- Fresh Picked Script (Regular) - A casual, hand-drawn script font, perfect for invitations, lettering projects, packaging and logos.
- Fresh Picked Script (Bold) - Just like regular, but you know, bold. :)
- Fresh Picked Sans - A complimentary sans serif version that perfectly pairs with FP Script.
- Fresh Picked Extras - A font file containing more than 85 hand-drawn doodles, ornaments and catchwords.
- Six Photoshop Logo Templates - A handy set of 6 ready-made logos for Photoshop users. Just install your fonts, open in PS, grab your type tool, and GO!
- 58 Hand-Painted high-resolution watercolor PNG files. And the files look great on both light and dark backgrounds!!
- A set of 12, all new watercolor textures. Sized at 8.5 x 11in and 500 DPI.
Messina consists of three styles. She is designed for large editorial projects, corporate identities, or advanced online applications. The Sans Version reflects 20th century and its affinity to reduction.
Conga Brava was born when book and type designer Michael Harvey decided to wed the high-minded, purist letterforms of revivalist, modern calligraphers with the mundane, even crude, lettering of warehouse stenciling. The resulting lyrical yet utilitarian forms have a visually exciting graphic effect. Like his other typefaces, Ellington, Strayhorn, and Mezz, Harvey named his design after a jazz classic Conga Brava by Duke Ellington and his trombonist Juan Tizol. According to Harvey, “The rolling rhythm, polished swing, and staccato brass treatment of the tune suits the look of this sassy roman design; even more so, its stencil mate”. So when you're working on food, music or game packaging, sports equipment, or restaurant/nightclub logos and you need a typeface that radiates sound and motion, think Conga Brava.
FS Alvar grew out of a library of pure modular shapes gathered by Fontsmith’s master of the abstract starting point, Mr Phil Garnham. “It was a collection that just had to be explored and brought to life in a typographic voice. “We debated long and hard about this. It was big decision to make a shift away from the typefaces that people knew us for. And we didn’t want to compromise our reputation of well crafted typographic quality”.
Modula was the first high resolution headline face that Zuzana Licko designed with the Macintosh computer. In 1985, the computer was very crude as far as being able to produce subtle curves, but it was outstanding at producing perfect geometric elements. As a guide, she used the proportions of her earlier Emperor Fifteen bitmap design and applied the precision of the computer’s geometric elements.
In recent decades, many new typefaces were based on pre-existing letters drafted by engineers. Their consistent stroke thicknesses referenced an industrial past. Tatsam is a Bengali family in this tradition. Uncommon for mono-linear type, Bengali or otherwise, Tatsam’s design includes vestigial traces of its letterforms’ scribal construction. These are most visible at the starting points of many inter-character strokes. While other faces may overlap these onto different parts of the letterforms, hiding them from view, Tatsam exposes its structure. This further reinforces its contemporary feeling. As with other versatile families from ITF, Tatsam has been tested for use in a wide range of text and display sizes. It includes two styles: a version with flattened terminals, and also a rounded option. Each variant offers five weights – Light through Bold. The range of stroke thicknesses enables the specification of typographic hierarchies with significant visual contrast. In addition to industrial letters, type with rounded-off stroke terminals is another hallmark of graphic design today. These ‘sans serif’ letters bring hints of mechanical tools to mind – such as those used to engrave letters into plastic or other surfaces with routers – while simultaneously conveying a friendliness and softness in a brand or product.
Drawn by Berton Hasebe, Produkt is the slab serif companion to Graphik, falling into the tradition of adding slabs to European Grotesk, creating an attractive and functional companion serif typeface. Its serifs are relatively short, particularly in the heaviest weights, so it retains the compact proportions and regular texture that characterize Graphik. The family covers the full range of weights that make Graphik so useful. The light weights are pretty, the middle weights are functional, and the heavy weights have a feeling of authority, all suffused with the appealing geometry seen in Graphik.
Andy Lethbridge had only just completed his graphic design BA at the University of Portsmouth when he was spotted by Jason, who’d seen Andy’s exquisite hand lettering at his degree show and on Instagram. Keen to push the handwritten theme further, having recently launched a digitally-created, chalky script font (FS Sammy), Jason offered Andy a job and the chance to develop a suite of more stylised, truly hand-drawn fonts. Andy duly got out his pads, pencils and pens, and started experimenting with styles and textures. Magic followed.
In 2008, Fontsmith were approached by their friend, Jon Scott, to investigate whether a typeface could assume the aesthetic of one artist’s body of work. Jon’s not-for-profit charity, Measure, was organising an event for the artist, Conrad Shawcross, whose giant mechanical installation, entitled Chord, was going on public display in the long-disused Kingsway tram tunnel in Holborn. Chord explores the way we perceive time, as either a line or a cycle. Two enormous machines with dozens of rotating arms and moving in opposite directions, weave rope with almost infinite slowness.
Geometric, economical, functional... The good, wholesome, modernist values that once fired up the tutors and students of the Bauhaus became the inspiration for FS Dillon after an exploration of the work of the pre-war art and design powerhouse in the Fontsmith studio. The font combines simplicity and directness with a characteristic Fontsmith warmth. Letterforms are compact, with a generous x-height, and built for maximum clarity and impact. The Bauhaus sought beauty through function. FS Dillon achieves it.
Ford’s Folly is a lively yet sophisticated handwriting font designed by Ascender’s Jim Ford. It captures the look and spirit of the designer’s handwriting using a using a Sharpie™ Extra Fine felt pen. This casual script font evokes an energetic feeling, and has very legible letterforms without quirky distractions. Jim Ford took his hand global by creating a massive multilingual character set. The font features the WGL Pan-European character set (Eastern Europe, Cyrillic, Greek and Turkish) and advanced typographic features for use with OpenType-savvy applications. The font is a fun and attractive handwriting font that is great for greeting cards, menus, advertisements, scrapbooking and many other projects that can benefit a personal appearance.