LIMITED-TIME PROMOTION, HALF-PRICE. Regular price 22,00 USD NOW JUST ONLY 11,00 USD A typewriter font design, great for mimicking the effect of typewriting older machines.

Pluton, a mono-spaced font, is designed to be versatile and easy on the eyes, with over 2600 defined glyphs.

It has wide coverage comprising several different alphabets (Western European, Cyrillic, Hebrew, Runic, Ogham), mathematical, and physical symbols.

This font comes with both OT and TTF formats with full character maps. A pluton is an igneous mass of rock formed at considerable depth.

A typewriter font design, great for mimicking the effect of typewriting on older machines.

Family Language Supports Albanian, Danish, Dutch, English, Estonian, Faroese, French, German, Icelandic, Italian, Malagasy, Norwegian, Portuguese, Spanish, Swedish.

“Brush Serif” was inspired by all the classic series you know and love, but as an illustrator, I’m not enthused with straight lines and perfect corners.

Every font was styled off of one or more “classic” typefaces and completely redrawn and hand-painted with a Chinese calligraphy brush and Indian Ink.

These are as versatile as they look but are particularly striking at large sizes when all of their beautiful imperfections, dry brush edges, and speckled fills are visible.

Edward is a bold, striking font that forms one-fifth of my BRUSH SERIF COLLECTION!

“Brush Serif” was inspired by all the classic series you know and love, but as an illustrator, I’m not enthused with straight lines and perfect corners.

Every font was styled off of one or more “classic” typefaces and completely redrawn and hand-painted with a Chinese calligraphy brush and Indian Ink.

These are as versatile as they look but are particularly striking at large sizes when all of their beautiful imperfections, dry brush edges, and speckled fills are visible.

Collin is a lightweight, informative font that forms one-fifth of my BRUSH SERIF COLLECTION! New and updated with full extended Latin glyphs catalog.

 

“Brush Serif” was inspired by all the classic series you know and love. Every font was styled off of one or more “classic” typefaces and completely redrawn and hand-painted with a Chinese calligraphy brush and Indian Ink.

These are as versatile as they look but are particularly striking at large sizes when all of their beautiful imperfections, dry brush edges, and speckled fills are visible.

Percy is a fun, hipster font that forms one-fifth of my BRUSH SERIF COLLECTION!

“Brush Serif” was inspired by all the classic series you know and love, but as an illustrator, I’m not enthused with straight lines and perfect corners.

Every font was styled off of one or more “classic” typefaces and completely redrawn and hand-painted with a Chinese calligraphy brush and Indian Ink.

These are as versatile as they look but are particularly striking at large sizes when all of their beautiful imperfections, dry brush edges, and speckled fills are visible.

Hugo is a bold, striking font that forms one-fifth of my BRUSH SERIF COLLECTION!

“Brush Serif” was inspired by all the classic series you know and love, but as an illustrator, I’m not enthused with straight lines and perfect corners.

Every font was styled off of one or more “classic” typefaces and completely redrawn and hand-painted with a Chinese calligraphy brush and Indian Ink.

These are as versatile as they look but are particularly striking at large sizes when all of their beautiful imperfections, dry brush edges, and speckled fills are visible.

Unlike many of our other fonts that are strict interpretations of historical exemplars, Old Venexia is a loose interpretation of Aldus Manutius’s typefaces.

Aldus was one of the greats in typography whose work influences vast amounts of typefaces to this day. This font has nearly 600 defined characters.

Suitable for a wide variety of applications. This font contains regular, italic, bold, bold italic, and small caps in both TTF and OTF formats. Every Proportional Lime font comes with a full character map.

A good while ago I developed an interest in the Japanese art of dwarfed potted trees, bonsai Bonsai Roman Font. I bought some old pamphlets on the subject from Brooklyn Botanic Garden.

In one—“Handbook on Bonsai: Special Techniques” (seventh printing, February 1976)—the type was bad. Old worn lead type, I suspect, spread wide in the tops of characters and disappearing at the bottoms.

Two decades later, I came across my Brooklyn Botanic Garden collection and was struck again by this interesting type. Inspired, I made a typeface.

Didn’t take me long to decide on a name for it either: a name with a double-meaning, based both on its look and its inspiration.

Bonsai Roman is one of two styles of the typeface; they both come with more than 800 glyphs—including true small caps, lining and old-style figures, lots o’ ligatures, fractions, currency symbols, and support for Central/Eastern European languages.