Fancy / Quirky
New Old English
New Old English was prompted by two Victorian coins, the mid nineteenth century gothic crown and gothic florin, which featured a gothic script lowercase with quite modern looking, short ascenders and descenders enabling it to fit snugly around the queen’s head or heraldic motif. With thicker hairline strokes than normal Old English, a less sharp, warmer feel than lettering scripted with a pen, and circular instead of rhombic punctuation, this font is an attempt to capture the round-cornered softness of the die-struck lowercase blackletter. To increase harmony and homogeneity between the cases, the uppercase is narrower and simpler than is customary, without the excessive width or antiquated flamboyance of the traditional blackletter. It might even allow text set in capitals to look acceptable.
Credit Card
Credit Card is an ALL CAPITALS font for simulating bank cards (and to suggest a context of banking, finance, membership or security). The number keys produce the bigger, squarer digits of the 16 figure card number. There is no lowercase in this font. Instead, the small numerals used for validity dates fill the lowercase letter keys, 1 > 9 being at a > i.
Blundell Sans
Blundell Sans is a type-hybrid that combines the precision and power of a sans serif with the elegance and humanism of a script. A resolutely upright font with a strong diagonal thrust.
Roundel
Roundel is a paradoxical, modern heraldic typeface. It is a display face of simple, angular and curved shapes, with each main glyph contained within a circle.
Bolshy
Bolshy is a stroppy font whose x-height has got ideas above its station, it’s ended up being equal to the cap height. Bolshy doesn’t go completely Bauhaus, and although the boundaries are somewhat blurred, the distinction between upper and lower case just about remains intact. There is something slightly Cyrillic about Bolshy’s bulbous terminals, exotic shapes and condensed curvature.
Victor Moscoso
The Victor Moscoso font is based on the 1960s psychedelic poster lettering of the artist Victor Moscoso. The letterforms are derived from some of his most celebrated Neon Rose posters of the late sixties, in particular the archetypical Moby Grape ‘Neptune’s Notion’ of 1967.