A collection of over 50 border patterns based on geometric motifs from various African tribes, including the Ashanti, Bushongo, and Zulu. Use for accents on stationery, greeting cards, etc.

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This font contains 174 characters; a variety of solid and dimensional star designs with from three to twelve points, pentagrams, sheriff stars, stars of david, outline stars, burst stars and airforce stars.

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RA Web Frames Extras is an original dingbat font for graphic artists and web designers. It’s the companion font to RA Web Frames. There are 36 characters that complement the frames in RA Web Frames. There is an assortment of buttons, menus, dividers, icons and decorations. You can use this font with or on its own. All the characters are hand-drawn originals.

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16, 12 and 9-pointed starbursts, yinyangs and triskelions are just right for making clocks, zodiacs, color wheels, and decadently embellished solar disks. Influenced by icons from Chinese, Celtic and Native American imagery as well as mid-twentieth century decorations, these will really snazz up your document. SpEYErals is a font family which contains five separate fonts, Yinyanng, Triskelliann, RevolutionNine, Clockwork and Psychles, for a total of 360 font characters.

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This font contains 174 characters; a variety of five pointed outline stars with centers, star designs composed from various gemetric shapes with from three to eight points, jagged stars, quilt stars, outline stars, starfish, arrow stars, burst stars, dropshadow stars, ragged starbursts, double stars and airforce stars.

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The perfect font for creating Guest Book graphics.

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Annborders font family is great for making all sorts of tiling backgrounds, borders and edging, the numbers of different possibilities are limitless. Included are five different border fonts for a total of 380 characters.

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SCR fonts are screen optimized (also called ‘pixel fonts’). Unlike standard fonts (and like the few well-hinted fonts like Verdana or Arial), they give a crisp look on screen at very small sizes, thus increasing legibility. The perfect applications for those fonts are web pages and software user interfaces (computer, cellular phones, console games and any other system that uses a screen interface).

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The indispensible font for creating buttons of all sizes and styles

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Assorted spirals, swirls, twirls and stars that are great as standalone embellishments or in borders. These are becoming quite the rage in web graphics. Spirals is a font family which contains five separate fonts, Annaemones, Octopies, Starfishflowers, Swashticklers and Tendrils, for a total of 340 font characters.

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Mooshine is a crisp clear pixelfont, ideal for smallprint, banners, website buttons, navbars, mobile devices and the like.
Mooshine contains a wide range of accented characters and is optimized for use at (any multiple of) size 10pt without anti-aliasing.

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RoarShock is a family of 360 interchangeable pattern characters.

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This font contains 174 characters; a variety of slugs that when repeated create checkerboard patterns, the font includes both double pattern and triple pattern checks as well as triple repeat pattern rules. All characters have companion corners and side pieces for creating full borders.

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RA Web Frames is an original dingbat font for graphic artists and web designers. There are rounded, square, mixed shapes and amorphic shape characters. 26 of the characters are frames for creating graphic “frames” web pages, and the other 26 characters are matching fills for the frames. You can create 26 basic web page frame graphics and then change the colors and textures to create an infinite variety of others. You can also use the coordinating RA Web Frames Extras font with this font. All the characters are hand-drawn originals.

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Annaments are great as standalone embellishments where a whimsically modern yet primitive look is needed. These are digitized from my hand doodles that I created while waiting for jury duty. There are five separate fonts included in this family, Dork, Geek, Flake, Nerd and Twerp. Each has 26 characters for a total of 130 characters. (Macintosh version includes bonus characters)

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Ann’s Scrollbars are fancy spirally scrolly navigation bars/remotes that go along great with my other webgraphic-related fonts, including Victorian Triplets and Victorian Frames and my other Scroll family series. 80 characters are included in this font to keep you busy!

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RA Web Bits is a series of bits for creating the small graphics needed for web pages. Web designers and graphic artists who do work for the web will find this font very useful. All the characters are hand-drawn originals.

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26 designs to point people in the right direction

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Houschka has the humanist qualities reminiscent of Gill and Johnston but is quite unique. It is more monolinear with rounded corners giving it a softer appearance, and has a few interesting character quirks like the capitals A, G, Q, W and lower case u and w.

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I wrote Freedom Writer out of a desire for a handwritten script that’s all-connecting. It’s partly based on my own handwriting style, and somewhat influenced by hand-lettered scripts of the 1940s and 1950s.

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A font that resembles handwriting done with a watercolor brush? Why not?

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A set of square capitals developing from the interest in geometric forms stimulated by the Bauhaus, Bank Gothic was designed by Morris Fuller Benton for ATF in 1930, the same year that Georg Trump designed City for Berthold.

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In Cooke’s ongoing quest for simplicity and elegance he developed this striking alternative sans family.

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MVB Solano Gothic Bold was originally designed as a display face for the City of Albany, California, located on the San Francisco Bay facing the Golden Gate Bridge and bordering the the Berkeley hills. Named for the City’s main street, the typeface needed to work on signage in proximity to older buildings, in contemporary settings, and for general print and web use. Rather than creating a neutered design to cover all bases, Mark van Bronkhorst chose to develop a simple, strong, condensed face that would offer flexibility of style by providing both retro and neutral forms.

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Jezebel is all dressed up for you. And if she can't make your mouth water and eyes light up with love, nobody else can. She’s got bigger hair than Dolly and Elvira together, more tongue than a Kiss concert with Jagger opening, more leg than a Moulin Rouge premiere, more sword than a pirate ship, and more loop than a chartered accountant. She’s the queen of now, the essence of cool, the twenty-first century fox. She’s the ever playful and creative girl with so much talent her art just cannot be restrained. She’s got popular culture on a long but strong leash. She looks gorgeous and positively glamorous no matter what color she wears. And last but not least, she’s got the charisma to make people of all ages want more of whatever it is she feels like offering.

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Inspired by a series of handwritten menus produced in 1980, La Carte is a stylish but legible script that sets as well in body copy as it does in headlines.

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32 borders and frames, round ones, square ones, rectangles and an oval. Curly Qs, vines, flowers, dots and swirls in outline and reverse. Plz note that this is not a dingbat font and needs to be used in large sizes of 72 point or more.

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GUI Design Icons is pack of about 200 icons for every possible user interface (GUI).

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Based on the free-spirited handwriting style of a friend, this font features automatic ligatures, alternate character substitutions and swashes in applications that are OpenType-savvy.

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Sys is a condensed font designed to work well at small sizes (i.e. phone books, maps or the like) but it has enough personality to be used at big sizes, too. The TrueType version, thanks to its incredibly accurate hinting, may be used to replace amazingly well TrueType system fonts (both on Mac and Win platforms) and in web or other screen applications.

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C.P. Company is a group of types including 4 different forms and it is a complementary sign of communication for the C.P. Company clothes maker.

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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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PT Nat Vignette™ was designed by Natalia Vasilyeva and licensed by ParaType in 2002. Original vignettes may be used as fleurons, composed borders, and corners as well.

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Inspired by Goudy’s original from 1905, Biondi maintains the classic wide and squarish shape that made Copperplate Gothic a design staple and moves it forward to the 21^st Century.

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A longtime font favorite of his, Michael felt that a set of lowercase characters would make Bank Gothic a more universally useful font. He set out on this ambitious task always mindful of the huge presence of its original designer, Morris Fuller Benton, hoping that whatever he did would live up to the high standards of this former giant of the font world.

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Inspired by a piece of cigarette pack lettering by the great A. M. Cassandre, Nick designed the rest of the characters as an experiment. Geetype evokes the 1920s & 30s and is an unusual, eye-catching display face.

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The Verdana fonts were created specifically to address the challenges of on-screen display.

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Pauline is a sans serif with a strong influence from retro scripts. Pauline is a geometric face formed with slow and deliberate rounded brush strokes. The tall ascenders give it a useful touch of naïveté. It’s a face suitable for some interesting titling and short bits of copy.

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Named after Maurice Ravel’s masterpiece, Bolero likes to find itself in places of classical elegance.

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Felt tip-written and full of expressive lines, Brandy BF exudes much verve and energy; and unlike many scripts, sets rather well in all caps situations.

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No monospaced typeface I used for coding development or just plain e-mail correspondance satisfied me. All common monospaced fonts have hinting imperfections from 9 to 12 points and above. All but Pragmata.

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Lorelei is an exuberant and bouncy script.

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Digitalis was created from a desire to make an original æsthetically pleasing rounded typeface using the minimum of strokes. Each character has been reduced to only the most essential elements, yet retains its own beauty and elegance. Due to the contrast between thick and thin it is surprisingly legible when set as text.

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In 1931, The Times of London commissioned the Monotype Corporation, under the direction of Stanley Morison, to design a newspaper typeface. According to Morison: “The Times, as a newspaper in a class by itself, needed not a general trade type, however good, but a face whose strength of line, firmness of contour, and economy of space fulfilled the specific editorial needs of The Times.” Times New Roman, drawn by Victor Lardent and initially released in 1932, is the result.

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InfoBits is a two-font system of dingbats with a strong technology theme. The complete family has 188 icons.

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Although inspired by the need for, and providing, clarity at low resolutions on the screen, Georgia is a typeface resonant with typographic personality.

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Trebuchet, designed by Vincent Connare in 1996, is a humanist sans serif designed for easy screen readability. Trebuchet takes its inspiration from the sans serifs of the 1930s which had large x heights and round features intended to promote readability on signs.

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The famous Italian type designer and Nebiolo director Alessandro Butti designed Rondine in 1948. Not so surprisingly - given its beauty - it quickly became quite a commonly copied metal type. But for some reason Rondine was spared during the massive “phototyping” that happened with the introduction of film type. Perhaps this is why no digital version of it ever existed until now.

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A contemporary interpretation of grotesque (historic) typestyle, relying on geometric shapes applied to a grid. Idiosyncrasies within the typeface are based on how this grid is constructed and applied rather than those inherent in drawing type with a pen or cutting from a block of wood. Other grot types retain the quirks of original woodcut typefaces. Elephant has a different vocabulary of quirks that remove it from being too reverential or constrained to a historic context.

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Maline is a line. Letters, words, paragraphs are linked to each other.

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Fleurons are embellishments and here is my fifth set.

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Ornata D is the fourth of a series of old ornaments that I am trying to save from oblivion. I am completely redesigning the ornaments from scratch, trying in this one to keep the rough “letterpress” character.

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Natalya Swashes provides a diverse set of flowing swashes and ornaments originally designed to complement the popular insigne script Natalya.

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The use of pattern is strongly integrated into African art, craft and culture. If you are creating designs which are to have an African look, then the African Pattern Fonts are an essential resource. The patterns vary tremendously -- either gently rounded in shape, or with a stark African angularity they reflect the ethos of Africa.

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The Torquemada family marks the return of eminent American calligrapher Philip Bouwsma to the type scene after almost 7 years of hiatus, and he is certainly coming back with a lot of bells and whistles!

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Panspermia is a series of shapes (no letterforms) generated from some stickers my daughter Emily had. When the stickers are peeled off the backing sheet, a set of negative shapes are left. I found these shapes to be quite compelling, and the result is this three family font.

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In 1939 the Stephenson Blake Company bought a very popular script called Undine Ronde and began marketing under the name Amanda Ronde. Although Undine/Amanda was quite popular and can be seen in many advertisements from the 1930s and 1940s, there seems to be no surviving record stating the original foundry or designer.

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Jonah is a digitization of the popular early 1970s Urban font from Franklin Photolettering. Though there seemingly is no record left of who the original designer of the font was, it does bear the unmistakable touch of the late 1960s works of a few popular American designers of that era, like Wes Wilson and Victor Moscoco.

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The Wingdings fonts were designed by Kris Holmes and Charles Bigelow in 1990 and 1991.

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Floralissimo are flowery embellishments that I found in several old publishing books dating back over a hundred years. I thought they might be useful for some of you, so I digitized them.

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The Cinecav™ X family is based on Cinecav™, a typeface created for closed caption television (CCTV) applications. Cinecav™ X is perfect for other video screen based applications such as videogames, DVD menus, iTV, and video kiosks, but unlike the standard Cinecav™ family, Cinecav™ X can't be used in closed caption systems which require specialized character sets.

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In 1931, The Times of London commissioned the Monotype Corporation, under the direction of Stanley Morison, to design a newspaper typeface.

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With my dingbats and your favorite software, you can create elegant web graphics in minutes! All these fonts were created with the web designer in mind.

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Fleurons are embellishments and here is my seventh set.

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A package of three fonts, with well over 200 specially drawn pictorial symbols and pi characters and symbols, including web and e-mail symbols, and serif and sans-serif versions of copyright (C and P), trademark (TM) and registration (R) symbols in small superscripted format.

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Ornata B is the second of a series of old ornaments that I am trying to save from oblivion.

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A collection of over 50 border patterns based on geometric motifs from various African tribes, including the Ashanti, Bushongo, and Zulu. Use for stationery, greeting cards, etc.

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