Bianca Langridge

Rushtard Brush is handmade signature style font with stunning characters. Ideal for logos, name tag, handwritten quotes, product packaging, merchandise, social media & greeting cards. It contains a full set of lower & uppercase letters, a large range of punctuation, numerals, and multilingual support.

The font also contains several alternatives for lowercase characters, accessible in the Adobe Illustrator Glyphs panel, or under Stylistic Alternates in the Adobe Photoshop OpenType menu. But If you don't have any opentype specific software, you can still use Collatin as is with its standard lowercase and uppercase letters.

The Bernound is an amazing typeface which comes in three weights. The clean weight comes with rounded corners and a slim shape that presents a minimalist impression. The outlined weight has a fancy feel when displayed on its own, and the rough weight has a vintage, rustic, and grunge look. All weights can be combined perfectly which gives you the opportunity to create endless unique designs with just this one download.

Future Tense is a modern type style that is perfect for logos, film, video games, packaging, signs, and more. Charles Borges de Oliveira & Vassil Kateliev’s attention to letter forms insures extreme legibility without sacrificing this modern style. The 160 alternate letters will keep your designs looking fresh and different. A unique feature included in Future Tense is the small caps have their own set of small caps. This allows 3 different looks for each letter.

What’s included in Future Tense:

160 alternate letters makes designing eye catching logos rewarding! The alternates are included in the small caps and second small caps as well.
Future Tense is a titling face that contains small caps as well as a second set of small caps.
Multilingual: support for over 200 languages.
Over 2,500 glyphs make up Future Tense.
PUA encoded.
Take your designs to the next level with Future Tense.

Please note: artwork is not included with font purchase. The images above show how Future Tense can be used in a design setting.

Future Tense was designed and created by Charles Borges de Oliveira and Vassil Kateliev.

This font is dedicated to Warrel Dane.

Arzachel is a humanistic sanserif with a big x-height and a specific organic look. Its design is scientifically sharp and efficient in small type sizes as well as rugged and dramatic in headlines.
Arzachel’s essential feeling comes from several features: all the letters are slightly sloped, stem terminations are flared at the top, and the terminals in letters a, c, e, f… are widening with the inside parts completely flat. The stroke contrast is low in the regular weight while it increases in the black; finally the capitals have an inscriptional flavor. Despite being a sanserif (thus a product of recent typography) Arzachel’s roots stretch back to the Renaissance tradition: Olocco took inspiration from some of the early and rather weird types cut in Venice in the 15th century.
Arzachel was conceived during Olocco’s MA in Reading to provide a companion for his Zenon for use in small type sizes. But instead of expanding the Zenon family with optical sizes, the designer decided on a sans with its own personality rather than a sanserif version of Zenon with chopped-off serifs.

Sole Sans, companion to Sole Serif, is a newspaper sanserif available in a wide range of weights and styles. It’s a workhorse, suitable for headlines, diagrams, graphics and tabular work. Contrast at the junctions between arches and stems is a feature of early 19th-century sanserifs which inspired Sole Sans. It was originally designed for the leading Italian financial newspaper Il Sole 24 ore.

Ageo is geometric sans serif font family designed by Eko Bimantara.

It’s contain 8 weight from Thin to Heavy with each matching Italics. It’s shown a clean, minimalist, elegant, warmth, quirky, yet still purposed to be versatile and easy to read. Fit for various design or creative project.

It’s contain several OpenType features as: standard ligature, figures variation (oldstyle, fraction, numerator, denominator), and also broad language support.

It’s here! Lumbering down the grassy slope towards us, the lovable round sans serif of KNICKNACK. It’s warm, it’s smooth, it’s round and it’s fuzzy.

It’s perfect for display use, print, posters, branding, packaging or kids friendly apps and web!

KNICKNACK is a typeface that will put a smile on your face. It features 2 styles, regular and fuzzy and comes in at least 5 weights. At least?! Yes, at least. If you use the variable font file of KNICKNACK you can control the weight of the font with a slider. Works in Adobe Photoshop CC 2018 and Adobe Illustrator CC 2018.

Onthel is a bold-script with a touch of rhythmic brush that is very charming and has character. It was inspired by Onthel Bicycles, which is a Dutch design bicycle that is characterized by an upright sitting position and has a very strong and high-quality reputation. This font is a good choice for your logotype and lettering craft.

Ballestro is a playful, versatile display font. Its name is a nod to the characters being constructed using a grid-like pattern of balls. Ballestro is great for headlines, signage, logos, packaging and more.

Smart, legible and elegant, Gravesend Sans is a based on the unique typeface used for the iconic grass-green signage for the now-defunct Southern Railway. In existence from 1923 to 1948, when it was nationalised, it linked London with the Channel ports, South West England, the South coast resorts and Kent. The same design was also used for the ‘hawkeye’ signs on the London, Midland and Scottish Railway, differentiated by black letters on a yellow background.

Reference for each letter was taken from vintage ‘target’ station nameplates and other platform signage. The rarest letters were the Q, seen in Queens Road Battersea, the X, seen in East Brisxon, and the Z, used in Maze Hill, site of an infamous train crash in 1958. Being hand-made, the letters often differ in width and thickness. There was no lower case. The Bluebell Railway, a heritage steam line, runs over part of the old Southern Railway network and uses a very similar type.

The design of the numbers differed considerably, but here have been taken from the Device 112 Hours font Smokebox. As well identifying platforms, they were used on the front of the steam engine’s smokebox, hence the name, and stylistically are more in keeping with the letters than some of the squarer versions that can be seen in old photographs.

William Caslon IV is credited with the first Latin sans-serif type, shown in a 1816 Caslon specimen book. ‘Two Lines English Egyptian’, as it was called, was caps-only, and there are several close correlations between the two.

Includes a selection of authentic arrows and manicules, plus abbreviated ligatures such as ‘St.’ (Saint or Street) ‘Rd.’ (Road) and ‘Jn.’ (Junction). The Cameo version includes many graphic banner elements that can be freely combined.

House Sans is a 100 style super-family made up of 5 widths, 10 weights plus matching italics in two design approaches through stylistic alternates to the E, F, L and e characters. The weights range from compressed to expanded, from thin to heavy creating a plethora of styles to create with.

House Sans has a unique visual structure to key glyphs such as the A, M & Y that give the font a stand out feel while the contrasting horizontal bars provide a nice balance. The compressed weights are great for fitting in tight spaces whilst the Heavy styles are perfect for standing out from the crowd.

The font features extensive support for European and Cyrillic languages, stylistic and discretionary ligatures, plus superiors, inferiors and fractions.

This is an extension of Alquitran, but now converted into a family from the Thin to the Black Line, it contains dingbat, inspired by the Pichação!