Rachel McNeil

Spirits design was initially based on Hermann Ihlenburg's Schoeffer Old Style from the 1912 ATF catalog. Soft is the closest version to the printed original typeface. Neutral, with more formal serifs, is ideal for editorial design, for example newspaper headlines. Sharp, more contemporary, is the best choice for meeting today's design needs. Condensed proportions and large x-height, features found in the original font, make Spirits ideally suited for headlines and branding design. As you would expect from Latinotype, this font comes with a standard character set that supports over 200 languages. Each version includes its own alternates and comes in 4 weights, ranging from Light to Black, resulting in a total of 12 font styles.

7 fonts of illustrations that include birds and animals. Trees and mountains. Farm to table. Tiny houses and furniture. And more. Wilderness Doodles, Woodland Doodles, Lake Vacation Doodles, Farm Doodles, Dickybird Doodles, House Doodles and Home Sweet Home Dingbats. 4 casual fonts to work with the illustrations. Architectural Lettering and Architectural Lettering Bold, Best Regardz and Plz Print Bold Condensed. The 11 fonts include 210 doodle illustrations! Create cards, menus, invitations, flyers, change of address cards. This group has endless uses. These 11 fonts can be bought for a really low price. Or if you just want one font you can buy that. Of course the best deal to get the whole family. Watch for Outside the Line’s many other families to come. Plz read the license. Contact Rae for commercial licensing. She would be happy to chat with you.

Crafted in the best tradition of the geometric sans-serif, Rondana is a typographic tribute to the the retro-futuristic aesthetics of the 1960s and 70s, as well as an exercise in purity of line. However, its spirit is decidedly non-bauhausian, since its strokes intentionally deviate from the dull, obvious, ruler-and-compass construction; its arcs and curves being much more complex, tending towards a slightly square shape, imbued with subtle modulations. This sums up to a more organic, flowing, extroverted personality than the one just expected from the use of plain, simple geometry. Another feature is the conscious use of non-standard shapes for many signs, that are quite legible but somewhat unexpected, such as the E, the g and the ampersand; making Rondana an excellent display face and also giving a particular flavor to the text composed in it, especially in its italic variants —which are, by the way, designer italics in their own right and not just an oblique version of the roman. Rondana comes in twelve variants comprising a wide spectrum of weights, allowing for an extremely diverse range of expression.

Hedra is an experimental sans with monolinear strokes mixing two typographic strands. On the one hand, the letterforms are very geometric: ‘O’ and ‘o’ are nearly perfect circles with just a small bit of optical correction to make them more readable. Together with the common ‘diagonal nature’ applied to some letter parts, Hedra feels quite technical and text set in it even almost looks futuristic. On the other hand, the letterforms incorporate some art nouveau qualities: the diagonals inside the ‘A’, ’B’ and ‘E’ are more historic than technical, while the ‘K’, ‘V’, and ‘W’ all have some unconventional rounded elements that seem like call-backs to the beginning of the twentieth century. Via an OpenType feature, users can make text look more technical and less historical if desired: Stylistic Set 1 replaces the curved-diagonal ‘K’, ‘X’, ‘Y’, ‘k’, and ‘x’ with straight-diagonal alternates.

Troy is a pair of related sans and serif titling fonts. Each version is available in a single weight. The fonts’ lowercase letters all take the form of small capitals. Particularly the serif font – simply called Troy – is reminiscent of inscriptional letterforms. This tip of the hat to the very origins of our Roman capital letters gives the typeface an immediate feeling of formality and solemnity. Troy Sans, while sharing Troy’s proportions, feels more contemporary – although its letters would not be out of place on an inscription, either. Each of the fonts contain several alternate letterforms. In Troy, some of the alternate letters contain a mystical feeling; in Troy Sans, the same alternates look almost medieval, particularly ‘A’, ‘E’, ‘G’, ‘a’, ‘e’, and ‘g’. Other alternate characters are more sober versions of the default letterforms: in their default state, for instance, the ‘O’, ‘Q’, ‘o’, and ‘q’ each have a dot inside of their counters. The alternate versions of those letters are dotless. There are three versions of the ampersand in each font, too, as well as eighteen ligatures. Included among those are ligatures like ‘LI’ and ‘CO’, where the second letter is cradled inside of the counter of the first, as well as doubled letters like ‘NN’, ‘OO’, and ‘TT’ that were found in Ancient Roman inscriptions. The Troy fonts were designed by Ilya Naumoff, a graphic and typeface designer in Paris.