Alexandra Oldaker

The Rocaie fonts are base on an antique Rococo letters from an gilding workshop. I was very lucky to acquire this set of metal letters in early 2018. Each of the letters has ornaments engraved by hand into its cast brass shapes. When drawing the digital outlines, I tried to preserve the handmade look of the original leaf engravings.

Each of the letters uses a slightly different ornament pattern: no pattern is repeated identically.

I expanded the very limited character set of the original, adding all the missing characters that todays commercial fonts are expected to contain.

More I made additional font styles to easily add colour layers, outlines, and 3D shadows to the typeface.

Its up to you to decide how to build your colour font! You can combine the predefined font styles Regular, Pearl, Solid, Outline, and Magnum with each other, or with the Fill font styles.

But you don't need to use all font styles to compose something nice! Have as much fun as I did with this Baroque beauty and enjoy the vintage.

Nominee is a cinematic font family made up of 11 weights, 3 widths, and matching italics, that equates to a substantial 66 font styles that feel individually crafted but also part of a larger structured system.

The versatile font styles range from an elegant Hairline to a dominant Heavy, Condensed to Extended, which creates such an extensive range of uses and applications, from web and apps to editorial and branding, and everything in between.

The increased x-height gives the font more readability at smaller sizes and the contemporary shapes mean the font likes to be shown off at large sizes.

More The font features details such as case sensitive characters, numerators and denominators, and support for Central and Eastern European along with Western European languages and Basic Cyrillic.

Cream Cheese and Onion Bagels go together like apples and oranges. Taste this brand new font duo from Rocket Type! Great for branding, broadcast, and childrens books!

Krimhilde was originally designed by Albert Auspurg and released in 1933 with the type foundry Ludwig & Mayer.

The design mixes elements of German blackletter typefaces and geometric sans-serif designs, which became popular in the 1920s in the movement known as New Typography.

The FDI version of Krimhilde offers both original styles (regular and bold) as version A with a full Latin 1 character set.

Version B has alternative shapes for some letters to make the design more legible for people who are not familiar with the German blackletter shapes.

In addition, there are optional display styles available (outline, shadow and fill), which can be used separately or together to create a chromatic layout.

K-Types Banks & Miles fonts are inspired by the geometric monoline lettering created for the British Post Office in 1970 by London design company Banks & Miles, a project initiated and supervised by partner John Miles, and which included Double Line and Single Line alphabets.

The new digital typeface is a reworking and extension of both alphabets. Banks & Miles Double Line is provided in three weights Light, Regular and Dark variations achieved by adjusting the width of the inline.

More Banks & Miles Single Line develops the less used companion sans into a three weight family Regular, Medium and Bold each with an optically corrected oblique.

Although the Banks & Miles Double Line and Banks & Miles Single Line fonts are based on the original Post Office letterforms, glyphs have been drawn from scratch and include numerous adjustments and impertinent alterations, such as narrowing the overly wide Z and shortening the leg of the K.

Several disparities exist between the Post Office Double and Single Line styles, and K-Type has attempted to secure greater consistency between the two.

For instance, a wide apex on the Double Lines lowercase w is made pointed to match the uppercase W and the Single Lines W/w.

Also, the gently sloping hook of Single Lines lowercase j is adopted for both families.

The original Single Lines R and k, which were incongruously simplified, are drawn in their more remarkable Double Line forms, and whilst the new Single Line fonts are modestly condensed where appropriate, rounded letters retain the essentially circular form of the Double Line.

Many characters that were not part of the original project, such as @, ß, #, and currency symbols, have been designed afresh, and a full set of Latin Extended-A characters is included.

The new fonts are a celebration of distinctive features like the delightful teardrop-shaped bowl of a,b,d,g,p and q, and a general level of elegance not always achieved by inline typefaces.

The Post Office Double Line alphabet was used from the early 1970s, in different colours to denote the various parts of the Post Office business which included telecommunications, counter services and the Royal Mail.

Even after the Post Office was split into separate businesses in the 1980s, Post Office Counters and Royal Mail continued use of the lettering, and a version can still be seen within the Royal Mail cruciform logo.