The retro-inspired design of Aviano Copper Variable echos the bold style of America’s Gilded Age. Inspired by the copper-inscribed intaglio printing designs of the early 20th century, the powerful, wide character shape of this font walks softly across your page while carrying a big stick. To create the right balance, small wedge serifs were added onto Aviano Sans, giving you a sophisticated style that looks and acts like it belongs nowhere short of Boardwalk. Developed to a new level of excellence, this design offers a wide range of weights from thin to black. There's full multilingual support of all Latin-based languages and five stylistic sets, swash designs, and 1000 glyphs per weight, including some unique ligatures. Number options include old style figures, tabular figures, and superscripts. Unique median spur alternates, swashes, and ligatures will help you customize every single design. The feel of last century’s personal and business correspondence is waiting for you in this member of the Aviano family. While ideal for headings, displays, logos, and short texts, Aviano Copper’s use for everything from letterhead to wine labels may just give you the monopoly you’re looking for.

Klein PDF Specimen Klein is Zetafonts love letter to the grandmother of all geometric sans typefaces, Futura. Starting from a dialogue with Paul Renner’s iconic letterforms and proportions, Francesco Canovaro and Andrea Tartarelli decided to depart from its distinctive modernist shapes with slight humanist touches and grotesque solutions - with some design choices evoking the softness of humanist sans serifs like Gill Sans. The end result is a workhorse superfamily of 54 fonts with full multilingual capabilities and coverage of over two hundred languages using latin, cyrillic and greek alphabets. The original display-oriented family, developed in nine weights with matching italics (from the hairline thin to the sturdy black), has been paired with a text version (with slightly higher x-height, better readability and maximum legibility at small point size) and with a condensed version, to be used for space-saving display solutions in editorial and advertising formats. With a name that is both a nod to its humble functionality and an homage to french nouveau realiste artist Yves Klein, this typeface aims to become your next trusted companion in all your adventures in print, digital and motion design.

Argo Supernova is a sans serif font, inspired by science fiction titles. Delicate on the thinest weights, strong on the thickest ones, it is perfect for modern branding and logo design, editorial design, web design, packaging and various other projects. Argo Supernova has a geometric and open structure, with shapes that create a solid texture on the page. Its large x-height produces good reading in long texts and its peculiarities, such as curved bars and endings, generate a strong presence in titles. The Argo Supernova family consists of 8 weights with matching italics, with Extended Latin character set. The italics makes use of more curves and smoothness, creating an interesting variation in design. • 16 styles: 8 weights + 8 italics; • 602 glyphs in each weight; • Special SS02 feature: "bend" alternates for majority of caps characters with curved details; • OpenType features: Access All Alternates, Stylistic Alternates, Standard Ligatures, Discretionary Ligatures, Numerators, Denominators, Fractions, Superior and Inferior Numbers, Kerning, Localized Forms, Lining Figures, Oldstyle Figures, Proportional Figures, Tabular Figures, Slashed Zero, Stylistic Set 1 to 6. • Supporting 219 latin based languages, which are spoken in different 212 countries.

Canilari is a post-modern type family inspired by Diaguita pottery and contemporary serif typefaces. The Diaguita culture—developed from 10th century A.D. until 16th century A.D.—settled in the area of the present-day north Chile and northwest Argentina. Surviving cultural expressions of the Diaguita people are reduced to just a few pieces of beautifully decorated pottery of high technical quality. Canilari itself is a scream of identity with an incomparable tone that borrows elements from native America and proudly show them to the world. The intense and consistent personality of Canilari makes it a functional font for a wide range of uses: from continuous text in the most challenging environments to pithy, high-impact headlines. Canilari is well-suited for publishing: newspapers, magazines, books, etc. Its flashy look and angular shapes also make it an excellent choice for posters, logotypes, and advertising. The family consists of 2 sets: one standard and one pro, each in 4 weights plus italics. Canilari also includes a set of ornaments and illuminated caps. Together, the Std set (369 characters) and Pro (710 characters) support 219 different languages. This typeface was selected at the Bienal Tipos Latinos 2014.

Kornelis de Vries, a headmaster from the Dutch province of Friesland, cultivated new potato breeds that he named after pupils in his school. In the early 1900s he came up with the tasty Bintje (a Frisian girl’s name) and it became a big success – in Belgium and France it has remained the most popular potato for french fries to this day, more than a century since its introduction. Donald Roos took 10 kilos of fresh Bintje potatoes and cut the Bint typeface by hand with a short, sharp knife. He then inked each character once and printed it twice; the second, lighter printing is accommodated in the lower case alphabet. The Bint family offers a script to make the letters bounce up and down the baseline; with OpenType functionality the font randomly chooses each character from the upper- or lowercase alphabet. ‘Tabular lining figures’ will activate a series of negative numerals in boxes; ‘Discretionary ligatures’ activates specially designed letter combinations like ‘www’ as well as arrows and stars. Bint has a distinct, slightly rough handmade appearance, making it useful for a wide range of designs.

A bold and beautiful handwriting - perfect for setting personal and meaningful messages. Some glyph shapes and stroke thicknesses has been normalized (to make the text more even), and I have added some kerning - not too much though, I wanted to keep the liveliness of it. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

A Monogram is a lettering character made up of the main letters of a name and sometimes all of them. It is a kind of design which dates from the earliest times of our history. It is a distinctive mark that everyone could have themselves, to apply to documents and many purposes. The signatures of ancient Kings were Monograms. Today this brand, for the people of taste, must have the cachet of this era or the evocative feelings of ancient times. Our predecessors knew how to create it by using the capital that preceded Gothic and the other characters. The Vintage Monograms collection contain hundreds of ready to use in alarge of shape of the letters, with styles from Victorian, to Art Nouveau and to mediaeval like in the old manuscripts. Ready to use fonts, Vintage Monograms collection is a classic that features elegant and intricate monograms perfect for branding and personalization. Its ornate designs evoke the timeless style of vintage logos and can be used to add a touch of sophistication to invitations, stationery, and packaging. Monogram brings an air of refinement and exclusivity to any project.

The famous Italian type designer and Nebiolo director Alessandro Butti designed Rondine in 1948. Not so surprisingly - given its beauty - it quickly became quite a commonly copied metal type. But for some reason Rondine was spared during the massive “phototyping” that happened with the introduction of film type. Perhaps this is why no digital version of it ever existed until now. Bella Donna is an upright round script that can be used both formally and informally, in almost any design where an elegant script completes the equation. The almost dramatic grandeur of the majuscules is very nicely complemented by pouty low-x-height minuscules that sprout graceful and very visible ascender and descender loops. Titles, sentences and paragraphs set in Bella Donna are meant to delightfully tease the reader and make hearts skip a beat. Bella Donna can deliver a subtle promise of joyful playfulness, inviting elegance, memorable romance, sensuality, or sincere understanding. Bella Donna was redrawn and digitized from original specimen by Rebecca Alaccari, who also extended the character set with plenty of alternates and some add-on swashes built within the font.

The retro-inspired design of Aviano Copper echos the bold style of America’s Gilded Age. Inspired by the copper-inscribed intaglio printing designs of the early 20th century, the powerful, wide character shape of this font walks softly across your page while carrying a big stick. To create the right balance, small wedge serifs were added onto Aviano Sans, giving you a sophisticated style that looks and acts like it belongs nowhere short of Boardwalk. Developed to a new level of excellence, this design offers a wide range of weights from thin to black. There's full multilingual support of all Latin-based languages and five stylistic sets, swash designs, and 1000 glyphs per weight, including some unique ligatures. Number options include old style figures, tabular figures, and superscripts. Unique median spur alternates, swashes, and ligatures will help you customize every single design. The feel of last century’s personal and business correspondence is waiting for you in this member of the Aviano family. While ideal for headings, displays, logos, and short texts, Aviano Copper’s use for everything from letterhead to wine labels may just give you the monopoly you’re looking for.

Lunanic is a geometric novelty typeface family with a touch of graffiti. The letters are formed from a circle with a notch or nick taken out, a shape that reminds me of a partial lunar eclipse. Half of the family have the nick on the left and half on the right. The faces are monospaced and so tightly spaced that there is no space between most of the letters so the filled styles cannot be used alone without tweaking. There are several ways to tweak them to make them readable: adjacent letters can be colored differently, the characters spacing can be increased, or an outlined style can be layered on top of the filled letters. The family does not have a true lower case. Most of the characters in the lower-case slots are alternates for those on the upper-case keys and they can be mixed in whatever way the user finds best. The family has twelve members: two orientations with three weights each and each of these six has an outline style to go with it. Lunanic is fun, bizarre, weird, and obviously a decorative display font.

Fungia is the result of an experiment to remelt loose natural forms to a coherent structure of a typeface. The idea appeared as a kind of joke: what letters look like if based on the shape of mushrooms. In a sense the structure of�mushroom has some affinity to the structure of�a letter: a cap and a stalk remind�a serif and a stem respectively. So it was pretty easy to design such straight letters like I, E, L, F. The captivating challenge was to apply the idea on round letters (O, C, D, G), letters with diagonal (N, M, Z) and signs without serifs (digits, @, &). The result exceeded expectations. The typeface turned sophisticated and vibrant but absolutely consistent. It became capital-only font in one weight. Because of its opulent forms Fungia performs best in large size and short inscriptions. However it provides readability in small size as well. Fungia is more likely thing-in-itself. Initially it wasn't intended to solve specific design challenges. But the alleged scope could include book covers, posters and billboards, street signs, magazin spreads and all situations that demand�expressive typography. Fungia supports extended latin and russian cyrillic script systems.

Situgintu Calligraphy has lots of alternate characters, swashes and ligatures. It has also a bunch of tails with different shapes and widths to give the logotype or sports look to your design. You can design beautiful, elegant and diverse typographic elements with it. It’s well suited for logos, lettering artwork, t-shirt designs, editorial illustrations to name a few. Features : -PUA Encoded 100% Acessibility -Stylistic Alternates -Standard Ligatures -Stylistic set SS01-SS07 If you don’t have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows).To Access Alternate Characters Click The Link Below: How to access alternates in Adobe illustrator CS https://www.youtube.com/watch?v=geL0Ye02Ryk How to access alternates in Adobe illustrator CC https://www.youtube.com/watch?v=V25yiUh8BcE How to access alternates in Ms Wordhttps://www.youtube.com/watch?v=HxkhZiCuwEw How to access alternates in Coreldraw X7 https://www.youtube.com/watch?v=UBVsufJjons How to access alternates in Indesign CS https://www.youtube.com/watch?v=HgZTCxKG14Q How to access alternates in Adobe Photoshop CC https://www.youtube.com/watch?v=BYKXl58AdNY

“Designers can’t help but be inspired by the things that surround them,” says Massif’s designer Steve Matteson. An avid mountain climber, Matteson found his inspiration for his text face family in the dramatic granite formations of North America’s Sierra Nevada Mountains. Most of Matteson’s type designs are custom projects designed with an end use or customer in mind. Massif, which had no customer or specific purpose, was probably his most personal typeface to date. “My goal was to embody, in Massif’s two-dimensional letterforms, the angular tension and smooth curvature characteristic of the rugged terrain of Yosemite National Park’s Half Dome, which was formed by eons of glacial and tectonic activity,” Matteson explains. The typeface’s striking design echoes the faults and fissures that define a massif formation, resulting in a rich texture when used for body text and revealing distinctive shapes and proportions at display sizes. The Massif family comes in six weights, from Light to ExtraBold, each with an italic companion. The OpenType Pro suite contains small caps, ligatures and old style figures, and offers a small set of decorative ornaments. Pro fonts also include an extended character set supporting most Central European and many Eastern European languages.

Baker Street was inspired by a recent trip to London, England where I happened upon a bustling pub with beautiful typographic signage. Early sketches created an array of specialized ligatures from which the font really took shape. The family is comprised of regular, italic, inline and a rustic textured style. Baker Street delivers a multitude of Opentype features, primarily including hundreds of discretionary ligatures that connect letter pairs through varying flourishes. These distinct ligatures are used in combinations between two capital letters, two lowercase letters, uppercase to lowercase pairs and specific number combinations. For a number of capital and lowercase letters, large swashes expand above and below the characters. Contextual swashes are also applied to some characters when placed at the beginning or end of a word. Stylistic Alternatives and Titling Alternatives offer distinct style variations to capital letters. Tabular Lining and Oldstyle Figures provide several numerical alternatives. Lastly, the family also includes two sets of ornaments created specially to work with Baker Street’s style. With all that, Baker Street provides each and every user the tools to solve their own case. The game is on!

Oddsorts is delighted to present Bradley Wayside and Bradley Chicopee as its début offerings. Begun in 2000 as a wedding gift for the designer’s wife and used privately for years, they’re finally available to the public. The fonts were inspired by the masterful art nouveau lettering of Will H. Bradley, whose posters for Ault & Wiborg printing inks and Victor Bicycles continue to draw collectors after more than a century. Wayside and Chicopee expand the twenty-odd characters Bradley drew into a comprehensive multiscript system that includes modern Greek and extended Cyrillic alphabets, ordinals, automatic fractions, and ornaments. Bradley Wayside and Chicopee derive much of their charm from an organic mix of shape and spacing intrinsic to hand drawings. Mimicking that spirit in type used to mean painstaking substitution and adjustment of characters. The Bradley fonts make imaginative use of OpenType’s power to achieve the same effect — minus all the work. Wayside and Chicopee contain alternate forms for every letter — up to seven for some characters. Part of what makes these Bradley types delightfully “smart” fonts is that the fonts themselves actually choose the variation best suited to a letter’s place in a word. All you need to do is turn on your software’s “Ligatures” or “Contextual Alternates” option and the Bradleys do the rest. The alternates even work in most word processors. Bradley Wayside and Chicopee are available in “Standard” and “Pro” editions. The Pro editions sport all the bells and whistles, including the alternates. They support over one hundred forty languages and include localized forms especially for setting Bulgarian, Serbian, Polish, Romanian, and Turkish. The Standard editions are geared toward casual use and are ideal for license as webfonts, where streamlined character sets mean faster load times.

The ITC Pino™ typeface family is Slobodan Jelesijevic’s second suite of commercial fonts. Although a small family of three weights, it is remarkably versatile. Like many typefaces, Pino grew out of a desire for a particular kind of design. Jelesijevic was creating a series of illustrations for a children’s magazine and needed a typeface that was lighthearted, legible and would complement his illustrative style. Unable to find exactly what he needed, he decided to make his own font. “I spent the better part of a day looking for just the right typeface,” he recalls. “Of course, the hard part was finding something that would harmonize perfectly with my drawings. A custom font was not part of the project brief or budget, but I thought that perhaps I could use it again.” The regular weight of Pino became the solution to Jelesijevic’s problem. Jelesijevic did use the font again, but quickly realized that the single weight needed companion designs. Pino Bold and Black followed in quick succession. Before licensing the designs to ITC, the three-weight family provided headlines, book cover titles and even short blocks of text copy in several of Jelesijevic’s design projects. Born in Gornji Milanovac, Serbia, in 1951, Jelesijevic graduated with a degree in graphic communication and lettering from the Faculty of Applied Arts in the University of Arts in Belgrade. Currently, in addition to typeface design, he is sought out as a graphic designer and illustrator. When not working on design projects, he teaches graphic communications at the Faculty of Art in the University of Niš, Serbia. Pino is a stressed sans of slightly condensed proportions. Pino’s generous x-height, clearly defined counters and distinctive character shapes enable it to fulfill a wide variety of typographic applications. Friendly without being sanguine, the Pino type family will communicate with charm and vitality.

Ceundah font is inspired by thick and thin Hand Sketches. This font can be used for film titles, magazine titles, newspaper front pages, billboards, or company brands.

Inspired by a biography of Coco Chanel and trying to capture the quintessential mood of classical fashion elegance, Cosimo Lorenzo Pancini designed Coco Gothic looking for the effect that the first geometric sans typefaces (like Futura, Kabel or the italian eponyms like Semplicità) had when printed on paper. The crisp modernist shapes acquired in printing charme and warmth through a slight rounding of the corners that is translated digitally in the design of Coco Gothic. This signature touch is enhanced by the inclusion of light humanist touches to the proportions of the letters, resulting in the unique mix that makes Coco Gothic one of our best sellers, with a look that is both contemporary and vintage. After six years from the original project (that has spawned in the meanwhile successful families like Cocogoose and Coco Sharp), we went back to the design to completely redraw and expand the original family, creating with a Pro version that has better on-screen readability, a wider weight range, variable type versions and more language coverage (with Coco Gothic Arabic adding a new script to the latin, greek and Cyrillic of the original). Coco Gothic Pro comes in three subfamilies, each with seven weights with matching italics and featuring an extended character set with open type support for small caps, ligatures, alternates, European languages, Greek and Cyrillic alphabets. The original, body-text optimised Coco Gothic and Coco Gothic Alternate subfamilies have been kept for compatibility with the previous version, while a new Coco Gothic Display subfamily has been developed with a complete redesign aimed at display usage, featuring tighter spacing and optimised letterforms. A distinguishing feature of Coco Gothic Pro is the inclusion of ten alternate historical sets that allow you to use the typeface as a true “typographic time machine”, selecting period letterforms that range from art deco and nouveau, to modernism and to eighties’ minimalism. Equipped with such an array of historical variants, Coco Gothic Pro becomes an encyclopedia of styles from the last century, ready to transform itself and adapt to the mood of your text.

Introducing Kirsty, the typeface that will give your designs a cutting-edge, contemporary feel. With its sharp, Latin-serif design, Kirsty is a modern take on the classic nineteenth-century railroad lettering. Released in 2000, this typeface quickly became a favorite for its unique octagonal shape and bold, commanding presence. Now, with a proper lowercase, five weights, and obliques, Kirsty is more versatile than ever. Its sleek, angular lines make it perfect for graphic design, branding, and advertising, while the small caps add a touch of sophistication to any layout. Just be aware that not all languages are available in small caps, so be sure to check if your application supports them. Whether you’re looking to create eye-catching headlines, standout logos, or striking marketing materials, Kirsty has the style and versatility to make your designs pop. So why settle for bland, generic typefaces when you can make a statement with Kirsty? Try it out today and see the difference for yourself. 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.

Cute FS Kitty is the type equivalent of Bagpuss: plump, cute, cuddly and not fond of exercise. So don’t go giving it a run-out on body copy; FS Kitty is an all-caps font made for showing off in posters and headlines, and on products, point-of sale and especially sweets. Blubber Kitty had been quietly curled up in Phil Garnham’s sketchbook for a year before he brought it out to be brushed up. “It was in the mix as a basic form when I started thinking about FS Lola. It was a twisted, bubbly beauty – quite squishable and huggable. The working file was called Blubber. “At that time it was a basic construction of strokes. I created the ‘A’ first, purely as a shape to play with, not as type. I flipped it for ‘V’, and copied that for a ‘W’. I flipped the ‘W’ for an ‘M’... I thought, ‘This looks a bit wacky, but I like it,’ and just carried on. The most tricky characters were the ‘B’ ‘P’ and ‘R’. I must have drawn about 20 kinds of B for this, just to get it to fit.” Variety “When the regular weight of Kitty had been designed,” says Jason Smith, “it just felt like a natural progression to go on and explore how far we could go with it: Light, Solid, Headline, Shadow.” Phil Garnham thinks there’s still more to come. “There are some really individual characters in this font that I think have yet to be exploited: the Greek Omega symbol, the strange face in the ampersand. Like Bagpuss, Kitty has kept a low profile so far. “We know people are using Kitty. In fact, it was the first of any of our fonts that we sold on the day it was released. But I still haven’t seen it out there in the wild. It’s going to be a exciting moment.”

Cute FS Kitty is the type equivalent of Bagpuss: plump, cute, cuddly and not fond of exercise. So don’t go giving it a run-out on body copy; FS Kitty is an all-caps font made for showing off in posters and headlines, and on products, point-of sale and especially sweets. Blubber Kitty had been quietly curled up in Phil Garnham’s sketchbook for a year before he brought it out to be brushed up. “It was in the mix as a basic form when I started thinking about FS Lola. It was a twisted, bubbly beauty – quite squishable and huggable. The working file was called Blubber. “At that time it was a basic construction of strokes. I created the ‘A’ first, purely as a shape to play with, not as type. I flipped it for ‘V’, and copied that for a ‘W’. I flipped the ‘W’ for an ‘M’... I thought, ‘This looks a bit wacky, but I like it,’ and just carried on. The most tricky characters were the ‘B’ ‘P’ and ‘R’. I must have drawn about 20 kinds of B for this, just to get it to fit.” Variety “When the regular weight of Kitty had been designed,” says Jason Smith, “it just felt like a natural progression to go on and explore how far we could go with it: Light, Solid, Headline, Shadow.” Phil Garnham thinks there’s still more to come. “There are some really individual characters in this font that I think have yet to be exploited: the Greek Omega symbol, the strange face in the ampersand. Like Bagpuss, Kitty has kept a low profile so far. “We know people are using Kitty. In fact, it was the first of any of our fonts that we sold on the day it was released. But I still haven’t seen it out there in the wild. It’s going to be a exciting moment.”

Who haven't heard the phrase that ‘any past time was better’?. Although I sometimes find this phrase a little too pessimistic (because I try to think that the best is yet to come), it may be true regarding my passion, typography. I'm too young (29) unfortunately, and this means I did not have the pleasure of being contemporary with maybe the man who has influenced my work the most (1). The man that showed that letters are more than just letters to be read. Herb Lubalin (1918-1981), also called sometimes as ‘the rule basher’ (2), smashed the taboos and sacred rules of type design and gave it personality. He rejected the functionalist philosophy of europeans in favor of an eclectic and exuberant style. To him, letters were not merely vessels of form, they were objects of meaning. (3). Nowadays, when looking at his portfolio, who dares to deny that the term ‘typography’ and ‘beauty’ may go hand-in-hand without any problem? Ed Benguiat, one of Herb’s partners, still likes making jokes with the phrase “screw legibility, type should be beautiful” and what I understand of this is not to forget the rules, but to know and break them carefully. In an era of pure eclecticism, we, the lovers of flourishes and swashes, can't do nothing but admire all the legacy that Lubalin, this wonderful type-guru, left. My font Lubaline read as “the line of Lubalin” is my humble tribute to him. Those who know his work, may see the influences easily like in his ‘Beards’ (1976) and ‘The Sound of Music’ (1965) posters; the art-deco forms in many of his amazing logos and practically in all his creations where letters seem to be alive just like you and me. I really hope that the future finds me still learning more and more about type-design and letterforms, and like him, always willing to make innovations in my field: Because letters are not just letters to be read. NOTES (1) These are some of my fonts in which some of Lubalin’s influences can be seen (in order of creation): Reina, Aire, Erotica, String, Beatle, Heroe, Selfie, Model, Seventies, and many others that are still in progress. (2) (3) Steven Heller. Herb Lubalin: Rule Basher. U&lc (1998) http://www.printmag.com/imprint/my-favorite-lubalin/