Historical printers ornaments researched by Intellecta Design; from the 1882 very rare Richard Gans first catalogue.
See also other font families inspired by Gans' original typefaces: Gans Tipo Adorno, Gans Lath Modern, Gans Titular Adornada, Gans Ibarra, Gans Antigua, Gans Antigua Manuscrito, Gans Fulgor, Gans Radio Lumina, Gans Carmem Adornada, Gans Italiana, and Gans Titania.
Historical printers ornaments researched by Intellecta Design; from the 1882 very rare Richard Gans first catalogue.
See also other font families inspired by Gans' original typefaces: Gans Tipo Adorno, Gans Lath Modern, Gans Titular Adornada, Gans Ibarra, Gans Antigua, Gans Antigua Manuscrito, Gans Fulgor, Gans Radio Lumina, Gans Carmem Adornada, Gans Italiana, and Gans Titania.
See also other font families inspired by Gans' original typefaces: Gans Tipo Adorno, Gans Antigua and Gans Titular Adornada.
See also other font families inspired by Gans' original typefaces:
Gans Tipo Adorno, Gans Lath Modern, Gans Titular Adornada, Gans Ibarra, Gans Antigua, Gans Antigua Manuscrito and Gans Radio Lumina.
See also other font families inspired by Gans' original typefaces:
Gans Tipo Adorno, Gans Lath Modern, Gans Titular Adornada, Gans Ibarra, Gans Antigua, Gans Antigua Manuscrito and Gans Radio Lumina.
Unique and raw, a bit clumsy and irregular. Funny and odd but charming like every scamp.
Unique and raw, a bit clumsy and irregular. Funny and odd but charming like every scamp.
family of 1 font from Nick's Fonts
The 1912 American Specimen Book of Type Styles from ATF featured a quaint little offering called “Tabard”, whose antique charm was enhanced by several rather quirky alternate characters.
family of 1 font from Nick's Fonts
The 1912 American Specimen Book of Type Styles from ATF featured a quaint little offering called “Tabard”, whose antique charm was enhanced by several rather quirky alternate characters.
font family
Gancio is my first fully realized hand-drawn font and has a robust character set. Its simple lines and sophisticated curves are contemporary, but recall vintage and retro cool. The font is very adaptable and flexible and can be used effectively in a number of themes. Also included are the dingbats used in the poster art.
Ganache is a packaging and logo script, confidently walking the critical fine line between plain-Jane legibilityso essential to salesand the overly complex brand personality, instead giving us a clear, cheery, eye-catching face with the appeal and style to stand out on any shelf or page.
We've come to expect delicious typefaces from Laura Worthington, but this one takes the cake.
Like its chocolatey, creamy, yet sturdy namesake, Worthington’s Ganache is thick, rich, strong, but not weighty. It’s stylish, but not over-the-top. It calls attention to a product or company, enhancing but not dominating.
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But Ganache, with its happy, warm, human touch, and its beautifully drawn spunkiness, will draw the eye to much more than food and beverages, and in your hands, will stand out in the noise of other products through its seductiveness and clarity, rather than with a loud voice.
It’s smart, intricate, and fun, and deceptively simple. The type designer’s fascination with letter-fitting makes this an intriguing exercise in negative space. Note the lowercase suffix: ing.
The swash of the n swings into the g’s negative space, and to a slightly lesser extent, the g slides into the negative space of the n. Sit a d and a b side by side, and these two sturdy, functional letters form a soft, sweeping curve in betweena delightful morsel.
The O’s curlique tucks in to give the counter a form with the power to anchor a logo. The lowercase c echoes this in its counter. Between some letters, the negative space is transformed into a type of swash itself.
Small, subtle surprises like these are sprinkled through this carefully structured typeface, giving it the power and charm to hold up in reversed out lettering (light on dark) in which the counters take on more prominence.
It finds a happy balance: a heavy, substantial text that isn't dainty or wispy, one that says, I'm over here! with a dollop of sweetness and an enticing little wave.
The default has its distinctive swashyness, stylized but not extreme. Open Type’s Titling feature offers a simpler version, in which, for example, crossbars have a more standard roman look, and remnants of swashes are removed.
Ganache is a packaging and logo script, confidently walking the critical fine line between plain-Jane legibilityso essential to salesand the overly complex brand personality, instead giving us a clear, cheery, eye-catching face with the appeal and style to stand out on any shelf or page.
We've come to expect delicious typefaces from Laura Worthington, but this one takes the cake.
Like its chocolatey, creamy, yet sturdy namesake, Worthington’s Ganache is thick, rich, strong, but not weighty. It’s stylish, but not over-the-top. It calls attention to a product or company, enhancing but not dominating.
More…
But Ganache, with its happy, warm, human touch, and its beautifully drawn spunkiness, will draw the eye to much more than food and beverages, and in your hands, will stand out in the noise of other products through its seductiveness and clarity, rather than with a loud voice.
It’s smart, intricate, and fun, and deceptively simple. The type designer’s fascination with letter-fitting makes this an intriguing exercise in negative space. Note the lowercase suffix: ing.
The swash of the n swings into the g’s negative space, and to a slightly lesser extent, the g slides into the negative space of the n. Sit a d and a b side by side, and these two sturdy, functional letters form a soft, sweeping curve in betweena delightful morsel.
The O’s curlique tucks in to give the counter a form with the power to anchor a logo. The lowercase c echoes this in its counter. Between some letters, the negative space is transformed into a type of swash itself.
Small, subtle surprises like these are sprinkled through this carefully structured typeface, giving it the power and charm to hold up in reversed out lettering (light on dark) in which the counters take on more prominence.
It finds a happy balance: a heavy, substantial text that isn't dainty or wispy, one that says, I'm over here! with a dollop of sweetness and an enticing little wave.
The default has its distinctive swashyness, stylized but not extreme. Open Type’s Titling feature offers a simpler version, in which, for example, crossbars have a more standard roman look, and remnants of swashes are removed.
family of 1 font from RMU
In 2012 Schwbisch Gmnd will celebrate its 850th anniversary, and in 2014 it will be host town to the State Garden Show of Baden-Wrttemberg. These both celebrations have been the background to create a special font for my home town and give it the towns ancient name.
family of 2 fonts from Aerotype
family of 6 fonts from Canada Type
Canada Type released the first version of Gamer in August of 2004. It was modeled after a few 1972 magazine advertisement letters, the origin of which was later identified as a common film type called Checkmate.
family of 6 fonts from Canada Type
Canada Type released the first version of Gamer in August of 2004. It was modeled after a few 1972 magazine advertisement letters, the origin of which was later identified as a common film type called Checkmate.
family of 1 font from Juraj Chrastina
This squarish type is designed to create strong and clean layouts. Gamba combines futuristic shapes with high legibility, utilitarian design and personality.
family of 1 font from Juraj Chrastina
This squarish type is designed to create strong and clean layouts. Gamba combines futuristic shapes with high legibility, utilitarian design and personality.
family of 6 fonts from Jonahfonts
Slightly condensed with a taller lowercase, Gallivant carries itself very well.
family of 2 fonts from Canada Type
Browsing through film archives at an independent film and audio production company in Winnipeg, Patrick Griffin spotted some unique set letters on a sign and a lawn chair in a 1980s B-movie entitled "Canada: Another Government Movie".
family of 2 fonts from Canada Type
Browsing through film archives at an independent film and audio production company in Winnipeg, Patrick Griffin spotted some unique set letters on a sign and a lawn chair in a 1980s B-movie entitled "Canada: Another Government Movie".
When you look at it for the first time, it seems to you that letters are inclined to the right. But it is only an illusion.
Why Galleon you ask? I do not know. There is in it something both from the sea and from a wind.
family of 6 fonts from profonts
Gallego Pro is a classical, pen-drawn upright script useful for many applications, e.g. book titles, ads, magazines or any kind of display work.
family of 6 fonts from profonts
Gallego Pro is a classical, pen-drawn upright script useful for many applications, e.g. book titles, ads, magazines or any kind of display work.
Galicia is a looser serif that has unusual forms that are seen to good effect in characters like the lower case a.
It is suggested for use where a more formal and classic yet still warm and calligraphic look is appropriate.
Galicia is a looser serif that has unusual forms that are seen to good effect in characters like the lower case a.
It is suggested for use where a more formal and classic yet still warm and calligraphic look is appropriate.
family of 3 fonts from Sudtipos
The Galgo is a Spanish Greyhound, an ancient hybrid breed of dog. Just like the Galgo, the letters of this font are a mix of elegant brush calligraphy and the rough, weathered strokes of speedy scrawl.
family of 3 fonts from Sudtipos
The Galgo is a Spanish Greyhound, an ancient hybrid breed of dog. Just like the Galgo, the letters of this font are a mix of elegant brush calligraphy and the rough, weathered strokes of speedy scrawl.
Galette is a contemporary all-purpose sans-serif for printing and online delivery, allowing the use of one layout both as printed material and online without loss of quality or legibility. Not only a high resolution printing font with extensive kerning, it was designed from the ground up for clear and uniform display on the computer screen.
It displays more predictably than the traditional fonts: no overhangs are used, the stroke thickness of capitals and lower case letters is identical, making hinting or antialiasing smoother at any point size and zoom combination.
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A generous complement of accented characters (Western & Eastern European, Baltic, Turkish) enables multi-lingual use.
Galette is a contemporary all-purpose sans-serif for printing and online delivery, allowing the use of one layout both as printed material and online without loss of quality or legibility. Not only a high resolution printing font with extensive kerning, it was designed from the ground up for clear and uniform display on the computer screen.
It displays more predictably than the traditional fonts: no overhangs are used, the stroke thickness of capitals and lower case letters is identical, making hinting or antialiasing smoother at any point size and zoom combination.
More…
A generous complement of accented characters (Western & Eastern European, Baltic, Turkish) enables multi-lingual use.
