Kate Greenaway was a very famous British (1846-1901) author and illustrator of childrens books. Her books were an outstanding success in English publishing during the Victorian period. Recently I found these sweet Mignonettes in an old foundry specimen book. Mignonettes is derived from the French word "mignon" which stands for lovely, charming, sweet, delightful, pleasant and that does exactly describe these little drawings. I already published a Kate Greenaway's Alphabet a couple of years ago. So here is my second installment. Yours, Kate Greenaway fan Gert Wiescher

The compendium Alphabete: ein Schriftaltas von A bis Z listed the pattern for this family of faces under the name Chicago which, owing to the number of other faces using the same name, makes its origins difficult to ascertain. Nonetheless, its soft lines and round forms have a timeless appeal makes this family an excellent choice for both headlines and text use. Both versions of this font include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, along with localization for Lithuanian, Moldovan, Romanian and Turkish.

Karl Georg Hoefer’s Sho first appeared in 1992 with Linotype-Hell. The font is a part of the package Calligraphy for Print, which also contains Ruling Script and Wiesbaden Swing. Calligraphy for Print 2 completes the set. These packages offer modern calligraphy fonts particularly well-suited to use in posters, magazines and advertisements. Sho distinguishes itself in the extreme contrast between the strokes. A unique characteristic of the font is the way it uses simple round forms in some of its letters, giving it a peppy and playful feel.

"Back Jones" is a cute display font characterized by thick and rounded letterforms, making it a great choice for design projects aimed at children, such as children's games, book covers, and any projects related to schools. With its playful and friendly appearance, this font adds a touch of whimsy and charm to your designs, making them more engaging and enjoyable for young audiences. The simplicity and clarity of "Back Jones" make it easy to read and understand, making it an excellent choice for educational materials and other projects aimed at young learners.

Blarks is a unique font with a strong character. The inspiration for making this font is from several e-sport and typography logos that I have seen on various websites, where I found ideas to make fonts that could be applied without having to use another application to change it. Blarks is ideal for logos, event titles, quotes, product packaging, clothing, or anything that requires a turbo typographic boost. It is perfect for titles and logos. Type any a-z using this font, and you will get a unique font arrangement and strong character.

The Techno sound of the 1990s, a personal computer, a font creation software and some inspiration had been the sources to the F2F (Face2Face) font series. Alessio Leonardi and his friends had the demand to create new unusual faces that should be used in the leading german techno magazine "Frontpage". Even typeset in 6 point to nearly unreadability it was a pleasure for the kids to read and decrypt the messages. About Al Retto: "Al" means "Alessio Leonardi" and Retto "straight", but if you read it as an italian world means "in the a**".

Dritch. is a mystical font with a unique and modern geometric style. It is suitable for logos, quotes, social media posts, film titles and stationary. It works with different themes such as mystical, tribal, ethnic, magical, and fantasy. Enjoy! is a fresh, geometric, sans-serif font family. The geometric, near-monoline construction lends a classic durability, tempered by softened edges and vibrant shapes. Friendly and charismatic in lowercase; sophisticated and authoritative in uppercase. Hard lines and sharp corners mesh with smooth, rounded letterforms, while humanist nuances add warmth

Biscayne is inspired by the old and classic Art Deco art and architecture found in some building ads from the 1930's in the Art Deco District of Miami. The name of the font family is one of the most emblematic and representative places in Miami City. Biscayne can be used mainly in titles, display and short texts. This typeface family supports East Europe languages. It also includes standard and discretionary ligatures, alternative style of uppercase, fractions, numerators and denominators, end and/or terminal forms and other OpenType features.

Sola is a simplistic, stylish, and modern san serif type font with the unique addition of rounded corners. When creating this font, Bank Gothic originally influenced me, however when I made the square shapes lower case the font didn't retain its sophistication, so it was designed narrower. The result is this warm and soft looking font that works for all types of design, from posters and fliers to logos and business cards. Sola also features standard ligature, stylistic alternates, titling characters with extended width, and a set of standard pictograms.

MB Narrow is a very compressed display font that comes in three weights. with is full use of the 20 stylistic sets it gives the user a lot of scope to how it look. without using them it has a very rounded and geometric look but with alternates for the Capital A, M, N, V, W, X, Y and the lowercase a, f, g, v, w, x & y you can create a more traditional 'movie poster' look. with standard & discretional ligatures and oldstyle figures there are plenty of opentype features.

Introducing a new collection of retro display fonts. Blastvader is a reverse contrast retro display font. The glyphs have a fat rounded shape. It's ideal for headlines, flyers, posters, greeting cards, product packaging, book covers, logotypes, and album covers, among other things. Ensuring carefully crafted styles result from the use of this font. The alternates in this font can add more fun to your projects. Its imperfections keep it casual while still providing legibility. Features: Total 209 Glyph Uppercase Numerals & Punctuation Alternates Multilanguage Supports 60+ Latin based languages

Stenzilla is a stencil font based on a rounded sans serif, a careful design, with cuts on the same diagonal axis for the curved strokes and elegant slight curves on the oblique strokes. Useful for branding, highlighted paragraphs, signs, headlines, or reading text. The design incorporates characters from the Cyrillic alphabet, special characters, and characters with diacritical marks. It has the versatility of a sans serif that allows it to be used in a wide variety of designs and styles along with the cut-stroke grace of a stencil font.

The Fuel Uni Extended typefaces are a modern update on the techno sans extended for stronger impact, adding further versatility with unicase design complete with soft rounded corners as well as decorative inktraps. Stylistic Alternates included within all styles are alternates for the capital B, E, and R, as well as lowercase g characters, as well as all of their accented siblings. The Fuel Complete package bundles all of the dynamic styles of the Fuel, Fuel Extended, Fuel Uni, Fuel Uni Extended, and Fuel Script typefaces into one powerhouse of a collection.

Stencil Creek font family is a rounded stencil typeface that comes in eight weights and two rough versions. It is inspired by classic sans serifs and influenced by street signs of the North West Pacific. You can also overlap some of the weights and get an extra inline font. Stencil Creek is a legible typeface family designed for contemporary typography, especially for use in headlines, but also for reading purposes, includes extensive language support and many more OpenType features. This font contains, different swashes and alternates. Check out also ‘Orbita’

Marazion takes its name from a Cornish seaside resort in the UK's West Country. It was inspired by some hand lettering I came across at a local inn on the seafront where I was enjoying a lunchtime pint (always a good place to seek inspiration in my experience!) Being based on a hand drawn script Marazion is a smooth, fluid and rounded font that is both fresh and distinctive. Personally, I think it is well suited to applications in food and fashion, but in practice its uses are more or less universal.

The English roundhand has always occupied the central position in the group of faces appropriate to the social printing handled by engravers, and their contemporary imitators, thermographers. At the end of the nineteenth century when engraving was mechanised by the pantographic engraving machine, the traditional roundhands found their way onto pantographic pattern plates. Embassy is a traditional roundhand of vigorous contrast with straightforward capitals with ball terminals; it was transferred from such an engravers’ pattern plate to the Fotosetter at Intertype about 1955. Alphatype’s Yorktown is similar, but appears to have less contrast.

Agger is a contemporary serif typeface featuring large open counters, curved, round forms, creating a modern and elegant glyph set. The extreme contrast between thick and thin strokes gives Agger a harmonic and stylish look. Designed with an elegance to the letterforms, the font is adapt for the beauty and the cosmetic industry, giving each project a unique style and feel. Agger is perfectly suited for editorial design, branding, magazines, logos, headings, and more. The family Latin supports Western, Central, South Eastern, South American, Oceanian, Pan African, Vietnamese, and Sámi.

Designed by Olivier Gourvat in 2014, Filson Pro is a new geometric sans serif family with versatility in mind. With its 575 glyphs and its round aspect, this typeface covers all kind of graphic and web design projects. This font family contains 16 fonts from Thin to Black with a professional range of Opentype functions such as pro kerning,lining and oldstyle figures, stylistic alternates, case sensitive forms, localized forms and f-ligatures. For better typographic control, Filson Pro also includes Opentype class kerning with thousands of kerning pairs.

The Teapot Dome scandal was a 1920s bribery scandal involving Secretary of the Interior Albert Bacon Fall. Fall leased Navy petroleum reserves at Teapot Dome in Wyoming [along with some California reserves] at low rates with no competitive bidding. The San Francisco Examiner for Feb. 20, 1924 ran the two line headline “U.S. Senator Named as Oil Stock Speculator; Whitney to Face Quiz Today on Slush Fund”. The headline was set in a condensed, slightly squared sans serif typeface. This is now available as Special Edition JNL in both regular and oblique versions.

Durazno y Amor is a cursive font family. It is inspired by love, hearts, and Chilean script. It can be written in Aymara, Mapuche and Rapa Nui from Chile. It can also be written in Dutch, Maltese, and other languages. This font family is cute and fun. It has many heart decorations. The strokes are drawn with a round cap tool, with no contrast. The form is upright. Parts A have capitals with high starts. Parts B have capitals with low starts. Parts F are Final forms. Parts U are love line Unions.

MTT Milano is a font inspired by the Milanese typographic heritage and the Futurist movement that developed it. Drawn from scratch, it features ascendants and descendants slightly taller than what can usually be found in similar typefaces, in order to improve its elegance. Whilst maintaining a good readability in body-text, this family meets its peak when displayed in medium-big sizes. There are five weights — from regular to black — each with their matching italic, ligatures and extended language support resulting in a full, flexible, ten fonts family.

The Quandary Font is created for a horror theme in use with an illustrated book ‘The Predicament’ by Edgar Allan Poe. It is designed as a highly expressive face to accentuate a sense of mystery and the macabre. A comparatively more carefree and free-spirited face, it comes as a uni-case single weight family used exclusively as the main face for the book. The characters are developed from the numeric glyphs found on the astronomical clock-face at Prague Old Town Square, Czech Republic. http://www.behance.net/gallery/Quandary/383204

An original text and display type family was designed for ParaType in 2008 by Manvel Shmavonyan to be used together with Susan and Susan Classic, earlier released type families by the same author. This is a low-contrast sans serif font with open letterforms. Its shape is distinguished by rounded upper parts of lower case. Susan, Susan Classic and Susan Sans forms a super family coordinated on weight, style and proportions. Susan Sans is well suited for short and middle range text composing as well as for use in advertising and display typography.

Gold Spur is a spurred version of the FontMesa Gold Rush set of fonts. Each version includes many extended characters for Western, Central and Eastern European countries. The Gold Spur Trail OpenType version has alternate double letter pairs included in the font and will automatically be substituted when used in Adobe CS products or other software that takes advantage of OpenType features. The $20.67 price of each font reflects the price of an ounce of gold in 1865 which was the year that the original Gold Rush font was created.

MOCKEJOE FONT was born in the modern era which was inspired by the letters found in various print and digital media. Comes with a modern and futuristic style that will rock your great design! It is suitable for you to use in logotype designs, posters, typography, t-shirts, tickets, and other modern designs. The alternative characters in this font were divided into several OpenType features such as Stylistic Alternates, Stylistic Sets, and Ligature. The OpenType features can be accessed by using the OpenType program such as Adobe Illustrator, Adobe Photoshop, and Adobe InDesign.

Linotype Pide Nashi is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. German artist Verena Gerlach created a typeface which looks almost like Arabic at the first glance, only with the second do the familiar forms become clear. Rounded lower case letters, generous, sweeping capitals and diamond-shaped ornaments give the font its Arabic feel. The exotic Linotype Pide Nashi is best suited for short and middle length texts and headlines and especially for ornamental texts.

Boutros Angham is a humanist-inspired, sans-serif typeface designed and created to work harmoniously with its Latin version whilst respecting Arabic calligraphic and cultural rules. Characterized by its modern appearance, with rounded edges and free flowing letterforms, Boutros Angham is highly legible at various angles, sizes and distances. Ascenders and descenders are very prominent and apertures are wide to easily distinguish letters from one another. Boutros Angham is suitable for headlines and sub-headings as well as body text at smaller point sizes. There are ten weights for each, Latin and Arabic, variant.

Block-style typefaces make excellent sports-themed fonts, and Stadium JNL is no exception-- but this lettering style is also filled with nostalgia for decades past. Modeled from one of the many classic designs found in the Speedball® Lettering Textbook, this style of alphabet was quite popular in signage of the 1920s and 1930s. Stadium JNL fills the bill either way-- a font that is just as much at home on a gridiron or baseball diamond, or as lettering for a garage, warehouse or attention-getting ad copy.

An interesting hand lettered example of Art Deco lettering (minus the letter ‘L’) was spotted on Pinterest and served as the inspiration for Deco Sketch JNL. Because there was no attribution as to the age or source of the alphabet, it can only be surmised that it was a scan from a 1930s or 1940s source. The original showed many of the irregularities of pen lettering, and had rounded terminals. The digital version has been redrawn more uniformly with flat terminals. Deco Sketch JNL is available in both regular and oblique versions.

The sister fonts Andron 2 English and Andron 2 Deutsch provide a groundbreaking new possibility to render literature text bodies in a sophisticated traditional and yet modern way of type. In German typographic history there has once been a long-lasting struggle called the Frakturstreit (the blackletter quarrel). It was about wether German text ought to be composed in blackletter or rather in Roman type, a question upon which even Goethe, Schiller and other period celebrities got grey over time. However, blackletter type remained alive and has just recently seen an astonishing renaissance. This is not about a blackletter revisionism or some ‘mixture’ concept arguably bridging the gap between either worlds. Andron 2 English and Andron 2 Deutsch offer a new approach to circumvent that old antagonism. As for the lowercase letters I applied certain features of blackletter type onto the glyphs – but entirely abandoned the principle of the broken stroke as such. The result is a lowercase alphabet in the classical Andron style which may be considered an attractive alternative for text in English, German or even other languages. So it’s no longer entirely about choosing between ‘modern’ Roman or ‘ancient’ blackletter only. Andron 2 English Regular and Andron 2 Deutsch Regular feature the same lowercase glyphs but differ in the majuscules (Andron 2 English has normal Latin capitals). ++++ 2012 + NEW! +++ In response to its growing popularity we now present five new fonts as part of the Andron 2 series. Andron 2 English is completed by an Italic and a Bold font. Andron 2 Deutsch now contains three interesting alternative fonts: Italic, Scriptive and Laendlich. Last but not least – A new set of wonderful classical typographic ornaments is part of the Italic and Scriptive fonts. – You can also purchase these ornaments separately as “Andron Ornamente”.

Born in the 70s Personal influences are unavoidable in type design and usually find their way through into finished fonts. At Fontsmith, one period in particular provides inspiration, according to FS Pimlico designer, Fernando Mello. “Jason and Phil have always known that I’m very into the visual language of the 70s. I know that Jason shares my love of the 70s and Phil will sometimes admit to being a fan, too. I think that’s the reason they were both so supportive in the development of this font. “And, of course, we all share an interest in good-humoured and intelligent design. We like to think it’s a Fontsmith characteristic.” Back from black FS Pimlico started in an unusual place: with a tubby, penguin-like lowercase “a” that Fernando Mello had been sketching. From “a” grew the rest of the alphabet – a bubbly, fat, friendly family with a brush-written quality that became FS Pimlico Black. The black weight certainly isn’t the normal starting point for creating a regular and bold weight, but Fernando pressed on, driven by a glut of influences: brush-writing; Letraset and early digital systems catalogues; the type of Herb Lubalin and Tony di Spigna; 70s clothes and vinyl; and 70s revival disco nights in London’s Pimlico and Vauxhall. Natural or flourished Not often do fonts come along that seem to span the ages. FS Pimlico is at home in an office environment providing a fresh clear identity in communications or providing text that’s clear and easy to read. But it likes to party, too, 70s style. With the OpenType features switched on, a designer can totally change the look of their work, and create point-of-sale, headlines and titles that stand out and get noticed.

The Ahoura font family, designed by Naghi Naghashian, was developed considering specific research and analysis on Arabic characters and definition of their structure. The Ahoura innovation is a contribution to modernisation of Arabic typography; gives the Arabic font letters real typographic arrangement and provides for more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Ahoura supports Arabic, Persian, and Urdu and includes proportional and tabular numerals for the supported languages. The Ahoura Font family is available in three weights; Light, Regular and Bold. Each has two different styles-- normal and italic. Ahoura is the first real italic Arabic typeface known until now and its intuitive design arrangement fulfils the following needs: - It is precisely crafted for use in electronic media and it fulfils the demands of electronic communication. Ahoura is not based on any pre-digital typefaces and it is not a revival. Rather, its forms were created with today’s ever-changing technology in mind. - Ahoura is suitable for multiple applications, and gives the widest potential for acceptability. - It is extremely legible not only in its small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Ahoura's simplified forms may be artificially obliqued with In Design or Illustrator, without any degradation of its quality for the effected text. - Ahoura is an eye-catching and classy typographic image that developed for multiple languages and writing conventions. - Ahoura uses the very highest degree of geometric clarity along with the necessary amount of calligraphic references. The Ahoura typeface is of a high vibration that is finely balance between calligraphic tradition and the contemporary sans serif aesthetic commonly seen in Latin typography.

Born in the 70s Personal influences are unavoidable in type design and usually find their way through into finished fonts. At Fontsmith, one period in particular provides inspiration, according to FS Pimlico designer, Fernando Mello. “Jason and Phil have always known that I’m very into the visual language of the 70s. I know that Jason shares my love of the 70s and Phil will sometimes admit to being a fan, too. I think that’s the reason they were both so supportive in the development of this font. “And, of course, we all share an interest in good-humoured and intelligent design. We like to think it’s a Fontsmith characteristic.” Back from black FS Pimlico started in an unusual place: with a tubby, penguin-like lowercase “a” that Fernando Mello had been sketching. From “a” grew the rest of the alphabet – a bubbly, fat, friendly family with a brush-written quality that became FS Pimlico Black. The black weight certainly isn’t the normal starting point for creating a regular and bold weight, but Fernando pressed on, driven by a glut of influences: brush-writing; Letraset and early digital systems catalogues; the type of Herb Lubalin and Tony di Spigna; 70s clothes and vinyl; and 70s revival disco nights in London’s Pimlico and Vauxhall. Natural or flourished Not often do fonts come along that seem to span the ages. FS Pimlico is at home in an office environment providing a fresh clear identity in communications or providing text that’s clear and easy to read. But it likes to party, too, 70s style. With the OpenType features switched on, a designer can totally change the look of their work, and create point-of-sale, headlines and titles that stand out and get noticed.