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Tesla famille de polices
Conçue par Roman Shchyukin
Jusqu'à 2 Polices de caractères / 1 Coffrets Promotionnels
Prend en charge au moins 21 langues (Std / OT CFF)
Licences disponibles pour tous les styles:
Supporte jusqu'à 52 langues.
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Supporte jusqu'à 3 fonctionnalités OpenType.
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Fourteen new and original typefaces
There are many exciting recently published fonts that we are sure will take your fancy. We have put together a selection of what we consider to be the most remarkable and interesting typefaces that have been published by a range of different foundries in the recent past. We hope they will inspire you!
This font, produced with the aid of a broad-nibbed quill, combines elements of various styles, such as Arabic calligraphy and blackletter. Ductus thus adroitly covers a spectrum from historical to contemporary typeface design.
Aloha Script/Borges Lettering
The letters of the brush font Aloha Script by Charles Borges de Oliveira and Pierre Tardif may well be thoroughly laid-back, but they also have their own dynamism. The font is available in two versions with differing capitals and numerous alternative glyphs, ligatures and underlinings, and provides for a wide range of variations when used for the design of logos.
Tesla/Gaslight Type Foundry
Using a logo as his inspiration, Roman Shchyukin has created Tesla in the style of the techno fonts of the 1990s. This stencil-like typeface has a remarkable range of ligatures that are ideal for those looking to develop highly individual forms of text design.
When designing his very lively and extensive brush font Fan Script, Alejandro Paul clearly had the characteristic, highly calligraphic lettering seen on sports clothing in the back of his mind. Alternative forms, such as swash letters, many ligatures and a range of variants are the building blocks that are available to create inspirational designs.
Various American typefaces dating back to the late 19th century represent the inspiration behind this fascinating quill font by Alejandro Paul. Calligraphic ornaments, generous curves, initials and ligatures are available to help design unique textual creations.
Luminance/MAC Rhino Fonts
The antiqua-type font Luminance, with its emphasis on the serifs, is a modern reinterpretation by Stefan Hattenbach of Pracht by the Czech typeface designer Carl Pracht. Serifs with the appearance of line terminals and several unusually formed letters give this font family its distinctive character.
Lunda Modern/MAC Rhino Fonts
Stefan Hattenbach’s Lunda Modern is a contemporary reworking of Lunda by Karl-Erik Forsberg. As a result of their underlying rectangular form, the letters of Lunda Modern have the effect of a stencil font.
This highly robust slab serif by Patrick Griffin and Kevin Allan King is at its best when used in very large point sizes. Unusually for a font of this type, Spade comes with a wide range of alternative glyphs, ensuring that nothing is wanting when it comes to original design concepts.
Old School Tattoo/MUR
It was with the simple tattoos that once adorned the skin of sailors in mind that Richard Moore designed his font Old School Tattoo. But, in effect, the highly ornamented letters are more evocative of straightforward handwriting.
Before The Rain/Måns Grebäck
The highly elegant quill font Before the Rain by Måns Grebäck has numerous swash alternatives to provide for individual variation.
With his typeface Bira, Måns Grebäck has again demonstrated his ability to create perfectly designed calligraphic fonts. This relaxed brush font has the quality of handwritten messages. The designer who uses Bira has diversity to hand thanks to the availability of many alternatives and swash letters.
Angilla Tattoo/Måns Grebäck
The dynamic letters of Måns Grebäck’s Angilla Tattoo could also be part of a complex tattoo image. A distinctive feature is the very elevated line terminals.
Beautiful Trouble/Måns Grebäck
The unsophisticated quill font Beautiful Trouble by Måns Grebäck is derived from a basic quill-written script. Available are four variants in two weights.
Insolente by Julien Saurin and Fanny Coulez has the appearance of handwriting produced using a thin-nibbed pen. The wide range of alternative glyphs can be used to create diversification in a text and will provide designs with that elusive personal touch.
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