https://www.stormtype.com/families/hercules/

Where Modern is too fragile and Century too boring, Hercules comes with its elegant forms and, at the same time, with sufficient firmness to be usable for longer texts. In its heavy, bold designs it approaches Falstaff, while in the light ones it has some features which are taken over from Didot or from Modern. The text designs have been corrected for small sizes. The range of its use is, therefore, quite extensive – from dictionaries and technical literature through magazines to art posters and advertising materials.

https://www.stormtype.com/families/jannon/

The engraver Jean Jannon ranks among the significant representatives of French typography of the first half of the 17th century. From 1610 he worked in the printing office of the Calvinist Academy in Sedan, where he was awarded the title "Imprimeur de son Excellence et de l'Academie Sédanoise". He began working on his own alphabet in 1615, so that he would not have to order type for his printing office from Paris, Holland and Germany, which at that time was rather difficult. The other reason was that not only the existing type faces, but also the respective punches were rapidly wearing out. Their restoration was extremely painstaking, not to mention the fact that the result would have been just a poor shadow of the original elegance. Thus a new type face came into existence, standing on a traditional basis, but with a life-giving sparkle from its creator. In 1621 Jannon published a Roman type face and italics, derived from the shapes of Garamond's type faces. As late as the start of the 20th century Jannon's type face was mistakenly called Garamond, because it looked like that type face at first sight. Jannon's Early Baroque Roman type face, however, differs from Garamond in contrast and in having grander forms. Jannon's italics rank among the most successful italics of all time – they are brilliantly cut and elegant. 

CM 1361525 - COFFEE AND TEA ELEMENTS SET

This great SET for your COFFEE AND TEA ELEMENTS SET design, cafe, menu, advertising, signboards, business cards, labels and any more. Zip contains: AI ( Made in CC save in CS required), EPS, JPEG files, PDF, PNG, SVG.

• 31 vector elements

• 23 unique vector objects and elements:

• 11 Black coffee and tea elements

• 12 Color coffee and tea elements

Fully editable text. Just double click to edit. All fonts used are available for free download. Names of free fonts and links on google fonts into zip file FONT.txt 

CM 1379354 - 50 Payment Method Line Inverted Icon

Suitable for: Mobile Apps, Websites, Print, Presentation, Illustration, Templates. Features:

• Ready to use for all devices and platforms

• 6 Different formats: AI, CDR, EPS, JPG, PNG, SVG

• Designed using unigrid system

• Each Payment Methods icon is designed for maximum usability

• 100% vector icons – Easy to edit and scale

• 20 PNG Sizes

20 Denim Textures includes the set of 20 denim/jeans textures. These textures are very useful for projects in random retro and modern style and will add some pop up to Your design. Textures can be resized, color change, change opacity etc. - everything what is need for get best results.

https://creativemarket.com/bart.wu/1184496-20-Denim-Textures

https://www.stormtype.com/families/cuper/

Compur is the name of the most famous photographic shutter of all time. This is a reconstruction of a type face which served for describing various devices, using the technique of monolinear engraving. With its soft forms, stringency of signs and period accent it ranks among the display alphabets offering the widest use in magazines, on posters and – for description of devices. It comes right in small sizes and in inscriptions arranged in a circle.

CM 1359864 - 250+ Bundle Icon set

250+ Bundle icon set with 2 styles (outline, glyph and filled outline). Include the source file (PNG, AI, EPS and SVG format).

CM 1382237 - Retro.Camp BUNDLE - Volume 5

• Finest Retro Sales Clipart since 1940

• Call To Action (CTA) Design Elements

• Branding and Conversion Graphics

• Advertisement + Marketing Stock Illustrations

• Retro Ads Typography

• NO PHOTOSHOP / ILLUSTRATOR NEEDED - Ready To Use

• High Definition PNG Files

• Optimized SVG VECTOR

• EPS 10 Vector Files

• EDITABLE with ANY Vector Program

• White-Body EXCLUSIVE Versions

• Look Amazing On ANY BACKGROUND

• Original Transparent Versions

• RETRO COLOR Versions

https://www.stormtype.com/families/areplos/

To design a text typeface „at the top with, at the bottom without” serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs. The first tests of the design, by which I checked up whether the basic principle could be used also for the then current technology of setting – for double-sign matrices –, were carried out in 1970. During the first half of the seventies I created first the basic design, then also the slanted Roman and the medium types. These drawings were not very successful. My greatest concern during this initial phase was the upper case A. I had to design it in such a way that the basic principle should be adhered to and the new alphabet, at the same time, should not look too complicated. The necessary prerequisite for a design of a new alphabet for double-sign matrices, i.e. to draw each letter of all the three fonts to the same width, did not agree with this typeface. What came to the greatest harm were the two styles used for emphasis: the italics even more than the medium type. That is why I fundamentally remodelled the basic design in 1980. In the course of this work I tried to forget about the previous technological limitations and to respect only the requirements then placed on typefaces intended for photosetting. As a matter of fact, this was not very difficult; this typeface was from the very beginning conceived in such a way as to have a large x-height of lower-case letters and upper serifs that could be joined without any problems in condensed setting. I gave much more thought to the proportional relations of the individual letters, the continuity of their outer and inner silhouettes, than to the requirements of their production. The greatest number of problems arose in the colour balancing of the individual signs, as it was necessary to achieve that the upper half of each letter should have a visual counterbalance in its lower, simpler half. Specifically, this meant to find the correct shape and degree of thickening of the lower parts of the letters. These had to counterbalance the upper parts of the letters emphasized by serifs, yet they should not look too romantic or decorative, for otherwise the typeface might lose its sober character. Also the shape, length and thickness of the upper serifs had to be resolved differently than in the previous design. In the seventies and at the beginning of the eighties a typeface conceived in this way, let alone one intended for setting of common texts in magazines and books, was to all intents and purposes an experiment with an uncertain end. At this time, before typographic postmodernism, it was not the custom to abandon in such typefaces the clear-cut formal categories, let alone to attempt to combine the serif and sans serif principles in a single design. I had already designed the basic, starting, alphabets of lower case and upper case letters with the intention to derive further styles from them, differing in colour and proportions. These fonts were not to serve merely for emphasis in the context of the basic design, but were to function, especially the bold versions, also as independent display alphabets. At this stage of my work it was, for a change, the upper case L that presented the greatest problem. Its lower left part had to counterbalance the symmetrical two-sided serif in the upper half of the letter.

https://www.stormtype.com/families/biblon-pro

Next generation of award-winning typeface (Excellence in Typography by TDC in 2000, Bukva-Raz! in 2002) Biblon. This 6-font family contains all styles as published by us and by ITC in 2000, plus many more in the 2006 version: new, interpolated Medium colour is a useful contribution for display purposes, numerous glyphs were newly created, old ones redrawn, more swashes of Italics added, 27 new ligatures, and 12 new OpenType Features enable real professional work. Among significant changes you can see slightly taller Small Caps, better kerning, etc... In our modern times people print ever more futile ideas and intersperse them with many blank pages. There is no need to economize on paper and to look out for optically narrowed type faces. An opposite situation is in every biblical society where the editors must cram a text containing some 2000 pages into a single volume. That is where there is a need for type faces which are economizing, legible and spiritually cultivated. The new Biblon type face, therefore, does not need to rely on a wide range of sizes; it is sufficient if it looks well from approximately five to eighteen points. Its elegance decreases commensurately with its increasing size. In poster sizes the speculative construction of the letter form is already revealed – the points of gravity of the strokes are shifted as much as possible in the horizontal directions and the crotches – the spaces between the rounded stroke and the shaft – are emphasized. In small-size letters we hardly notice that almost all horizontal serifs (if they have not disappeared entirely) have been pushed inside the letter form so that they should not hamper the adjacent letters. To quieten the lines, the accents have been miniaturized as well. The figures have uniform width and avow the lower case principle. The italics of Biblon have been stylized more daringly, with the use of long-forsaken Rococo elements. The slanted designs of the small capitals have upper case letters slightly submerged under the capital line, in order to enhance the decorative character of titles and headings. Biblon has a large x-height of lower-case letters and one can get used to its compressed proportions. Many condensed type faces leave a feeling of distress after longer reading. Here, however, this has been sophisticatedly eliminated. We have availed ourselves in this type face design also of several optical tricks dating from fairly recent period, but our main source of inspiration was the daringness of type designers of the 18th century. Underneath the contemporary-looking design of Biblon one can conjecture a Baroque play with the shifting of shadows, intentional overstatement or absolute simplification of forms. Even though Biblon probably will not be used for its purpose in the near future, it represents a very sound body type.

CM 1340404 - Circular Flourish Frames

Set of 6 Elegant Circular Classic Decorative Floral Ornamental Vintage Swirl Acanthus Frame.

Files Included:

• 1 EPS file (vector of circular frames and floral elements)

• 1 PSD files (Layered of circular frames and floral elements)

• 7 Transparent PNG files (High Res of 6 circular decorative frames)

• 7 JPG files (High Res of 6 circular decorative frames)

CM 1382028 - EARTH DAY Foliage Vector Set

Minimalism and little text make the posters universal and easy editable. The illustration and quotes can be applied as prints on T-shirts, cups, paper bags, tags etc. Alternatively, based on them you can prepare your own design. The bundle is great for environmental and ecological themes in general, since the quotes call for respecting nature, saving the forest, thinking about our future and living green.

What is included:

• 10 ready to print posters on white background in the standard medium poster size – 18“ x 24” (46 cm x 61 cm) in the following formats: 10 separate AI files (high resolution, RGB color mode); 10 separate very high quality JPG files, 300 ppi; 10 separate PNG files, 300 ppi, transparent background;

• 4 posters with sample text just as an example of possible composition each one in a separate AI file (high resolution, RGB color mode);

• 4 ready to print thematic cards with various nature quotes: 4 separate AI files (high resolution, RGB color mode); 4 separate very high quality JPG files, 300 ppi;

• 1 set of realistic vector leaves: in AI file (high resolution, RGB color mode).

CM 1327103 - Cageless Birds

Celebrate spring with style! Cageless Birds is a pack of more than 70 graphic elements in both .png (watercolor-textured, gold-textured and flat black) and .ai (flat black) for you to design with.

What's inside the pack?

• 14 flocks of birds ;

• 26 single birds ;

• 5 detailed feathers ;

• 27 frames, clouds and decorative doodles to enhance your designs ;

• 6 twigs, branches, wreaths and wires to put your birds on ;

Bonus: A simple photoshop (both CS and elements) tutorial on how to edit the graphic's color.

Files included

• A vector file .ai containing all the elements in a flat silhouette editable to your taste. Works great in Illustrator CS2+ ;

• 70 watercolor-textured .png (300dpi) graphic elements, each of them on an individual transparent .png ;

• 70 gold-textured .png (300dpi) graphic elements, each of them on an individual transparent .png ;

• 70 dark, flat .png (300dpi) graphic elements, each of them on an individual transparent .png.

CM 1382069 - 34 Texture Brushes Vector

34 custom texture brushes! perfect for Shading. Subtle to extreme texture.

CM 1319823 - Outdoor and Ecology Icons

This set contains 190 Outdoors and Ecology Line and Solid icons that are part of the Full Native Line/Solid Icons Bundle. Icons inside this set are available in different formats: AI, CSH, SVG, PNG, Webfont, Sketch and Iconjar. Pixel perfect quality, fine details and sharp lines. This is what makes this set one of our best and biggest we’re sure you’ll find every icon you wish for. As a Web designer, developer or graphics designer, this set is made to be your best design companion. All icons are layered are made in vector or shapes, are ready to edit, re-size, change colours or thickness which makes working with them like a breeze.

Overview

• One .ai file ( each icon on a separate art board)

• Every icon is a separate .csh file

• .svg files

• .png files (120px, 96px, 90px, 72px, 60px, 48px, 30px, 24px, @3x, @2x, @1x)

• Webfont File

• .Sketch File

• .Iconjar File

CM 1381934 - ARMAMENT - Vintage Illustration Pack

A Bundle of 70+ Vintage Armament Illustrations. Saves you time and energy. Create a custom vintage logo or a T-Shirt design in a few minutes! The package includes 3 Ready made Vintage logo templates!

CM 1380885 - Dorrotthy Script: 3 Fonts & Swashes

Welcome to The Dorrotthy. Premium quality handwritten font with elegant imperfections. It includes 3 individual fonts full of alternates and ligatures with a collection of swashes. Dorrotthy script was originally drawn by a professional calligrapher Eugene Spizhovy in collaboration with BlessedPrint. All glyphs include maximum of texture imperfections with italic rough appearance. It is perfect for branding, logos, wedding invitations and inspirational quotes.

https://sharptype.co/typefaces/respira-black/

Respira is inspired by a particular style of Spanish blackletter often found in illuminated manuscripts of Andalusia. We first came across this unique style in the breathtaking Santa Iglesia Catedral Metropolitana de la Encarnación in Granada, Spain. For designer Lucas Sharp, it was love at first sight.