we received a bunch of requests to create its narrow version and even managed to make several custom projects of the narrow TT Norms before we decided to start creating a full-fledged commercial version of the typeface.

At the very beginning of the project, we did some research and tested several options for the possible width of the typeface. Despite the fact that TT Norms Std Condensed has narrower proportions than the original family, it inherited the classic proportions of characters, attention to detail and meticulous elaboration of each character in the typeface.

The TT Norms Std Condensed font family consists of 18 faces (9 upright and 9 italics). Each style includes a sufficient set of characters that allow you to solve most of the problems that arise in the field of graphic design, branding, packaging design or website design.

Hexonu is a weird, awkward, monospaced font family. In place of true lower case letters, it has an second set of capitals that, through the magic of the OpenType contextual alternatives (calt) feature, automatically alternates with the set on the upper-case keys. If one wants to use only one set of letters, the contextual alternatives must be turned off and character spacing adjusted.

Hexonu is another effort to create a font with alternating sets of letters (see PoultySign, Lentzers, and Caltic for others). The base shape for forming the letters is a lopsided hexagon that resembles an old coffin. In four of the six family members, the alternating shape is a distorted hour-glass. In the other two, coffin shapes heads up alternate with coffin shapes heads down. The family was created as an experiment with the calt feature and not for any particular use. It is does not work as text but its bizarreness makes it appropriate for some poster and signage applications.

Since their first appearance as Italians on the pages of the 1821 William Caslon type specimens, reverse contrast typefaces have been typography’s best loved quirky outcasts. Subverting the traditional relationship between thick verticals and thin horizontals made them perfect for eye-catching advertisements. The unexpected contrasts and the thick slabs produced by reverse-contrast serifs became ubiquitous in period posters, and synonymous with wild west and circus iconography.

In designing Stinger, the Zetafonts design team composed by Maria Chiara Fantini, Andrea Tartarelli and Francesco Canovaro and orchestrated by Cosimo Lorenzo Pancini decided to marry this subversive tradition with the workhorse approach of modernist sans serif typefaces like Univers, developing a super-family with four widths, each in five different weights, from thin to heavy. This gives the designer a full range of options for type setting, with the Normal and Fit widths providing two different text-sized alternatives, the wide width adding display and titling options and the Slim ready to deal with the space-saving necessities of extremely long texts. True italics have been added developed for all weights and variants, bringing the Stinger family to a total of 40 fonts, with a latin extended + Russian Cyrillic character set covering over 200 languages, and open type features including positional numbers, stylistic sets and alternate forms.

In the crowded panorama of contemporary grotesque typefaces, all aiming to stark geometric perfection, Stinger stands out with its bold choices and strong personality. From the calligraphy-inspired terminals in the thin weights to the logo-ready sculptural approach in the heavy weights, each variant manages to look striking without forgetting the readability and flexibility lessons of modern reverse-contrast classics like those designed by Excoffon or Novarese. A variable version is included with the full family, allowing maximum flexibility and control for the designer over the wide range of expression capabilities of the Stinger super family.