Geometric font inspired by shop signs in 4 styles Anisette has sprouted as a way to test some ideas of designs. It has started with a simple line construction (not outlines as usual) that can be easily expanded and condensed in its width in Illustrator. Subsequently, this principle of multiple widths and extreme weights permitted to Jean François Porchez to have a better understanding with the limitations associated with the use of MultipleMaster to create intermediate font weights. Anisette built around the idea of two widths capitals can be described as a geometric sanserif typeface influenced by the 30s and the Art Deco movement. Its design relies on multiple sources, from Banjo through Cassandre posters, but especially lettering of Paul Iribe. In France, at that time, the Art Deco spirit is mainly capitals. Gérard Blanchard has pointed to Jean Francois that Art Nouveau typefaces designed by Bellery-Desfontaines was featured before the Banjo with this principle of two widths capitals. The complementarity between the two typefaces are these wide capitals mixed with narrow capitals for the Anisette while the Anisette Petite – in its latest version proposes capitals on a square proportions, intermediate between the two others sets. Of course, the Anisette Petite fonts also includes lowercases too. Anisette Petite, a geometric font inspired by shop signs in 4 styles So, when Jean François Porchez has decided to create lowercases the story became more complicated. His stylistic references couldn’t be restricted anymore to the French Art-déco period but to the shop signs present in our cities throughout the twentieth century. These signs, lettering pieces aren’t the typical foundry typefaces. Simply because the influences of these painted letters are different, not directly connected to foundry roots which generally follow typography history. The outcome is a palette of slightly strange shapes, without strictly not following geometrical, mechanical and historical principles such as those that typically appear in typefaces marketed by foundries. As an example, the Anisette Petite r starts with a small and visible sort of apex that no other similar glyphs such as n or m feature, but present at the end of the l and y. The famous g loop is actually inspired by Chancery scripts, which has nothing to do with the lettering. The goal is of course to mix forms without direct reports, in order to properly celebrate this lettering spirit. This is why the e almost finishes horizontally as the Rotis – and the top a which must logically follow this principle and is drawn more round-curly. This weird choice seemed so odd to its designer that he shared his doubts and asked for advise to Jeremy Tankard who immediately was reassuring: “Oddly, your new top a is fine, it brings roundness to the typeface, when the previous pushes towards Anisette Petite to unwanted austerity.” The Anisette Petite, since its early days, is a mixture of non-consistent but charming shapes. Anisette, an Art Déco typeface Anisette Petite Club des directeurs artistiques, 46e palmarès Bukva:raz 2001

Ambiguity is a type family with five distinct personalities or ‘states’, created as a tool for coaxing designers and brands out of their comfort zone. It embraces both tradition and radicality, as well as generosity and thrift, encouraging us to question our beliefs about the intersection of style and meaning. The family is designed by Charles Nix, who describes Ambiguity as “as much thought experiment as typeface.” Its five states—Tradition, Radical, Thrift, Generous and Normate—each express or subvert different aspects of typographic tradition. Tradition is conservative, relying on historical letter shapes. Radical rejects inherited ideas of proportion, making typically slender letterforms wide, and wide letterforms slender. “It’s contrarian,” says Nix. Thrift cherry picks the condensed shapes from Tradition and Radical, while Generous does the same for wide forms. Normate sits at the center, a synthetic blend of all of the others. “Tradition is very comforting,” says Nix. “It’s the mask of conservatism. It’s calming because it delivers the proportions we expect. With Thrift more fits into a smaller space, so it’s great where words want to get large, like gigantic headlines, or text needs to cram in, like small screen type. You get a sense of carefree and luxury from the Generous cut. One would expect the Radical to be used in a sort of Dadaist way, but in a classic context it provides an enjoyable jolt.” Ambiguity is a litmus test. Designers could spend hours trying on typefaces that offer just one of these voices. Ambiguity provides five different personalities—ideas—beliefs—each of which also work seamlessly together. “It’s a palettea, like idea cards,” he says. “It’s a way of making yourself see differently. My hope is that traditionalists will try on radical clothes and vice versa. It’s a way of exploring outside your comfort zone, breaking out of the doldrums, by stepping through a variety of voices.”

Passport48 exclusively in otf. opentype format, originally debuted in 1997 as Passport, close to the beginning of the indie typographer boom. Almost 25 years have passed since it was introduced at MyFonts as PS1 and later in 2003 in TT TrueType.** It was designed by Joseph Coniglio of Coniglio Type as a revival. Historically, Passport was digitized from a shiny black enamel 1948 Royal Silent Deluxe portable. Kept on the ship of merchant marine, Captain John O’Learn, it was a salty manual typewriter with no intrinsic value as a collectable, even though it is awash as a work horse and a fine communicator of it’s time.. **NOTE: Little Passport family leaves the nest: The old weight variations, styles and formats have been eliminated to allow the original face to be stand alone, on its own attributes. For those purchasing their first typewriter fonts and to our diehard collectors as well, Passport presents a friendly new port-of-entry. A simple set, that is freed of many of the normal distressed points and paths that had made most “typewriters” authentic looking, but difficult to print and manipulate in layouts back in the day. It’s smooth nature comes from its impressions struck directly onto a piece of carbon paper bypassing the silk ink ribbon and going directly from metal to carbon paper transferring to a piece paper with very little tooth. Examine the glyphs to be certain you have what you need from this minimalist set, Passport48 is intended for ease of use and affordability. This is a warm font in a cold cruel world and a real port in the storm! It is versatile in today’s layouts with 24 years of worldwide sales. …Please enjoy the fruits of its travels, hoping your destinations and explorations into graphic design and letter composition are happy ones. -Joe Coniglio, the Pacific Northwest (2021).

‘Thwaites’ typeface is fully dedicated to one of my best Canadian friends who I do cherish and value highly. This great and industrious Canadian friend is ‘James Douglas Thwaites’ who lives along with his good-natured family in British Columbia, Canada. For me, James is like a source of inspiration and I do consider him as an ideal in my life. Our strong friendship has started since 1999 and I hope that it will endure just to the last moment of my life. Sometimes I see him as the writer and poet that I learn a lot from, sometimes I see him as a devoted religious minister that I try to understand more about his teachings, and other times I see him as the educator that I strive to imitate verbatim in my life. When I want to talk more about this Canadian friend, I will not be able to give him his due in full. Thus, I will instead mention some excerpts of his biography that he wrote himself saying that: “James D. Thwaites is a self-accomplished man. Having worked in various fields including restaurant management and cleaning, he has achieved his goals of being a full-time teacher, past-time writer, and volunteer religious minister for the Christian Congregation of Jehovah's Witnesses. His personal and academic pursuits have led him to be published in various magazines, newspapers, self-published books, and websites, including his now defunct ‘poetryofthemonth.com’ website. He continues to learn and augment the craft of writing while working primarily in early literacy and delayed literacy learners, teaching reading and literature to a wide age range of students. He views his religious endeavors as an extension of his academic ones. He teaches others both as a public speaker and in one-on-one situations, teaching about the benefits of submission to God and to His teachings. His future goals include expanding his ministry and continuing his writing.” The name ‘Thwaites’ itself comes from Great Britain and originated from the last Viking raids upon England, being an Anglicized version of a Scandinavian term meaning—depending on the source material—either "a place that is difficult to approach" or "a small thicket of trees." Another recitation mentions that ‘Thwaites’ can be described also as an English surname but one of pre 7th century Norse-Viking origins. It may be either topographical or locational, and is derived from the word "thveit", meaning a clearing or farm. As a locational surname it originates from any one of the various places called "Thwaite", found in several parts of Northern England and East Anglia to the south. The various modern spelling forms include Thwaite, Thwaites, Thwaytes, Thoytes, Twaite, Twatt, Twaites, Tweats and Twite. The name, although often appearing unique to outsiders, can often be found within other famous names like Braithwaite, Goldthwaites, or Misslethwaites. With various spellings, some families not including the ‘e’ or the ‘s’ at the end, Thwaites and its derivations—although not exceedingly common—is a name found worldwide. ‘Thwaites’ typeface is simply a sans-serif streamlined, stylish, and versatile font. It is designed using a combination of thick and thin strokes for its +585 characters. Its character set supports nearly most of the Central, Eastern, and Western European languages using Latin scripts including the Irish language. The typeface is appropriate for any type of typographic and graphic designs in web, print, and other media. It is also absolutely preferable to be used in the wide fields related to publication, press, services, and production industries. It can create a very impressive impact when used in headlines, posters, titles, products’ surfaces, logos, medical packages, product and corporate branding, and also signage. It has also both of lining and old-style numerals which makes it more suitable for any printing or designing purposes. ‘Thwaites’ typeface is really the cannot-miss choice for anyone who wants to possess unique artistic and modern designs produced using this streamlined typeface.

ALERT: Comicraft's Mad Font Scientist John Roshell and Lead Lab Assistant Drewes McFarling have applied an Unstoppable Force to our Immovable Font ULTIMATUM, successfully splitting it into a family of three fonts! Here’s the secret formula: ULTIMATUM MASS retains the dynamic details of the original with flat, angled corners; ULTIMATUM FORCE cooperates with your demands for a vertical slice of the action; and ULTIMATUM VELOCITY got tired of waiting for a compromise and cut across its horizontals. The complete family features three styles of eight weights for a total of 24 fonts, each with support for 221 languages including Western & Central Europe, Vietnamese & Cyrillic. Three Variable Fonts provide precise control of Weight & Italic slant. ULTIMATUM MASS FORCE VELOCITY is ideal for high performance car & truck branding, sports uniforms, video game graphics, college & university apparel, and any time you want to convey industrial strength and technological innovation.

Barollo is a boisterous, lively, display family of two typefaces, offered in regular and shaded form. It’s ideal for eye-catching banners and posters that call for clear and forceful type, with a sense of fun and life.

Introducing Warugaki: a typeface that defies convention and eschews predictability. With a bold, untamed energy that is deeply rooted in mid-century Japanese style, Warugaki captures the essence of a bygone era while remaining firmly anchored in the present. But don’t be fooled by its seemingly disorganized appearance—this headline typeface is the result of a meticulous subtractive process that imbues each letterform with a sense of organic authenticity. The edge technique used is reminiscent of a handcrafted silk screen or wax dye resist, resulting in compact letterforms that exude a sense of raw, unbridled energy. But Warugaki is more than just a typeface—it’s an experience. With bespoke letter combinations and alternate letters in the lowercase position, each word you create with Warugaki is a unique expression of your own creative vision. No two designs will ever be the same, and that’s exactly the way it should be. So if you’re looking to break free from the constraints of traditional typography and embrace a more spontaneous, expressive approach to design, look no further than Warugaki. This is a typeface that will take your work to new heights, and leave a lasting impression on anyone who sees it. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

The Treasury script waited over 130 years to be digitized, and the Canada Type crew is very proud to have done the honors. And then some. After seven months of meticulous work on some of the most fascinating letter forms ever made, we can easily say that Treasury is the most ambitious, educational and enjoyable type journey we've embarked upon, and we're certain you will be quite happy with the results. Treasury goes beyond being a mere revival of a typeface. Though the original Treasury script is quite breathtaking in its own right, we decided to bring it into the computer age with much more style and functionality than just another lost script becoming digital. The Treasury System is an intuitive set of fonts that takes advantage of the most commonly used feature of today's design software: Layering. Please do help yourself to the PDF and images in the MyFonts gallery for a quick look at the some of the limitless possibilities Treasury has to offer, from simple attractive elegance expressed in the main script, all the way into mysteriously magnificent calligraphic plates. To date in digital type history, this is the most comprehensive and versatile work of its kind. Every designer loves many options to experiment. Experimentation has never been as much fun and productive as it is with Treasury. If you're "compudling" your initial ideas for a layout, or you're just an alphabet fan who loves spending time with letters, working with Treasury is very inspiring and fulfilling. Some of Treasury's features are: - No more endless searching for initial caps that fit your project. The Treasury System lets you build your own initial caps, in any combination of colors, fills, linings or dimensions you like, with a few simple clicks of the mouse. - With two base styles and nine layer fonts, the Treasury System set helps you produce endless possibilities of alternation and variation in dimension, color, and calligraphic combinations to fit your layout's exact needs, down to the very last detail. - 12 pre-combined Treasury fonts are also there to help and inspire layout artists who love shortcuts and don't want to fiddle with too many layers in their layout. Available in small packages on their own, or as part of the complete Treasury package, these 12 fonts can start you up on your way to discovering the perfect fit for your layout. - Every single letter in the Treasury System comes with at least one alternative. Some characters have even three or four alternates. Although the main character set is an authentic rendition of Ihlenburg's 1874 classic, we made sure to include a treasure trove of alternates for maximum usability. - The most gorgeous set of numerals we have seen in a long, long time. The Treasury numbers are what really turned us onto this project in the first place. - Treasury Pro, the incredibly sophisticated OpenType version, combines the complete Treasury System into a single font, programmed for compatibility with Adobe's latest CS and CS2 software programs. Over 2000 characters in one font, for thousands of possibilities. Setting the ideal elegant wordmark, logotype, intitial cap, or headline, no matter how simple or complex, is as easy as taking a minute or two to push a few buttons in Illustrator, Photoshop, or InDesign. We can go on endlessly about the beauty and functionality of this Treasury set, but we really cannot do it justice with words. So try Treasury for yourself and see the amazing possibilities of fun and creativity it has. It can be used pretty much anywhere - signs, book covers, certificates, music inserts, movie posters, greeting cards, invitations, etc. Much thanks are due to the generous and considerable help Canada Type received from the Harvard Library in Boston, Klingspor Museum in Frankfurt, and many type hobbyists and researchers in Canada, England, Germany, the Netherlands, and the United States. Without them it would was near-impossible to track down the lost history of Hermann Ihlenburg, the most prolific German/American type designer and punch cutter of the 19th century. We hope Mr. Ihlenburg is proudly smiling down on us from type designer heaven.

The building of the Northern Bank of St. Petersburg's Baku branch was built in 1903-1905. It was the first Art Nouveau-style building in Baku, Azerbaijan. Later the bank was transformed into the Russian-Asian Bank. After the oil boom in Baku in the 19th century, branches of many banks and new banks were opened in the city. The branch of the Northern Bank of St. Petersburg was among the first banks that was opened in Baku. N.Bayev was the architect of the building for the branch of the Northern Bank of St. Petersburg located at Gorchakovskaya 3 in 1903-1905. The building currently houses the Central Branch of the International Bank of Azerbaijan. My purpose in writing this is not to copy and paste the information from Wikipedia. What attracted me to the building was the word "Банкъ" (Bank) written in Cyrillic letters, which was also used in Azerbaijan during the Soviet era. The exact date of the writing is not known. Every time I pass by this building, I always thought of creating a font of this writing someday. I had taken a photo of the building and saved it on my phone. I did a lot of research on the font and asked a lot of people. However, some did not provide information at all and some said they did not have any information. I was interested in the history of this font but I do not know if this font really existed or it was created by the architect out of nowhere. If there was such a history of this font, I wanted to recreate this font and make it available. If not, I had to create it from scratch in the same way, using only existing letters on the building. Finally, I made up my mind and decided to develop the font with all letters I have got. It was difficult to create a font based on the word, Банкъ. Because in the appearance of the letters, the midline of the letters on A, H, K was very distinct, both in the form of inclination and in more precise degrees. The serif part of the letters, the height of the upper and lower sides, differed from each other. I don't know whether it was done this way when the building was constructed or it happened over time. I prepared and kept the initial version of the font. I took a break for a while. I started digging on the story of the font again. Meanwhile, I was researching and got inspired by similar fonts. Unfortunately, my research on the font's history did not yield any results. I decided to continue finishing up the font. After developing the demo, I created the font by keeping certain parts of these differences in the letters. In addition, I had to consider the development of letters in the Cyrillic, as well as the Latin alphabet, over the past period. Thus, I began to look at the appearance of slab-serif or serif fonts of that time. In general, as I gain more experience in developing fonts, I try to focus on the precision of the design for each font. In recent years, I specifically paid attention to this matter. YouTube channel and articles by Alexandra K.'s of ParaType, as well as, information and samples from TypeType and Fontfabric studios on the Cyrillic alphabet were quite useful. I gathered data regarding the Latin alphabet from various credible sources. I do not know if I could accomplish what I aimed at but I know one thing that I could develop the font. Maybe someday I'll have to revise this font. For now, I share it with you. I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

TA Bankslab graphic presentation at Behance The building of the Northern Bank of St. Petersburg's Baku branch was built in 1903-1905. It was the first Art Nouveau-style building in Baku, Azerbaijan. Later the bank was transformed into the Russian-Asian Bank. After the oil boom in Baku in the 19th century, branches of many banks and new banks were opened in the city. The branch of the Northern Bank of St. Petersburg was among the first banks that was opened in Baku. N.Bayev was the architect of the building for the branch of the Northern Bank of St. Petersburg located at Gorchakovskaya 3 in 1903-1905. The building currently houses the Central Branch of the International Bank of Azerbaijan. My purpose in writing this is not to copy and paste the information from Wikipedia. What attracted me to the building was the word "Банкъ" (Bank) written in Cyrillic letters, which was also used in Azerbaijan during the Soviet era. The exact date of the writing is not known. Every time I pass by this building, I always thought of creating a font of this writing someday. I had taken a photo of the building and saved it on my phone. I did a lot of research on the font and asked a lot of people. However, some did not provide information at all and some said they did not have any information. I was interested in the history of this font but I do not know if this font really existed or it was created by the architect out of nowhere. If there was such a history of this font, I wanted to recreate this font and make it available. If not, I had to create it from scratch in the same way, using only existing letters on the building. Finally, I made up my mind and decided to develop the font with all letters I have got. It was difficult to create a font based on the word, Банкъ. Because in the appearance of the letters, the midline of the letters on A, H, K was very distinct, both in the form of inclination and in more precise degrees. The serif part of the letters, the height of the upper and lower sides, differed from each other. I don't know whether it was done this way when the building was constructed or it happened over time. I prepared and kept the initial version of the font. I took a break for a while. I started digging on the story of the font again. Meanwhile, I was researching and got inspired by similar fonts. Unfortunately, my research on the font's history did not yield any results. I decided to continue finishing up the font. After developing the demo, I created the font by keeping certain parts of these differences in the letters. In addition, I had to consider the development of letters in the Cyrillic, as well as the Latin alphabet, over the past period. Thus, I began to look at the appearance of slab-serif or serif fonts of that time. In general, as I gain more experience in developing fonts, I try to focus on the precision of the design for each font. In recent years, I specifically paid attention to this matter. YouTube channel and articles by Alexandra K.'s of ParaType, as well as, information and samples from TypeType and Fontfabric studios on the Cyrillic alphabet were quite useful. I gathered data regarding the Latin alphabet from various credible sources. I do not know if I could accomplish what I aimed at but I know one thing that I could develop the font. Maybe someday I'll have to revise this font. For now, I share it with you. I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

Designs of characters that are almost forty years old can be already restored like a historical alphabet – by transferring them exactly into the computer with all their details. But, of course, it would not be Josef Tyfa, if he did not redesign the entire alphabet, and to such an extent that all that has remained from the original was practically the name. Tyfa published a sans-serif alphabet under the title Juvenis already in the second half of the past century. The type face had a large x-height of lower-case letters, a rather economizing design and one-sided serifs which were very daring for their time. In 1979 Tyfa returned to the idea of Juvenis, modified the letter “g” into a one-storey form, narrowed the design of the characters even further and added a bold and an inclined variant. This type face also shows the influence of Jaroslav Benda, evident in the open forms of the crotches of the diagonal strokes. Towards the end of 2001 the author presented a pile of tracing paper with dozens of variants of letter forms, but mainly with a new, more contemporary approach: the design is more open, the details softer, the figures and non-alphabetical characters in the entire set are more integral. The original intention to create a type face for printing children’s books thus became even more emphasized. Nevertheless, Juvenis with its new proportions far exceeds its original purpose. In the summer of 2002 we inserted all of this “into the machine” and designed new italics. The final computer form was completed in November 2002. All the twelve designs are divided into six variants of differing boldness with the corresponding italics. The darkness of the individual sizes does not increase linearly, but follows a curve which rises more steeply towards the boldest extreme. The human eye, on the contrary, perceives the darkening as a more fluent process, and the neighbouring designs are better graded. The x-height of lower-case letters is extraordinarily large, so that the printed type face in the size of nine points is perceived rather as “ten points” and at the same time the line spacing is not too dense. A further ingenious optical trick of Josef Tyfa is the figures, which are designed as moderately non-aligning ones. Thus an imaginary third horizontal is created in the proportional scheme of the entire type face family, which supports legibility and suitably supplements the original intention to create a children’s type face with elements of playfulness. The same applies to the overall soft expression of the alphabet. The serifs are varied; their balancing, however, is well-considered: the ascender of the lower-case “d” has no serif and the letter appears poor, while, for example, the letter “y”, or “x”, looks complicated. The only serif to be found in upper-case letters is in “J”, where it is used exclusively for the purpose of balancing the rounded descender. These anomalies, however, fit perfectly into the structure of any smoothly running text and shift Juvenis towards an original, contemporary expression. Tyfa also offers three alternative lower-case letters *. In the case of the letter “g” the designer follows the one-storey form he had contemplated in the eighties, while in “k” he returns to the Benda inspiration and in “u” adds a lower serif as a reminder of the calligraphic principle. It is above all the italics that are faithful to the tradition of handwritten lettering. The fairly complicated “k” is probably the strongest characteristic feature of Juvenis; all the diagonals in “z”, “v”, “w”, “y” are slightly flamboyant, and this also applies to the upper-case letters A, V, W, Y. Juvenis blends excellently with drawn illustrations, for it itself is modelled in a very creative way. Due to its unmistakable optical effect, however, it will find application not only in children’s literature, but also in orientation systems, on posters, in magazines and long short-stories.

The Tecn@ Dark&Light Triangle Background Nomenclature Font family is differentiated by the direction of the triangle tip in the 4 cardinal points. The family were designed to head, enumerate, indicate or highlight writings or design plans, for this reason, the characters are available only in capital letters and some signs or symbols that can serve such purposes. A triangle or empty character is included so that the user can use it overlaying any character of his choice or to be used alone. What is Lorem Ipsum? Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum. Why do we use it? It is a long established fact that a reader will be distracted by the readable content of a page when looking at its layout. The point of using Lorem Ipsum is that it has a more-or-less normal distribution of letters, as opposed to using 'Content here, content here', making it look like readable English. Many desktop publishing packages and web page editors now use Lorem Ipsum as their default model text, and a search for 'lorem ipsum' will uncover many web sites still in their infancy. Various versions have evolved over the years, sometimes by accident, sometimes on purpose (injected humour and the like). Where does it come from? Contrary to popular belief, Lorem Ipsum is not simply random text. It has roots in a piece of classical Latin literature from 45 BC, making it over 2000 years old. Richard McClintock, a Latin professor at Hampden-Sydney College in Virginia, looked up one of the more obscure Latin words, consectetur, from a Lorem Ipsum passage, and going through the cites of the word in classical literature, discovered the undoubtable source. Lorem Ipsum comes from sections 1.10.32 and 1.10.33 of "de Finibus Bonorum et Malorum" (The Extremes of Good and Evil) by Cicero, written in 45 BC. This book is a treatise on the theory of ethics, very popular during the Renaissance. The first line of Lorem Ipsum, "Lorem ipsum dolor sit amet..", comes from a line in section 1.10.32. The standard chunk of Lorem Ipsum used since the 1500s is reproduced below for those interested. Sections 1.10.32 and 1.10.33 from "de Finibus Bonorum et Malorum" by Cicero are also reproduced in their exact original form, accompanied by English versions from the 1914 translation by H. Rackham. Where can I get some? There are many variations of passages of Lorem Ipsum available, but the majority have suffered alteration in some form, by injected humour, or randomised words which don't look even slightly believable. If you are going to use a passage of Lorem Ipsum, you need to be sure there isn't anything embarrassing hidden in the middle of text. All the Lorem Ipsum generators on the Internet tend to repeat predefined chunks as necessary, making this the first true generator on the Internet. It uses a dictionary of over 200 Latin words, combined with a handful of model sentence structures, to generate Lorem Ipsum which looks reasonable. The generated Lorem Ipsum is therefore always free from repetition, injected humour, or non-characteristic words etc.