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| Designed by Rian Hughes, Droog is a display and retro font published by Device. |
Droog is an unusual rounded font pierced with circular holes, some of which are used in lieu of counters. Used to best effect in shorter settings and at larger sizes. Suitable for science fiction posters, sweet wrappers, hipster bars, noodle joints, pet shops and native Nadsat speakers.
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| Designed by Rian Hughes, Fairtrade is a display serif and display slab font published by Device. |
Rough and ready artisanal lettering for your fair trade coffee shop, whiskey microbrewery or Victorian bill-poster — or, alternatively, distressed type for the cover of a hard-hitting novel set in a war zone.
Fairtrade uses opentype technology to cycle through three versions of each character, giving an authentically uneven time-worn appearance.
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Designed by Rian Hughes, Farthing is a serif font family. This typeface has ten styles and was published by Device.
With classy eccentricity, Farthing evokes elegant traditional serif styles. Playful but poised.
Farthing is a serif face in five weights, with alternate characters and both lining and old style numerals.
Suitable for both headline and short paragraphs of text.
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| Designed by Rian Hughes, Fathom is a sans serif font family. This typeface has fourteen styles and was published by Device. |
Fathom is a refined flared-serif face that is elegant and robust, modern yet suggests a legacy. The generous lower-case x-height make it worm and readable. Seven weights, plus matching italics, cover all headline and text requirements. The addition of old-style numerals and tabular numerals for charts make it a versatile family for brochures, corporations, heritage projects, packaging, book covers, reports, signage, magazines and more.
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| Designed by Rian Hughes, Grange Text is a sans serif font family. This typeface has fourteen styles and was published by Device. |
Grange Text is optimised for smaller text sizes, having more open character shapes and spacing. Use the non-text version of Grange for larger sizes and headlines, which has tighter spacing and detailing.
Grange is the Device interpretation of the classic “Grot” thick/thin sans style. Unlike the traditional models on which it is based, Grange takes a rational, consistent approach across wide range of weights and widths for contemporary use.
The font includes alternative curved and straighter versions of key characters, most obviously the lower-case ‘g’ and capital ‘R’, allowing the font to take on either a sharper or warmer, more playful appearance. These can be toggled on or off using the ‘Alts’ feature in Illustrator, or ‘Stylistc Sets’ in Indesign. Contains proportional, lining and tabular numerals.
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| Designed by Rian Hughes, Metaluna is a display sans font family. This typeface has six styles and was published by Device. |
Metaluna is an extended sans serif family of five weights derived from Rian Hughes’ classic Forbidden Planet logo. Sleek and modern, it suggests cutting-edge tech, supercar marques or high-precision engineering multinationals.
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| Designed by Rian Hughes, Pact is a display font published by Device. |
A modular geometric font based on double diagonals and a rational set of repeated elements, Pact evokes futuristic branding, new technology with an almost tribal twist, or even an alien language. Best used in single words and short headlines.
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| Designed by Rian Hughes, Panther Black is a display font family. This typeface has three styles and was published by Device. |
Developed from Rian Hughes’ Black Panther logo for Marvel, Panther Black is a sharp and stylish three-weight headline sans.
Built from sweeping curves and tapered crossbars, its bold, dynamic design is seen to best effect in shorter settings.
Available in condensed, normal and extended variants.
Postpress is a display serif and serif font family. This typeface has two styles and was published by Parker Creative.
Introducing Postpress, a vintage serif inspired by newspapers of the early 1900’s. With rounded edges, soft wedge serifs, and narrow lettering, Postpress can make even the most modern designs feel instantly rooted in history.
Designed for creating large titles for posters and publications, Postpress also reads well at small sizes, making it a great option for blogs, eBooks, UI designs, and even apps.
Postpress is provided in .OTF, .TTF, and .WOFF file formats, is website-ready, and also comes with an ‘outline’ variation.
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| Designed by Dusan Jelesijevic, Ragazzi is a display serif and serif font family. This typeface has twenty-one styles and was published by Tour de Force Font Foundry. |
Ragazzi is well balanced serif with display impact. Contains 2 widths – Normal and Condensed and matching Italics for Normal in weight distribution from Light to Black.
With gently rounded serifs, teardrop terminals, elegant hairline, equal ascender and descender heights, playful ear and smooth spur, Ragazzi represent distinctive serif family for respectable area of usage. Family’s display elements are especially noticeable in headlines, but they handle longer paragraphs with same success, not effecting on legibility keeping right dose of display touch present.
Ragazzi contains OpenType features: Small Caps, Initials, Standard Ligatures, Ordinals, Fractions, Superscript, Subscript, Oldstyle Figures, Tabular Figures and two decorative dingbats.
Condensed and Italics font files don’t contain Initials and dingbats.
Ragazzi is our 104th release.
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| Designed by Rian Hughes, Roadkill is a display sans, grunge and dingbat font family. This typeface has four styles and was published by Device. |
Derived from a photograph Rian Hughes took in Hong Kong, the Roadkill family of typefaces is a literal interpretation of rough and worn road lettering.
The original provided almost all of the key character shapes, with the others being designed to keep the unique hand painted feel intact. Most of the letters have alternate versions provided.
This font works equally well at wider letterspacing settings.
Roadkill Alternates provides curved versions of the 2 and the S, a G with higher crossbar, and less worn versions of several other characters. The heavy version packs even more gritty wallop in a non-condensed and blacker weight.
Roadkill Heavy packs even more gritty wallop in a non-condensed and blacker weight.
Use in conjuction with the original Roadkill and Roadkill Alternates.
A set of arrows and other road symbols again taken directly from tarmac to Mac, thus preserving the worn and eroded appearance of the original characters is also part of the Roadkill family.
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| Designed by Rian Hughes, Salvation is a grunge font published by Device. |
The original letters were cut from actual potatoes, then scanned in and converted to vector outlines. Lighter and more heavily inked versions were used for the three variants.
Using Opentype character-substitution technology, Salvation rotates through three versions of each letter to create a naturally uneven printed effect.
Unlike hot metal type, the potatoes were cut the right way around. This produced reversed prints, which were then flipped back in Photoshop.
Originally produced for Hughes’ Get Lettering activity book, the font was then extended to cover numbers, punctuation and full European language support.
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| Designed by Rian Hughes, Typex is a display sans, pixel and retro font family. This typeface has two styles and was published by Device. |
Based on the lettering used on Alan Turing’s famous code-breaking machine at Bletchley Park, the “Bombe”, and the subsequent British answer to the German Enigma machine, the Typex.
Research done at Bletchley Park on their restored and antique machines provided the inspiration. The unusual shapes for the capitals have all been retained - the square O, the monospaced characters and other eccentricities that make it unique. This reference material was then extended to the numerals (which did not exist in the original) and a full international character complement.
The initial design of the bombe was produced in 1939 at the UK Government Code and Cypher School (GC&CS) at Bletchley Park by Alan Turing, with an important refinement devised in 1940 by Gordon Welchman. It was based on a device that had been designed in 1938 in Poland at the Biuro Szyfrów (Cipher Bureau) by cryptologist Marian Rejewski, and known as the “cryptologic bomb” (Polish: bomba kryptologiczna).
The Bombe was used to break the German Enigma code on a daily basis, and was a vital part of the Allied war effort. The British “Typex” (alternatively, Type X or TypeX) machines were an adaptation of the commercial German Enigma with a number of enhancements that greatly increased its security. It was used from 1937 until the mid-1950s, when other more modern military encryption systems came into use.
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Designed by Hendry Juanda, Stone Masher is a script font published by Letterhend Studio . Download Now Server 1 Download N...
