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Rocket Pop and Rocket Pop Outline are influenced by product packaging and cereal box art from the 1960's and 1970's. The fonts will work as companions or separate. Best used over 36pt as a headline display face, these fonts will bring a bold playfulness to any project where a vintage or retro style is in the concept. The style reflects the era when things were indeed, mad, where men (and some women) did crazy art for vinyl records, food packaging and kiddie products. Sugar frosted blue donut cereal is yummy for your tummy like... Rocket Pop and Rocket Pop Outline. Buy both and get the discount! Watch for the Cerealboxx Set coming soon that will include the astroluxtype fonts, Sugarbang! Koo Koo Puff and Rocket Pop together in one box. Link: Link:

Can anyone tell me what classic looking font is used in this image?

Also, if anyone can suggest any similar fonts then that would also be good to know.


I have a font that does not come in bold - for designs I just used a stroke to make it bolder. Is it possible to edit the file and re-save it with a stroke? If, so what is the easiest way of doing this?

Lichtspiele — A typocalypse display typeface

Cinemas from the early 20th Century are called "Lichtspiele" in Germany. "Lichtspiele" transports you back to a time where neon lights and marquee letters decorated cinema facades.

Of the 5 styles, three have two versions of italics - one for each perspective. Display is your basic style. Neon is inspired by the old neon letters found outside cinemas.
Add Neon Outline to Display or Neon to add another layer to your artwork. Neon 3D is a extruded version of Neon. Screen Credits is based on the liner notes of movie posters.

You can get it at MyFonts for a introduction price of 29,85 USD
or with a limited edition (tote bag, showings newspaper, posters) for 59 EUR at









Lichtspiele & MyFonts

I came upon this nice typeface and, as usual, WhatTheFont was useless. Anybody know what it is? I really like the a, c and d.

thanks all,

Hello all,

First of all I want a thank to the people in this forum for the support and knowledge given, although this is my first post I've been consulting the site on a regular basis and has been always a great help.

I was trying to create a typeface of my own based on early geometric fonts like Kabel or Futura with a contemporary look to work as a display typeface with alternate glyphs and features for titling, but the project has become a monster itself and I'm getting stuck in the way and I'm a bit desperate for a second opinion.

Open type programming and kerning have become a pain and I am aware of some inconsistency across some glyphs and symbols, curves are far from perfect and the are more problems for sure.. so I feel it may need a close analysis from someone outside to get to the critical points and have a real feel about the project.

I have attached a PDF with the basic chart, alternate caps, small caps and diacritics. Please ask for more if you think you need closer details or anything that could help.

Thanks in advance,

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Hello friends!
I'm writing because I feel I'm lost with my project.
I need your eyes here, because I'm tired of trying things and it seems this font has no solution.

I want to make "the boldest" didone out there, so I started experimenting and this was my result.

The problem is that some letters (ie the "e" or the "v" etc) don't work in small sizes.
In the lowest part of the image I wrote "Mexico and Pistilli" So you can see what I mean.
Pistilli turns really black (and that's what I want) but Mexico has so many white space between letters that it drives me crazy.

Is there something you suggest?
I tried making the stems of those "open" letters bolder, but it seems it's not the solution.

Any referent?



I'm trying to identify this font for 3days, yet have no match...
Could you suggest what this font is?

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About the project.
Narrated by Tomás García & Valentin Muro.

We are proud to present " Mute", a visual essay about digital technology, to promote the release of the new Sudtipos font " Bowling Script".

About the typeface.
Designed by Ale Paul.

There is plenty of lyric and literature about looking over one’s shoulder in contemplation. What would you have done differently if you knew then what you know now? This is the kind of question that comes out of nowhere. When it does and whether its context is personal or professional make very little difference. It’s a question that can cause emotions to rise and passions to run hot. It can trigger priority shifts and identity crises. It’s never easy to answer.

Three years ago, I published a font called Semilla. My aim with that was to distill the work of Bentele, a lettering artist from early 1950s Germany. Picking such an obscure figure back then was my way of pondering the meaning and efficiency of objectivity in a world where real human events and existences are inevitably filtered through decades of unavoidably subjective written, printed and oral history. And maybe to pat myself on the back for surviving surprises mild and pleasant.

Having been fortunate enough to follow my professional whims for quite some time now, I took another, longer look at my idea of distilling Bentele’s work again. I suppose the concepts of established history and objectivity can become quite malleable when personal experience is added to the mix. I say that because there I was, three years later, second-guessing myself and opining that Bentele’s work can be distilled differently, in a manner more suited to current cultural angles. So I embarked on that mission, and Bowling Script is the result. I realize that it’s difficult to reconcile this soft and happy calligraphic outcome with the introspection I've blathered about so far, but it is what is. I guess even self-created first world problems need to be resolved somehow, and the resolution can happen in mysterious ways.

Bowling Script is what people who like my work would expect from me. It’s yet another script loaded with all kinds of alternation, swashing and over-the-top stuff. All of that is in here. These days I think I just do all that stuff without even blinking. But there are two additional twists.

The more noticeable one is ornamental: The stroke endings in the main font are of the typical sharp and curly variety found in sign painting, while the other font complements that with ball endings, sometimes with an added-on-afterwards impression rather than an extension of the actual stroke. In the philosophical terms I was mumbling earlier, this is the equivalent of alternate realities in a world of historical reduxes that by their very nature can never properly translate original fact.

The second twist has to do with the disruption of angular rhythm in calligraphic alphabets. Of course, this is the kind of lettering where the very concept of rhythm can be quite flexible, but it still counts for something, and experimenting with angular white space in a project of a very dense footprint was irresistible. After playing for a bit, I decided that it would interesting to include the option of using optically back-slanted forms in the fonts. Most scripts out there, including mine, have a rhythm sonically comparable to four-to-the-floor club beats. So the weirdly angled stuff here is your chance to do the occasional drumroll. Everyone knows we need one of those sometimes.

Bowling Script and Bowling Script Balls fonts comes with 1600 characters and features extended Latin-based language support. There are also a basic version of both fonts without all the alternates and extra OpenType features. Bowling Script family ships in cross-platform OpenType format.

Get a license with a 30% off here

Visit the " Mute" project " here".

Anybody know this font?

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just curious what this font is. I know girl skateboards uses it. here's the link

Inspired by neutral slab serifs with an added twist, Slab Happy is a typographic system consisting of eight layerable fonts with infinite combinations. Slab Happy looks best when set in display sizes, but functions just as well at smaller point sizes.

The complete Slab Happy family consists of: Regular, Bold, Outline, 3D, Stitches, Fill, Shadow, and Crosshatch.

Slab Happy

Alphabet Soup Type Founders and Michael Doret are proud to announce the Release of Dark Angel, a “blackletter/hybrid” font. This font had its genesis in a logo sketch for the Anaheim Angels baseball team—thus its name.
Type purists may be appalled by the lack of adherence to traditional forms, but the font should be seen as only “in the spirit of” blackletter, and attempting something that hasn’t been seen or done before—something that feels traditional, yet at the same time fresh and perhaps unexpected.

Dark Angel can be purchased in its regular solid form, or as Dark Angel Underlight—a handtooled font. If these two fonts are purchased together, the Family package will contain a third font—Dark Angel Highlight. With this font layered over the basic font, you can achieve two–color typesetting when the highlight and the base font are assigned two different colors.

With Stylistic Alternates you can go either “Plain” or “Fancy”, changing the look of your copy to suit your needs. Compare the two samples below. Some characters have multiple alternates.

And furthermore…

Dark Angel has enough language support to make the builders of Babel envious—its 1,163 glyphs can be used to set copy in 59 different languages. From A to Z: Afrikaans, Albanian, Basque, Bemba, Bosnian, Catalan, Cornish, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, Ganda, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kalaallisut, Kamba, Kikuyu, Kinyarwanda, Lithuanian, Luo, Malagasy, Malay, Maltese, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romansh, Sango, Shona, Slovak, Slovenian, Somali, Spanish, Swahili, Swedish, Swiss German, Turkish, Welsh, and last (but not least) Zulu.

For more detailed information please download “The Dark Angel Manual” pdf (1.1 MB).
Dark Angel on MyFonts
Coincidental to the release of Dark Angel on MyFonts, Alphabet Soup is running a Special Promotion: 25% off this font for a limited time.
Dark Angel Design and Art: Michael Doret
Dark Angel OpenType Programming: Patrick Griffin/Canada Type

Hi everybody,

I am looking for the name of the font below. It’s for a research on dynamic sans-serif fonts, sth like Brezel Grotesk, Founders Grotesk Condensed, etc.

Even if you can’t knock off this one, I am glad for any input for my ongoing research. So if you have other references like the ones already mentioned above, please, don’t hesitate!

Btw: is using the font I am looking for in their newsletter!

Many thanks to all of you!

Best, Tobias.

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Please check out my first font release, Grey Sans!

Grey Sans is a contemporary sans with an angular design. Routed in both modern geometry and historical handwriting, Grey Sans bridges the gaps of neutrality and warmth, precision and humanism, and serious and fun. Grey Sans covers the grey areas of typeface design.

Available at:
MyFonts | Fontspring | YouWorkForThem | HypeForType |

Thank you.

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Modak is a Free and Open Source, Heavy-Chubby Devanagari-Latin display typeface. The design started off as one of our heavy hand sketched letterform explorations. The characters were cute/round and not bulky/rigid. The consonants and Matras were overlapping, instead of them being successive characters.

The resulting typeface is one of its kind and probably the chubbiest Devanagari typeface to be designed so far.

This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. To contribute, see

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Hello There!

I'm making my first font, and releasing betas as I make any little bit of progress (in the same way as open source projects do, since my background is PHP programming).

Is a nice bold condensed script with plenty of ligatures and final forms alternates.
For me is a learning experience, so any feedback is highly appreciated.

You can download it for free from the lobster font mini-site.


A clean, simple font used by Fake Empire Productions. Any idea what it is?

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Alphabet Soup Type Founders and Michael Doret are proud to announce the Release of Dark Angel, a “blackletter/hybrid” font. This font had its genesis in a logo sketch for the Anaheim Angels baseball team—thus its name.

Type purists may be appalled by the lack of adherence to traditional forms, but the font should be seen as only “in the spirit of” blackletter, and attempting something that hasn’t been seen or done before—something that feels traditional, yet at the same time fresh and perhaps unexpected.


I'm pretty sure this font can be this one

However i'm wondering if there's a free font very similar to this one... Because I'm almost 100% convinced that who did this logo used a free font..

Thank you for your help

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What's this? Does anyone know?


We found an rip-off of our "Oblik" in Bold weight.

At first it was disturbing to find out something like this, but then I'm now feeling a little empathy for this guy, for the reason he is young (judging by his photo and by his profile description). But this is not the way to build your design career or to go in public without having any responsibility for your acts.

To not duplicate what we wrote, feel free to check it directly on our website:

Let this be an lesson, in educational purpose, to all designers who might have doubts to do such things to any existing, available, on the market or off the market, with ownership design of any kind!


Indices : How-To : FontLab Interpolation Tutorial

Most discussions of methods to make bold letters use sans serif letters as an example. Since one of the great virtues of FontLab interpolation is that it preserves curve quality and character, I decided to use a serif example that includes curved stems and very irregular forms: Adobe Jenson Pro.

The first thing to do is to put the original outline in the mask layer (default Ctrl+M on Windows). During interpolation, FontLab will display both the result of everything you do and the original state, but having the initial glyph shape in the mask allows you to maintain a visual reference through multiple interpolation passes.

The interpolation tool works with both PS and TT outlines. In PS outline mode, you can only touch on-curve nodes with the tool, but the position of off-curve control handles will be interpolated relative to touched nodes. In TT outline mode, you can touch both on- and off-curve points.

  1. Here is the lowercase n from Adobe Jenson Pro Regular. The red arrow pointing to the toolbar above indicates the Interpolate tool. Click on this to activate the tool, or use the hotkey (default Ctrl+Alt+P on Windows).

  1. When the tool is active, you can click and drag any point. I recommend adjusting a glyph in two passes: one x-direction and one y-direction. You can hold down Shift while dragging to constrain direction. The FontLab measurement bar will tell you how many units you are dragging and, if not constrained, at what angle. When you release a touched point, FontLab will display a preview of the result of the interpolation as a grey line. Note that when you move only one point, the grey preview shows the entire glyph shifted: this is because every untouched point has been moved relative to the first touched point. In the illustration, you can see how I have laterally moved five points to make the stems bolder. The grey outline shows the result of these movements. You should try to touch the minimum number of points necessary to achieve your aims, this allows FontLab to interpolate all the others and to preserve curve character even when curves are stretched or compressed.

  1. As well as clicking and dragging points, you can specify relative or fixed positions for points by opening the Set Link Destination dialogue (default Ctrl+Click on a point on Windows). I use this most of the time.

  1. The result of the first, x-direction pass.

  1. In the second pass, make y-direction adjustments. In a Latin typeface, the y-direction adjustments may not be as regularised as the x-direction. For example, to increase the vertical stem weights as shown above, each touched point was moved 20 units. In the y-direction, I try to make optical compensations as I go. For example, the top of the main curve is shifted up 7 units, but the point in the crotch is raised only 3 unit, because I want the connection to the stem to remain relatively light. I've also used this pass to not only increase the weight of the top serif, but also to drop its tip slightly so that the diagonal is closer to that of the original outline. Note the dots with circular patterns around them, e.g. halfway up the left stem, these are points that have been touched but not moved. It is possible to fix a point in this way, and because it has been touched other points between it and the next touched point will be interpolated. This is very useful, but you need to be very careful not to touch any point that you want to be interpolated; if you do, you will have to cancel the interpolate session and start again.

  1. The result of the second, y-direction pass. At this point I would check the width and, if it needs adjustment, use the interpolate tool again to shift the stems further apart. I would also make any other adjustments that I have not attempted during interpolation, such as shortening the inner serifs slightly. That top serif also needs attention.

Note that you can touch a point as many times as you want within a single interpolate session, so if you are not happy with where you move it, you can move it again. All relative positioning is relative to the initial position.

Read the full Typophile thread »

Hi everybody !
The first, I wish health to all members of forum.

I have a question about "Font Info" in Fontlab Studio 5.
Please tell me know function of "Font is Bold" and "Font is Italic"
I don't understand what to use ?
Thanks for all !

See this Image:

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