A bold, industrial type family paying homage to vintage signage and boutique design. As you can see the examples shown in the images, Konstanz lends itself perfectly for signage on multiple different levels. Konstanz comes in both Clean & Rough versions, and features a slanted oblique for both of these versions. Lowercase alternates - There are alternate characters for the letters A, D, E, K & O, as can be seen in the first image. These can be accessed by using the lowercase character. OTF/TTF - Konstanz comes in both OTF & TTF formats, for a total of eight font files for you to use as you see fit.

The Fountain Typeface is a script typeface come with aesthetic and bold character. You can use it as a logo, insignia, badge quote, packaging, headline, poster, t-shirt/apparel, greeting card, and wedding invitation etc. Every glyphs are ideal to make an attractive quote, design. The Alternate characters come with different shapes, could you help to create some creative designs for adventure, travel, wedding, or anything you want.

Type-36 is a clean, capsule-like and geometric typeface. The capsule-form made it easier to set for long form text. Available in Thin, ExtraLight, Light, Regular, Medium, SemiBold, Bold, ExtraBold and Black weights. Italics not yet available.

Add subtle distress and texture to your vector type and lettering projects in just seconds! Stop waisting time converting textures and creating various masks in Illustrator. Grab this simple-to-use set of graphic styles and create the same popular effects you often see on Instagram and Dribbble. I created this set of graphic styles to be a simple, light weight addition to Adobe Illustrator that would allow you to add authentic looking textures in just seconds, saving you a ton of time, and removing the need to vectorize textures and create complicated masks and overlays.

NewYorkerType was one of the first typefaces I tried my hand at in 1985. I meant it as a revival of the typeface used by the New Yorker magazine. I did not scan it in, I just looked at the type and redrew it completely by hand. So it is not just a copy, but rather a redesign. Only much later did I come to know, that there is a bundle of similar typefaces of that period. Rea Irvin’s design for New-Yorker magazine was just one of them, but the best. Recently I repaired some of the mistakes that I made more than thirty years ago, so now its a better revival. Yours, sincerely honoring Rea Irvin a great type- and magazine-designer Gert Wiescher