Gin And Tonic is a classical serif typeface family. In a cocktail of soft arches and sharp corners, this traditional type has a multifaceted flavor, just like a well-balanced drink. Inspired by turn-of-the-century quality produce, Gin And Tonic is a genuine victorian typeface, that brings class and authenticity to any graphic project. The type of lettering that could be seen in an old-west saloon. This serif font is provided in eight styles: Thin, Regular, Bold and Thin Italic, Regular Italic, Bold Italic. As well as the Outlined style and its complementary Outline Italic. Write in CAPS for decorative conjunction words. Example: Gin AND Juice, Bird OF Prey (Download required.) The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Idealista directly responds to its other members, Nudista and Kulturista. It shares the same proportions and the same set of weights, yet it enriches the expression means of the two typefaces with new themes — the character set is smooth, even round, and it boasts a number of special details and perky moves. Most of all, Idealista relishes juicy magazine titles, typographic logotypes and propagandist posters. Unlike cold, technicist typefaces, it has great zest for life, so there's no wonder that in each of the letters, intuition wins over intellect. Owing to this, the text set in Idealista has a special voluptuous quality and unmistakable temperament — in a single typeface Idealista combines the best of sans-serif, slab-serif, as well as geometric and calligraphic construction principles, coming down to one impressive, expressive cocktail. Some letters have serifs, some do not, some are sharp, some are smooth, and all this results in the nice hip-hop beat of the line of text. The typeface has five weights and ten styles in total, so it can easily accommodate to the needs of complex texts, unlike many of its display counterparts. Idealista is valuable partner for the more text-suited Nudista and, if need for tiny sizes arises, to Kulturista as well.

Lady Edith harkens back to the days of flappers and cocktail parties. The early part of the twentieth century, when Art Deco was at it’s height and high fashion was all the rage. A time of beauty, class and elegance. A minimalistic font with clean lines and just enough flare to make it unique. The perfect font for any occasion that needs a bit of high end magic. There is no lower case for Lady Edith as it is a decorative font. The Upper case version serves both the upper and lower case keys. Lady Edith has a glyph count of 397 and supports the following languages; Supported Languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu

Remember when a coyote was a light-boned rangy member of the canine family and not the name (spelled C-A-O-T-I) of your neighbor's four year old daughter? When a cricket was a leaping, chirping insect and not the name (spelled K-R-I-Q-U-I-T-T-E) of your purple-haired, pierced-tongued waitress? When Madison and Austin were cities, when brie was a variety of cheese, when radon and alar were hazardous substances and NOT FIRST NAMES? Burghal Design remembers the good old days, when people were not named Whisper, Zandren, Skylar or Dakota but were called Eleanor, Arthur, Edward and Irene. In the spirit of these classic monikers, we give you Mildred, a script font family for proud and simple folk: the down to earth Mildred Plain, hearty Mildred Stout, the barely-there Mildred Scrawn,and the barfly Mildred Cocktail. There's also the slightly more formal (but still all-purpose) Mildred Fancy, bolder Mildred Strong, and the wisp of Mildred Mild. Rounding out the family is Mildred Ornaments, a collection of symbols that can be used for snowflakes, for bullets, or just for fun. Mildred: just an old-fashioned, hard working font.

The alcoholic beverage Gin is drunk around the world, as far back as the 13th century. Originally distilled as a medicine, it draws its main flavour from juniper berries. Gin is colourless itself but – due to its smooth taste – a major ingredient in a long list of famous colourful cocktails. Gimlet, Singapore Sling, Negroni, Charlie Chaplin, French 75, Vesper, Tom Collins, White Lady, Aviation, Monkey Gland, Southside, Gin Gin Mule and New Orleans Fizz are but a few of them. That made us decide it simply cannot be missing from the Vette Letters font collection. Vette Letters designer Henning Brehm originally designed VLNL Gindicate for the 2015 action movie Hitman: Agent 47. It was specifically used for the logo and signage of the maverick ‘Syndicate International’ organisation in the film. It lay dormant in a folder for a while, when it was reworked into this flashy 5 weight family. VLNL Gindicate is a rounded modern sans serif family, suitable for a multitide of applications, corporate or otherwise. It has somewhat of a warm sci-fy feel, without being overtly techno-ish. In the family are 3 regular weights (Light - Regular - Bold), but also an Inline and Multiline weight for extra design possibilities. Company logos, brand identities, music flyers or posters, you name it. VLNL Gindicate will spice up any design. Bottom’s up!

Rizado Script is a classy one-weight script typeface, made with “dolce vita” in mind. Its high contrast and pointy tone are recalling the fine nib handwriting of a meticulous and decisive person that hasn’t got free time to spare but surely knows how to enjoy his life. No quick and dry strokes, but rather wide, elegant and strong-minded temper that will bring a long-lasting touch to your packaging layouts. Sure, if you are looking for a good fit for some more ephemeral design such as a weekend high-class cocktail promotion, or a wedding invitation – this handy display typeface won’t let you down for a second. If you happen to go to Venice and enjoy their popular Aperitivo, you’ll be asked to choose between three types of bitter-reddish base drink. Rizado will bring you the same amount of pleasure, authority and uniqueness while you pick out one of the three ampersands or other alternate characters. According to the concept of Fellini’s lifestyle, “la dolce vita” is a luxury lifestyle full of cheerful worldly pleasure. But don’t let yourself be fooled by this moto, because Italians are famous for their modesty and sagacity as well. That’s why you’re always supposed to turn on the Contextual Alternates (to activate extra positional forms — isolated, initial and final) and keep your voice down and never set this typeface in all Capital letters. There are 391 total glyphs made to support West European, Central European and South East European languages.

«Envelove» is the brand new typographic challenge handwritten by Yani Arabena and designed along with Guille Vizzari and Ale Paul, for Sudtipos. It all started as a game for Yani. A carefree and spontaneous calligraphy, making use of the pointed nib with black ink, exploring its expressive possibilities pressing against paper. With time that nib turned into her dearest tool to flow through her writing, breeding this particular style of hers that let her trespass the barrier that kept personal and professional passions apart. All that inspiration is present in «Envelove», a play on words that reflects the love of letters. An expressive free-and-easy typeface that follows no formal calligraphic model and lets itself go with the meaning of words, rhythm and sensations. «Envelove» successfully joins three different fonts, «Envelove Script»—free, spontaneous and unique of its kind—going together with «Envelove Caps»—an uppercase style that builds controlled but dynamic words thanks to its alternates and ligatures, and to its own true Small Caps set as well—and «Envelove Icons», ideal to decorate and bring to life any written message. «Envelove» encourages you to write as if you have a nib, ink and an envelope. It invites you to take part in other worlds like a magic cocktail, a summer night, a long-awaited reunion, a first dance, a dish cooked with your own hands. The fashion world, gourmet, stationery, scrapbooking and everyone where a Handmade or Handcrafted feel is craved for, save a special place for «Envelove». (The illustration series that are shown with «Envelove» were made by the incredible Argentine illustrator Eugenia Mello.)

INSPIRED BY THE LOVERS OF LETTERS AND ANCIENT ANIMATED DRAWINGS: We present one of our most desired typographical tools of 2019: NUTCAKE CATCH-WORDS! Designed and produced by #carlosfabiancg and #a_freitez at different times and places in Venezuela and Colombia. Each word design was like “travel to the old school of hand lettering of 1930” due to the number of options and alternatives we discarded to solidify meticulous researches and Bezier drawings, based on analysis and synthesis of empty and full calligraphy, first done with a round brush and then perfected with pencil and paper. For this reason, each NUTCAKE CATCH-WORDS design contains a high dose of cursive expressiveness, apparently handwritten, and that is why our customers can take advantage of more than 160 words compiled in a single OTF file. NOTE: if you need any new word with the NUTCAKE CATCH-WORDS style, please write us and we will gladly design it to include it in your file. Below the list of 160 catch words: and, An, All, As, After, Ante, Avec, Break, Bright, Big, Back, Both, Best, Body, Butter, Breakfast, By, Bajo, Coffe, Café, Closet, Can, Cocktail, Cookies, Custom, Cabe, Con, Contra, Could, Crisp, Candy, City, Chocolate, Chocolat, Come, Del, Don't, Deliver, Desde, Di, Durante, Enjoy, Eat, Example, El, En, Entre, Front, Fire, Free, Fashion, For, Fresh, Friday, Family, Going, Great, Go, Heres, Here, Hand, Hacia, Hasta, Have, I'm, It’s, Imagine, It, Join, Just, Jam, Kitchen, Kiss, Know, Keep, Like, Life, Lady, La, Las, Les, Los, Le, Love, Money, More, Master, My, Mediante, Now, now, New, new, next, nuevo, nueva, Off, out, ofertas, oferta, offer, offers, Please, Para, Per, Page, Quality, Queen, Question, Valley, Queso, Right, Road, Save, See, Show, Something, So, Según, Sin, So, Sobre, Sale, Shop, Style, Styles, Sweet, Special, To, the, The, Theres, There, To, This, Three, They, That, Tras, Think, Time, Take, Transfer, Until, Vacation, Value, Vote, What, Hats, With, Welcome, Which, You, Y, You're, you, Zip, Zoom, Zombie.

Green Fairy is a chromatic font family highly ornamented for display purposes. Green Fairy’s characters have been specifically designed to accommodate its loops and ornaments following a modern typeface structure. Green Fairy has four chromatic weights: 1. Green Fairy Outline 2. Green Fairy Dots 3. Green Fairy Stencil 4. Green Fairy Full The outline weight has been created as the base or structure for the other weights. You can combine these weights as well as add colours to obtain multiple effects and type styles. Green Fairy has also three combined weights (combos) to simplify your work flow, for these occasions when you only want to use one single colour in your font: 5. Green Fairy Dots Combo 6. Green Fairy Stencil Combo 7. Green Fairy Full Combo GREEN FAIRY ORIGINS The origin of this typeface is the lettering I designed in October 2015 as part of my illustrated cocktail artwork called “Absinthe. La Fée Verte (The Green Fairy)”. Originally, this lettering only featured eight letters “AB·SINTHE” vector drawn in Illustrator. Right after creating the full-colour artwork, I designed a fountain-letterpress print version of it, in collaboration with Ladies of Letters, A.K.A. Carla Hackett and Amy Constable from Saint Gertrude Fine Printing. At the beginning of 2016 –and thanks to the project @36daysoftype– I found the motivation, and most importantly the deadline, to draw the rest of the twenty-six letters of the uppercase alphabet using Illustrator. I started 2017 having my first two calligraphy courses sold out, so I took this amazing opportunity to devote myself to Green Fairy for a few months. In February 2017, I purchased the font software Glyphs and I started to re-draw all twenty-six letters of the uppercase alphabet again. PRODUCTION PROCESS Green Fairy started being one weight, but quickly turned into a layered/chromatic font. Things were going more or less fine till I arrived to the Dots weight: 1) I started drawing squares following a grid; 2) Then, the squares turned into diamonds following the same grid; 3) Then, the grid wasn’t working so well on the round letters so I tried randomising the position of the diamonds but it didn’t work; 4) So I went back to the grid, and this time scaled down the size of the diamonds creating a visual half-tone effect. I spent over four weeks working on the Dots weight and I felt like I was in the middle of a very long tunnel and I couldn’t see the light at the end. I encountered many other problems along the way but by June 2017, I felt I was back on track again. I kept working, tweaking, re-drawing and re-adjusting, and then the diacritics came on board… And then more re-drawing, re-tweaking, re-adjusting and then numbers… And then spacing, symbols, and currencies… And then more spacing, kerning, contextual kerning for triplets… In September 2017 I told myself “that’s it, I’m going to finish it now!” But guess what? More re-tweaking, testing, hinting, testing, rendering, testing… For those of you not familiarized with typeface design, it is extremely time consuming and it requires a lot of hard work, focus and determination. This project could not have been possible without the help of these generous professionals: Jose Manuel Urós, typeface designer based in Barcelona and my teacher twice in the past; Jamie Clarke, freelance letterer and typeface designer who has released a couple of chromatic fonts recently; Troy Leinster, Australian full-time typeface designer living and working in New York City; Noe Blanco, full-time typeface designer and hinting specialist based in Catalonia; And Nicole Phillips, typographer currently relocating from Australia to New Zealand. To all of you: THANK YOU VERY MUCH!