Roundhand was created by Matthew Carter in 1966 on the basis of handwriting by Charles Snell, an English calligrapher of XVII-XVIII known in particular by his "The Pen-man's Treasury Open'd" written in 1694. The typeface has continuous cursive shapes with oval aspect, high contrast emphasized by abrupt transitions from thin to thick and regularity of slope. Its capitals are often used as initials in combinations with other typefaces. The current digital version of the typeface has 3 styles of different weights. Roundhand is clear and easy to read and is well-suited for medium size texts and headlines. It will work well in invitations, menus, packaging, and advertising accentuating elegance and the subtle nature of the content. The Cyrillic version was developed by Vladimir Yefimov and Isabella Chaeva. Released by ParaType in 2013.

Charm Man - Retro Serif Font. Charm Man is a bold retro style serif font with strong character and soft features. Charm Man is a stylish font that is both bold and retro font. Charm Man is equipped with Swash, Stylistic and Titling alternates as well as with Standard and Discretionary Ligatures. Charm Man's thick curves give a 70s groovy vibe with the serif bringing it slightly back to traditional. Comes with alternatives and ligatures, helps to create stunning logos, quotes, posts, blog posts. branding projects, magazine imagery, wedding invitations, and much more. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. This font is also support multi language.

Marujo is a highly decorative typeface inspired by painted pieces of Arthur Bispo do Rosário, a striking Brazilian artist who lived for 50 years in a psychiatric institution. Besides its spirited Regular and Light cuts, Marujo family brings nifty eye-catching variations adorned with dots and stripes. It also brings complementary fonts to spice things up even more: there are 2 shadow options and yet a picture font packed with doodles, mostly on nautical subjects (which are strongly present on Bispo do Rosário, a former seaman apprentice.) Bispo do Rosário's works employs a multitude of materials and are often very intricate. Words are everywhere, painted or embroidered at most. He produced a vast amount of works, and is now - posthumously - widely recognized in Brazilian art scene. The psychiatric institution in which he lived is now a museum dedicated exclusively to his work. Marujo draws inspiration not only from Bispo's works, but also from this man's potency, a persistent man who produced amazing art locked in such a tough environment for a life-long. Marujo fonts are positively adventurous and will safely navigate through a sea of feelings, reaching free spirits everywhere. To navigate is precise...

John Seddon (1644-1700), was a famous english writing master, the leading calligrapher of his time, and master of Sir John Johnson’s Free Writing School in Priest’s Court, Foster Lane. His portrait was drawn by William Faithorne and was engraved by John Sturt as the frontispiece for his copy-books, such as ‘The Ingenious youth’s companion’ of c.1690 and 'The pen-man’s paradise' of c.1695. These were engraved after his work by others. Your extra-rare book - "The Pen-mans Paradise Both pleasent & Profitable OR Examples of all ye usuall hands of this Kingdome. Adorn'd with variety of ffigures an Flourishes done by Command of hand. Each ffigure being one continued & entire Track of the pen most where of may be struck as well Reverse (or to answer bothwayes) as Forward", London (1965). - YES (that is the title of the book) was the starting point to these new extra accurated works of Iza W, a series of revivals of the penmanship Seddon’s artworks, animal and human kingdon inspired penmanship forms in the Bestiario font. On the other hand, his highly ornamented animal kingdon inspired capitals and alphabets in the Seddon Penmans Paradise Capitals typeface. The “SeddonsFleurons” completes the collection. Fantastic choice to elaborated barocque/renaissance inspired and historical accurated layouts.

John Seddon (1644-1700), was a famous English writing master, the leading calligrapher of his time, and master of Sir John Johnson’s Free Writing School in Priest’s Court, Foster Lane. His portrait was drawn by William Faithorne and was engraved by John Sturt as the frontispiece for his copy-books, such as ‘The Ingenious youth’s companion’ of c.1690 and 'The pen-man’s paradise' of c.1695. These were engraved after his work by others. Your extra-rare book - "The Pen-mans Paradise Both pleasent & Profitable OR Examples of all ye usuall hands of this Kingdome. Adorn'd with variety of ffigures an Flourishes done by Command of hand. Each ffigure being one continued & entire Track of the pen most where of may be struck as well Reverse (or to answer bothwayes) as Forward", London (1965). - (YES, that is the title of the book!) was the starting point to these new extra accurated works of Iza W, a series of revivals of the penmanship Seddon’s artworks, like this highly ornamented animal kingdom inspired capitals and alphabets: the Seddon Penmans Paradise Capitals typeface. And, on the other hand, you can get the animal and human kingdon inspired penmanship forms in the Bestiario font. The “SeddonsFleurons” will complete the collection. Fantastic choice to elaborated barocque/renaissance inspired and historical accurated layouts.

Our eye is able to join missing parts of worn letters back into undisturbed shapes. We tend to see things better than they really are. Thanks to this ability we ignore faults of those close to us as we can’t accept the fact that every once in a while we convene with an impaired entity. Typography is merely a man’s invention, hence imperfection and transience, albeit overlooked, are its key features. This typeface is based on worn-out letterings on tombstones in the St. Croce basilica in Florence. For hundreds of years, microscopic particles of marble are being taken away on the soles of visitors: the embossed figures become fossilised white clouds, fragments of inscriptions are nearing the limits of legibility. First missing are thin joins and serifs, then the main strokes finally slowly diminish into nothingness over time. Unlike an archaeologist, for whom even completely featureless stele is valuable, the typographer must capture the proper moment of wear, when the type is not too “new” but also not too much decimated. Such typeface is usable for catalogue jackets, invitations and posters. Calligraphy is a natural human trait. To write is to create characters of reasonable beauty and content, according to the nature of the writer. A natural characteristic of architecture is to create an aesthetic message very similar to the alphabet. A doric column, the gabled roof, the circle of the well plan: these are the basic shapes from which all text typeface is derived.

Before Bodoni, there was Didot. With the publication by Francois Ambroise Didot of Paris in 1784 of his prospectus for Tasso’s La Gerusalemme Liberata, the rococo typographical style of Fournier de Jeune was replaced with a spartan, neo-classical style that John Baskerville pioneered. The typeface Didot used for this work was of Didot’s own creation and is considered by both G. Dowding and P. Meggs to be the first modern face. Three years later, Bodoni of Parma is using a very similar face. Just as Bodoni’s typeface evolved over time, so did that of the Didot family. The eldest son of Francois Ambroise Didot, Pierre, ran the printing office; and Firmin ran the typefoundry. Pierre used the flattened, wove paper, again pioneered by Baskerville, to permit a more accurate impression and allow the use of more delicate letterforms. Firmin took full advantage of the improved paper by further refining the typeface introduced by his father. The printing of Racine’s Oeuvres in 1801 (seen in our gallery image #2) shows the symbiotic results of their efforts, especially in the marked increase in the sharpness of the serifs when compared to their owns works of only six years earlier. It has been suggested that one reason Bodoni achieved greater popularity than Didot is the thinner hairlines of Didot were more fragile when cast in metal type and thus more expensive for printers to use than Bodoni. This ceased to be a problem with the advent of phototypesetting, opening the door for a renewed interest in the work of the Didot family and especially that of Firmin Didot. Although further refinements in the Didot typeface were to come (notably the lower case ‘g’ shown in 1819), we have chosen 1801 as the nominal basis for our presentation of HiH Firmin Didot. We like the thick-thin circumflex that replaced the evenly-stroked version of 1795, possible only with the flatter wove paper. We like the unusual coat-hanger cedilla. We like the organic, leaf-like tail of the ‘Q.’ We like the strange, little number ‘2’ and the wonderfully assertive ‘4.’ And we like the distinctive and delightful awkwardness of the double-v (w). Please note that we have provided alternative versions of the upper and lower case w that are slightly more conventional than the original designs. Personally, I find the moderns (often called Didones) hard on the eyes in extended blocks of text. That does not stop me from enjoying their cold, crisp clarity. They represent the Age of Reason and the power of man’s intellect, while reflecting also its limitations. In the title pages set by Bodoni, Bulmer and Didot, I see the spare beauty of a winter landscape. That appeals to a New Englander like myself. Another aspect that appeals to me is setting a page in HiH Firmin Didot and watching people try to figure out what typeface it is. It looks a lot like Bodoni, but it isn't!