Miranda Wright is a captivating serif font designed in an exquisite and elegant style. Each letter is meticulously crafted with fine details, evoking a sense of sophistication and grace. What sets Miranda Wright apart are the last few letters, which feature graceful circular swings that add a touch of charm and uniqueness to the font.. The circular swings at the end of certain letters infuse this serif with a delightful flair. These subtle and graceful details add an air of playfulness and individuality to the font, setting it apart from conventional serif typefaces. The circular swings give the font a distinctive personality, making it ideal for creative projects that seek to stand out. Its legible and elegant letterforms make it suitable for both body text and headings, while the circular swings add a touch of character that enhances the overall visual appeal. Enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Miranda Wright fits in headlines, logos, posters, flyers, invitations, greeting cards, branding materials, print media, editorial layouts, website headers, and many more. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

A universal typeface for books, magazines and newspapers must be economizing, quiet, strong in drawing, but original and peaceful at the same time. Type "for all weather" must resist also many difficulties of printing on different surfaces. Therefore, the basic design "Text" is slightly darker and legible from 6 point size even in a dim light, whereas "Book" reduces the effect of running ink and saves toner cartridge. In offices of smaller companies these lighter fonts are welcomed as toner-savers. Andulka also need less space on the page than other text typefaces and saves paper too. Medium and Bold designs keep the original grace, changing its weight only in shadows. Italics may remind humanistic inspiration and forcing the horizontal of x-height with robust horizontal serifs, whereas Roman lower case maintains the baseline. Basic numerals are non-aligning proportional, but there are available upper case figures as well as special numerals drawn for the same height as small caps, which is just about a hairline above the x-height. The characteristic feature of Andulka is a squinted eye in letters 'a', 'c', 'f', 'r', 's', 'k', and softened diagonals through all characters in family. Diagonals were always disturbing and gripping attention extensively. Serifs are stressed trapezoids reminding small beaks at curved endings, descenders 'j' and 'y' may evoke tail feathers of budgerigar. Andulka [budgerigar] sings lovely and is everyday quiet companion. The whole family consists of 24 separate fonts for graphic studio, office or home.

Franz Kafka’s manuscripts have always been a source of inspiration for designer Julia Sysmäläinen. At first she was just interested in literary aspects but later she noticed that content and visual form can not be separated in the work of this ingenious writer. Analyzing Kafka’s handwriting at the Berlin National Library, Julia was inspired to design the typeface FF Mister – by now a well known classic. Over the years, FF Mister K became a handsome typeface family and even produced offspring: the Josef K Patterns. Some of Kafka’s most expressive letterforms were the starting point for these decorative ornaments. How do the Patterns work? Outlines and fillings correspond to the uppercase and the lowercase letters on your keyboard. You can use them separately or layer them on top of each other. If you write a line of “pattern-text” in lowercase and repeat it underneath in uppercase you get a row of fillings followed by a row of outlines. Now you can color them and then set line space = 0 to get a single line of layered colored ornaments. Alternatively, activating OpenType / stylistic set / stylistic alternates will also unite the two lines to a single layered line. Further magic can be done with OpenType / contextual alternates turned on. On the gallery page of this font family is a downloadable Josef K Patterns.pdf with an alphabetical overview of forms. Hundreds of patterns are possible … we’d love to see some of yours and present them here on the website!

Ornaments family with four different sets plus a decorative capitals font from the rare, valuable and amazing Allerlei Zierat book from Schelter & Gieseck (1902). A research and free interpretation by Intellecta Design. This encyclopedic specimen book of the Leipzig, Germany type foundry and printing supply house J.G. Schelter & Giesecke features, as the title indicates, all kinds of decoration for supplying printing of every type. On the title page, the firm boasts winning grand prize in 1900 in Paris (presumably at the Exposition Universelle). It is hard to do justice in a short description to the variety of styles (traditional, Jugenstil, etc.) and categories (certificates, letterheads, borders, ornaments, exotic motifs, flowers, animals, silhouettes, menus, greeting cards, vignettes humorous and otherwise, images of bicyclists, occupational symbols, portraits, Classical figures, religious art, heraldry, ships, trains, athletes, etc., etc.) offered in this volume. Some of the examples are printed in color, most are in black-and-white. The Jugenstil cover of this copy shows minor wear and soiling. The plate of “Gust. Carlsson & Co., Stockholm” is attached to the front pastedown. A small fraction of pages show minor soiling, a pencil notation or a short closed tear. Two of the fold-outs at the back have a little more damage-one is missing a 1x2 inch piece along the margin, the other has a 3-inch closed tear and an edge which is crumpled. A rare specimen from the Intellecta rare books library.

www.Stat-Type.com Complementary Type Family Stat Display Pro Stat Text Pro is an information design sans serif type family which was developed as a complementary to Stat Display Pro. Stat Text Pro retains many characteristics of its display counterpart, while giving readability a greater importance. It has simpler letter shape details which enable it to accomplish a constant rhythm whiles being read. Its main intended use is to accompany Stat Display Pro in places where longer passages of text are needed. In this way the visual character of the composition is retained and at the same time readability of text is given attention. As its display counterpart it has a large character set with multiple weights, which are defined by optimal size ratio, wide aperture and balanced counters. It contains nearly 700 glyphs, including diacritics, ligatures, small caps, old–style figures, arrows and more. This enables it to achieve wide language support. It consists of four weights (Light, Regular, Medium, Bold) which are accompanied by their corresponding obliques. Stat Text Pro type family has higher than average x height (72% of cap height) which is accompanied by matching ascender and descender size ratios. The development of the type family was based on research in legibility to achieve highly legible letter shapes, while not diminishing their visual character. A detailed description of Stat Pro type family is available at Stat-Type.com where a DEMO font can be downloaded.

Originally drawn in 1985, Jovica Veljović had intended to add a few kerning pairs and make some minor refinements to the letterforms. However, his work lead him to take a fresh look at the family. Veljović recalls, … I soon realized that some characters could benefit by more refined shapes and proportions. By the time I was done, I had worked on just about every character in the original design." In fact the end result is two systems: one optimized for extended texts; the other for display settings. The original elegance of the design is not lost, but the new design brings with it letterforms that are altogether more harmonious and balanced. The roman is dynamic and spirited, just oozing character. The italic by contrast is a little more restrained, but nonetheless an elegant and fitting accompaniment. The text-optimized fonts come with a generous x-height, and slightly less contrast; though its marginally wider proportions let in the light, making it very legible even at small sizes. ITC New Esprit ® is a versatile family, brought to you in four weights from regular to black. OpenType features like small caps, alternates, and a broad character set make this a welcome addition to everyone's font library. Whether you want elegant and legible text, or dynamic and personable headlines, then you'll want to click through to see more of ITC New Esprit. "

Berimbau is a whimsical narrow hand-drawn typeface. It’s stylish, versatile and loaded with amazing OpenType features that do their magic in OpenType savvy applications. Its sprightly swashes and twisting stylistic alternates (say that 3 times fast!) play together to deliver a really cool contextual feature that, in a push-button way, substitutes the first letter in a word with its left swash version and the last letter with its right swash version (please type a space before and after the words).The feature also applies stylistic variants to some of the intermediate letters. Which button to push? The Contextual Alternates one! If you're not a one-click-way-person you can pick your preferred glyphs through the glyphs palette. There you’ll find at least 4 variations for each letter: left swash, right swash and 2 regular forms that correspond to the upper and lower case keys. Some letters also have a 5th variation that acts as stylistic alternate. This font is conveniently packed with the ‘access all alternates’ functionality, so when you click on a glyph at the glyphs palette you’ll see all variations available for it, making it easier to choose the one that will fit better. A bold weight was made to provide that extra-strength when a bit of… boldness is needed. Please note that it doesn’t have the advanced OpenType features (but is still very charming!). Yet, both weights have a handy set of ornaments for added yumminess.

Microbrew Unicase is the latest addition to the Microbrew family, a versatile retro display family. Microbrew Unicase has 14 individual styles plus a very functional set of catchwords, and a fresh and eclectic set of retro-style ornaments. Microbrew Unicase sports a nice mix between wood type poster style, and vintage letterpress. The more detailed styles work well at large sizes, and the cleaner styles add legibility at smaller sizes. Microbrew Unicase is an all caps display font, but the lowercase act as alternates. The uppercase are all uppercase letter forms, while the lowercase is mixed. Type in all caps to be a buzz-kill. Mix upper and lowercase to have a little fun. Or type in all lowercase to have a party! (more informal) For super-easy alternates, just mix uppercase and lowercase letters. To add to the realism, Microbrew Unicase includes double-letter ligatures. Microbrew Unicase also includes a set of extremely intentional and eclectic ornaments and symbols. Designed to give a vintage feel, the ornaments and symbols compliment Microbrew nicely to round off the family. The ornaments also include old style numbers, and lots of retro symbols. Don't let the name fool you, Microbrew Unicase is very versatile and works great for almost any subject matter, including weddings, birthdays, restaurants, coffee shops, music, and many more. Opentype features include automatic fractions, subscript numbers, superscript numbers, and double-letter ligatures.

Et Cetera is a beautiful, hand-lettered script. It abounds in OpenType features such as terminal swashes and ligatures and is best used with OpenType savvy software with the “standard ligatures” and “contextual alternates” features turned ON. Et Cetera is comprehensive and vigorous. Most letters in the font are connected, but, as in typical handwriting fonts, not all are connected. Most characters have a consistent shape within the font, but not all. Some characters in Et Cetera are sensitive to their position in the text and change depending on the adjoining characters. This contributes to the casual and relaxed style of Et Cetera; not allowing the features of the font to get between the reader and the message. A wealth of OpenType features lie beneath the mellow exterior of Et Cetera. These Open Type features make few demands on the user which makes for a versatile script font that requires no expertise from the user, performs well at larger sizes, and remains legible even when setting copy at very small sizes. Et Cetera comes in three styles, Black, Regular & Line. Et Cetera Black is dramatic and bold, making a powerful statement. Et Cetera Regular is elegant and romantic, perfect for wedding stationery and clothing brands. Et Cetera Line is delicate and feminine, portraying a smooth, flowing effect. Et Cetera is a breezy, light, yet expressive font that is perfect for titling work, product packaging and romantic stationery.

I hope that you enjoy the "Linden" font. The basis for this new font is my Leaf font. As much as I love the Leaf font, however, I felt (and still feel) the desire to have a larger font, for three reasons: 1. I enjoy customizing my internet browser to show different fonts. The original "Leaf" font was a bit too small for that. The new "Linden" font is perfect for this function. 2. Some of the fonts that I use in writing e-mails look their best at sizes 24 or 36. That’s fine for me, but unless I want to go to the trouble each time of changing the size, then the recipients oft my e-mails get wolloped with an enormous-sized font. When I use "Linden" for my e-mails, it’s automatically a perfect size at 12 or 14, solving this problem. 3. I also enjoy customizing the font in which I read my e-mails. Unfortunately, there are only a few which are legible in the tiny size in which this is configured. Again, "Linden" is configured to be large enough automatically so that it can easily be read by anyone. I am pleased to offer a pleasant font for use in any or all of the scenarios; I love fun solutions and hope that you will enjoy the "Linden" font. (Just a tip: when printing out documents using the "Linden" font, I love it best in font size 11!)

ITC Chivalry is a calligraphic hybrid that honors the tradition of combining Roman capitals with italic lowercase letters. Drawn by Missouri lettering artist Rob Leuschke, who used a flat-nib pen on textured watercolor stock and then converted the drawings into a digital font, the design combines an old world" feel with "new world" legibility. A companion set of black letter caps completes the suite of characters. "I've loved drawing letters for as long as I can remember," says Leuschke. "Even in kindergarten, I tried to draw letters like my teacher." After graduating from college, Leuschke worked for a short time at a sign company in St. Louis, and in the early 1980s began working at Hallmark Cards in Kansas City. His talent as a calligrapher and lettering artist eventually brought him back to St. Louis to begin a freelance career. Since then Leuschke has created over 250 fonts, primarily for the greeting card industry, that are now being used on work for his clients all over the world. Leuschke first conceived of the face as just the black letter caps; he later added the Roman letters to give the design more versatility. The Roman caps of ITC Chivalry combined with the lowercase are well suited to blocks of copy, while the more decorative black letter caps are ideal for showcasing short text of just a few words. Both sets of capitals also make great initial letters."

The digital font Technotyp is based on the hot metal typeface created by the German typographer and type designer Herbert Thannhaeuser (1898-1963) for the former East German type foundry Typoart in Dresden. In the typography book ‘Der Schriftsetzer’ (Fachbuchverlag, Leipzig, 1952), by Paul Fritzsche, this absolutely beautiful slab serif design is presented in all its variations. Fritzsche remarked that – because of its rather condensed form and its relatively long ascenders – the 'Werkschrift' of the Technotyp (comparable with our 'Regular') seemed to be very well suited to serve as a text face, and recommended for this purpose that the face be cut for the composing machine. However, this never happened and the entire Technotyp family was made available for hand composition only. This is finally changing and being remedied for good now: URW++ proudly presents the new digital version of this really charming font family with its distinct flavor of the 1950s, adding it to the other digital renditions of Herbert Thannhaeuser fonts at URW++, namely Garamond No. 4 and Magna. The original Typoart family had an italic style for the light version only. The new digital version of Technotyp includes italic styles for the regular, medium and bold weights as well, enhancing the family to meet today’s standards and requirements for professional type setting. To further increase its usefulness, Cyrillic faces were created, too. True to the standard for all digital fonts at URW++, the character set for Technotyp covers all West- and East European languages.

Confitería is the Spanish word for a shop where sweets and chocolates are made and sold, which sometimes has a tea room. And now Confitería is also a font that brings to mind lettering piped on delicate cakes ... sweet but never sickly. This font captures something of that simple and innocent beauty of traditional confiterías, where good manners will never go out of fashion, menus are elegant and time comes to a standstill to make way for life’s little pleasures. A confitería is a perfect place to share sweet tidbits with a friend or date, eavesdrop on the conversation at the next table, read a book, or just people-watch from the window. I celebrated my last birthday at one. There is one iconic confitería in Buenos Aires that I love more than the rest because, some 60 years ago, it put up its marvellous sign and never took it down. Walking by it is sure to bring a smile to your face. It’s big. Very big. And the lettering in its name is written in a timelessly beautiful vertical script – the most attractive I have ever seen. I joined forces with Sol Matas – who worked with me to update the Montserrat font –to design this geometrical connected font with pleasant, even strokes. It is elegant and saccharine-free. And to top it off, it comes in several flavors. Welcome! What can we get you?

Karlo is a super family of several branches, originating in the same lightweight skeleton. The lightweights are based on a pen of an even stroke-width. Inspired by the writings of calligrapher Edward Johnston, the family moves on in two directions in the heavier weights. Johnston demonstrated that the broad nib pen can produce different writing styles. Following this, one heavy weight has a humanistic low stroke contrast (KarloSerifBold and KarloSansBold), and another has a high stroke contrast of vertical axis with references to the 19th century jobbing typefaces (KarloOpen). The latter is inspired by Johnston’s demonstration of the broad nib pen, where he suggested fastening two pencils together. With each pencil representing an edge of the pen, it becomes more evident how the pen works in writing. The friendly informal look makes KarloSans and KarloSerif usable for both running text and for display sizes. KarloOpen, on the other hand, is solely designed for display purpose showing few words at a time. In Denmark, a guy named Karlo would typically be an old fellow with a slick hairstyle that makes an effort with his appearance. He is a handyman who can do a bit of this and that when needed. He is a happy go lucky kind of guy that takes one day at a time. To me, the typeface family has some of the same qualities. Check out Pyke which is a great pair for Karlo.

Fantastic ML is an exuberant Art Nouveau font. It was originally released as “Modern Style” by Fonderie G. Peignot & Fils, Paris, France sometime before 1903. Since “Le style moderne” was the generic French name for Art Nouveau, it is possible that someone decided a less generic name was needed. The typeface became known as Fantastic. Compared to conventional text letters, it is just that. Fantastic has a whimsical, architectural feel. The typeface reminds me of a cross between Hoffmann’s Palais Stoclet in Brussels and Gaudi’s Sagrada Familia church in Barcelona. The letterforms themselves are similar to those by Ludwig von Zumbusch on the cover of “Jugend” in March, 1896, but with the addition of serifs. Fantastic ML is a decorative, all-cap font intended for display use and functions best at 18 points or larger. There are a total of 306 glyphs. In addition to the standard 1252 Western Europe Code Page with character slots up to decimal position 255, there are glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. However, some older applications may only be able to access the Western Europe character set (1252). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS format and a TTF version which is in Open TT format. Use whichever works best for your applications.

Jetworld is the space-age typeface with the retro-forward look. Jetworld’s tapered and weighted parabolic-arch curves interplay with its rigid, straight verticals and horizontals to create an unexpected but pleasing motion and a rhythm that is constantly changing. Jetworld is an OpenType font that speaks of clean space-age design, midcentury optimism, and the promise of new frontiers. Jetworld gives a midcentury-modern or retro-futuristic look to book covers, magazine layouts, posters, and album covers. But Jetworld is adaptable, too. With hints of ancient cuneiform writings mixed with the look of markings on an alien spaceship, Jetworld spans eons. And Jetworld’s large character set includes multi-lingual support and many other special characters. That means Jetworld can be used for more than just headlines and more than just English. Jetworld combines a distinctive personality with surprising readability. Jetworld is unusual in that it is not descended from handwriting or calligraphy. Instead, Jetworld was inspired by midcentury modern architecture and consumer goods. Think of the parabolic arches seen in midcentury masterpieces like the Theme Building at Los Angeles International Airport, the TWA terminal at JFK Airport in New York, and even the cartoon architecture of “The Jetsons” television show. Think of boomerang-patterned Formica countertops and tabletops, or arch-shaped “hairpin” legs on midcentury furniture. Jetworld’s character shapes were inspired by all of these. Jetworld—direct from the world of the future to you.

Disclaimer: An unhealthy amount of energy drinks were consumed while creating this product Bring some loud, bright, and nostalgic fun to your designs with the Neo Retro font pack! Create bold, vibrant, 90s-inspired designs in just a few clicks—giving you more time to hang out at the mall, go to a drive-in, kick-ass at the arcade or go make the perfect mix-tape (you get the idea). Here's a run through the font family; Neo Retro Font • A high energy font with clean edges and sharp ends. An all caps font, but with a larger and smaller variation included as upper and lowercase sets. Neo Retro Alt Font • This is a second version of the Neo Retro Font, with a completely new set of upper & lowercase characters drawn in the same style. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Neo Retro Icons Font • A set of 36 fun, hand-drawn icons designed to match with the Neo Retro font. Includes doodles, shapes, zig-zags, underline swashes & more. Simply install as a separate font and type any A-Z or a-j letter to generate an icon. Language Support; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

Linotype Bengali, a revival This project by Neelakash Kshetriymayum and Fiona Ross commissioned by Monotype is at heart a revival of the now ubiquitous original Linotype Bengali typeface designed by Tim Holloway and Fiona Ross (1978-1982) based on Ross’s research for her doctoral studies in Indian Palaeography. The new Linotype Bengali is informed by more recent research by Ross and Kshetrimayum resulting in additional glyphs that serve contemporary needs in a variety of genres – the original had been specifically designed for newspaper composition and in now outdated digital formats. The new design makes use of OpenType features with the employment of contextual vowel signs for Bengali – a feature that Ross and Holloway had first introduced in Indian scripts for the Adobe Devanagari typeface – and has sophisticated contextual mark positioning. Furthermore, whereas the original design had existed in only two typestyles, extensive work has been undertaken to produce this new design in 5 weights: Light, Regular, Medium, Bold and Black. It has been an important aspect of this project to remain true to the original design concepts, and so to achieve optimal readability for sustained reading at small type-sizes, but the additional weights enable differentiation in document design, and afford users scope to produce textural variety in their outputs. This revival design is intended to widen the hitherto very limited palette of typographic choices in the field of textual communication in Bengali, Assamese and other languages that make use of the Bengali script.

The characteristic ‘French face’ was originally made in 1899 under the supervision of Joseph Pinel. Thus, what was originally French 10 pt. Nº 2, got its present name. The Frenchman Joseph Pinel called himself a "typographical engineer", but was at the time employed as a type draughtsman at the Linotype Works in Altrincham. It appears that this and some other faces that he supervised, were, except for use on the Linotype, also meant for manufacturing matrices for the Dyotype. This composing machine was an invention of Pinel. The Dyotype was a rather complicated machine and consisted, like the Monotype, of two separate contraptions, a keyboard which produced a perforated paper ribbon and a casting machine which produced justified lines of movable type. Unlike the Monotype which has a square matrix carrier, the Dyotype had the matrices on a drum (in fact two drums, hence the name of the machine). A Pinel Diotype company was founded in Paris and a machine was built with the help of the printing press manufacturer Jules Derriey. As is often the case, a lack of sufficient capital prevented the commercializing of this ingenious composing machine. Coen Hofmann digitized the font from a batch of very incomplete, damaged and musty drawings, which he dug up in Altrincham. He redrew all characters, bringing up the hairstrokes somewhat in the process. The result is a roman and italic, while the roman font also includes Small Caps

The story of Scripps College Old Style is a heart-warming and inspiring chronicle about a young librarian, a handful of students, a wealthy grandmother, a dedicated educator -- and two eminent American type designers. The story begins in 1938, when Dorothy Drake, the newly hired librarian at Scripps College, a small women's college in southern California, became an impromptu dinner companion of the American type designer Fred Goudy. By the 1990s, the original fonts that Goudy had created for Scripps College in the 1940s had become prized -- but they were seldom-used antiques. Scripps needed digital versions of the metal fonts. This goal posed two immediate challenges: finding a designer familiar with letterpress printing who was skilled at creating digital fonts, and locating the money to commission the designer's services. The first challenge was the easiest to conquer. Sumner Stone was my first and only choice," recalls Kitty Maryatt, the current curator of the Scripps College Press. "I knew he had letterpress experience, was an accomplished calligrapher, and that his typeface designs were simply exquisite. The choice was easy."The second challenge was more difficult. It took the dedication, hard work and tenacity of Maryatt to bring the beautiful Goudy designs into the twenty-first century. While Stone was eager to begin work on the project, the college had no more money for new typeface designs in the 1990s than it did in the1930s. Years of lobbying, cajoling and letter writing were necessary to obtain the college's approval for the design project. Once she had the necessary funding, the design brief posed yet a third challenge. Goudy had provided two sizes of type to the Press: 14 point and 16 point. Which would serve as the foundation for Stone's work? In addition, the Goudy fonts were quite worn. Should Stone use printed samples as his design master, or base his work on the original Goudy renderings? The 14-point master drawings were the ultimate choice, with the stipulation that the finished fonts would provide both a seamless transition from the worn metal versions and a faithful representation of the original Goudy designs. Once the budget and design brief were established, the process of converting the original Goudy drawings into digital fonts took just a little over two months. Stone delivered finished products to Scripps in the fall of 1997. The first official use of the fonts was to set an announcement for a lecture by Stone at Scripps in February of 1998. But the story is not quite finished. Maryatt was so pleased with the new digital fonts, she wanted to share them with the graphic design community. At Stone's suggestion, she contacted Monotype Imaging with the hope that the company would add the new designs to its library. An easy decision! Now Monotype Imaging is part of the story. We are proud to announce the release of Scripps College Old Style as a Monotype Classic font. The once exclusive font of metal type is now available in digital form for designers around the world. "

INTRODUCTION When I started the first Selfie back in 2014 I was aware that I was designing something innovative at some point, because at that time there were not too many, (if any) fonts which rescued so many calligraphy features being at the same time a monolinear sans. I took inspiration from the galerías’ neon signs of my home city, Buenos Aires, and incorporated the logic and ductus of the spencerian style. The result was a very versatile font with many ligatures, swashes and a friendly look. But… I wasn’t cognizant of how successful the font would become! Selfie is maybe the font of my library that I see the most when I finally go out, (type-designers tend to be their entire lives glued to a screen), when I travel, and also the font that I mostly get emails about, asking for little tweaks, new capitals, new swashes. Selfie was used by several renowned clients, became part of many ‘top fonts of the year’ lists and was published in many magazines and books about type-design. These recognitions were, at the same time, cuddles for me and my Selfie and functioned as a driving force in 2020 to start this project which I called Selfie Neue. THE FONT "Selfie for everything" Selfie Neue, because it’s totally new: All its glyphs were re-drawn, all the proportions changed for better, and the old and somehow naive forms of the first Selfie were redesigned. Selfie Neue is now a family of many members (you can choose between a Rounded or a Sharp look), from Thin to Black, and from Short to Tall (because I noticed the feel of the font changed notoriously when altering its proportions). It also includes swashy Caps, which will serve as a perfect match for the lowercase and some incredibly cute icons/dingbats (designed by the talented Melissa Cronenbold, see also Selfie Neue Rounded for more!) which, as you see in the posters, make the font even more attractive and easy to use. You'll find tons of alternates per glyph. It's impossible to get tired with Selfie! Like it happened with the old Selfie, Selfie Neue Sharp was thought for a really wide range of uses. Magazines, Book-covers, digital media, restaurants, logos, clothing, etc. Hey! The font is also a VF (Variable Font)! So you can have fun with its two axes: x-height and weight, in applications that support them. Let me take a New Sharp Selfie! TECHNICAL If you plan to print Selfie Neue VF (Rounded or Sharp), please remember to convert it to outlines first. The majority of the posters above have the "contextual" alternates activated, and this makes the capitals a little smaller. I'd recommend deactivating it if you plan to use Selfie for just one word. Use the font always with the "fi" feature activated so everything ligatures properly. The slant of the font is 24,7 degrees, so if you plan to have its stems vertical, you may use Selfie with that rotation in mind. THANKS FOR READING

Iwan Stencil is a new revival of an old display typeface. Based on type originally designed by Jan Tschichold in 1929, the style was revived by Klaus Sutter in 2008. The letterforms in this peculiar design are very high contrast; all of the thin bits are much thinner than the thick parts. They have a modern, upright axis. All in all, the creation has a bit of a Bodoni-gone-crazy touch. The thin elements are the unique part of the design that binds this face together. They almost naturally fade away in the stencil gaps (or pylons), making you wonder if you are really looking at a stencil face at all. These thins contribute greatly to the typeface's overall serif-style, making the design at least a semi serif typeface, if not a full serif one. The lowercase n, for instance, has no serifs of its own, but many of the other letters have clear ones, or serif-like terminals. A serif stencil face is a peculiar variety, especially in this day and age, but in the past they were much more common, if not the norm, The Iwan Stencil typeface has only one weight. Naturally, this is just for display. Use Iwan Stencil to cut real stencils, or only to create the effect of stenciled type in your design work. Ivan Stencil includes all of the characters that you have come to expect in a font. Just because this design was originally made in 1929 does not mean that is has a 1929 character set. Instead, it includes a 21st century, with extended European language support Jan Tschichold, who we have to thank for today's Iwan Stencil inspiration, was a man of many faces. A trained calligrapher who went on to codify the New Typography, would go on to become a teacher, a classical book designer, and the creator of the Sabon typeface. Like all young designers, he was occasionally in need of money. Before his emigration from Germany in 1933, he took on many kinds of commissions. In the late 1920s, a time full of waves of economic turmoil within Germany and across the world, he began designing a typefaces for different European companies, mostly display things like this. For a time during the mid-1920s, Jan Tschichold went by the name Iwan" "

A Venetian serif in 6 styles The Apolline typeface family was created by Jean François Porchez as a means to study the transition from Renaissance writing into the first printing types. Rather than sticking to the method commonly used these days for the creation of revivals of Jenson or Bembo types, it seemed more interesting to try and get in the same mindset as those exceptional designers during this pivotal period in the history of typography. Thus Apolline is an exploration of the design methods used by people like Nicolas Jenson and his contemporaries for adapting handwriting with its multiple occurrences (a, a, a, b, b, b…) into single, unique signs (a, b…). Initially Jean François made drawings modelled after his own calligraphy. They were done at a very small size on tracing paper (2 cm high for the capitals) to preserve the irregularity of human handwriting. Besides emphasising the horizontal parts of the letter forms, the serifs were designed asymmetrically to reinforce the rhythm of the writing. The final drawings were produced at a large size (10 cm high for the capitals) to allow for subtle optimisation of specific details. The very narrow and fluid Apolline italic Influenced by various concepts for an ideal italic by Van Krimpen, Gill, etc. Apolline italic was designed at 8° degrees. Although the structure of the letterforms were informed by chancery scripts, the italic has full serifs like the roman. Very narrow and fluid, its unique design creates a good contrast when used in combination with its upright counterparts. Thanks to the presence of the serifs similar to roman typefaces it sets very neatly in large sizes. The next step was digitising the drawings with Ikarus (the pre-Bézier-curves era) to create the final roman and italic fonts. Two years later, when the family was expanded to six series the same method was used, this time with Fontographer. This was necessary for correcting a few problems caused by the conversion to Bézier outlines, and to add intermediate weights. Before the advent of feature-rich OpenType, quality type families consisted of several separate fonts for each weight to provide users with various sets of numerals, an extended ligature set and alternates, ornaments, and so on. Introducing Apolline Morisawa Awards 1993

ATTENTION COSTUMERS! A new version of this font was released in 2019. Take a look: Breathe Neue Reaching a total of more than 1000 glyphs, Breathe Pro is Maximiliano R. Sproviero’s gift of the year. The aim of the designer was once more to give the user the chance to play and travel from very formal and conservative letterforms to the amazing world of swashes and flourishes. Possibilities of alternating and ligating characters in this font are absolutely fantastic. After his last creation, Parfait Script, Lián wanted to make a more universal font. Delighted by typographic works of Didot and his followers of the beginnings of 1800, Maximiliano R. Sproviero started what became another obsessive project, which is now named Breathe, “cuando las letras respiran...” what could be translated as “when letters breathe”, due to the feeling that you are reading letters that are alive. Breathe comes in two styles which have a significant difference as regards to the quantity of glyphs available inside. If you want to get the most complete style, with over 1000 glyphs, (including contextual alternates, stylistic alternates, swashes, terminal forms, titling alternates, historical forms, stylistic sets, standard ligatures, stylistic ligatures, decorative ligatures and frames) then your choice should be Breathe Pro. On the other hand, if you are interested in having a less decorative font with the nice touch of Lián’s style, then your choice should be Breathe Standard, a more limited version of Breathe, including terminal forms (leaves) and frames. With Breathe Pro you will surely have fun at the same time you are designing and that is not an unimportant thing. The world of type-designers is growing each year, and the features of Open-Type are letting them think their creations as if they were truly pieces of art. At least, Breathe Pro is inspired in the Art of our predecessors, those who with a pen loaded of ink would decorate each letter, each page in such a lovely way. Yes, -lovely- is the word. We would not have the amazing lettering artists, calligraphers, typographers of nowadays if that -love for letters- had not traveled from generation to generation. Breathe Pro is an example of this love. An example of what Maximiliano R. Sproviero feels about typography and letters. Pssst... Look for more images and the User’s Guide at the gallery section to see it in use! http://origin.myfonts.com/s/aw/original/89/0/46067.pdf

TT Ricordi Marmo useful links: Specimen | Graphic presentation | Customization options TT Ricordi Marmo extends the series of experimental projects within the TT Ricordi fonts collection. The main goal of the TT Ricordi project is to look for gems in old signs and on stone and bringing those inscriptions back to life in the form of contemporary fonts with the umbrella name TT Ricordi. TT Ricordi Marmo is an original experimental project by Eugene Tantsurin inspired by inscriptions at Basilica di Santa Croce in Florence. Working on it, we wanted to create a contemporary typeface that would unite the elements of a Florentine sans-serif mixed with more traditional visual solutions typical for the period's serifs. As a result, we got a bright and somewhat provocative typeface with irregular serif distribution, some unusual contours and a free spirit. In small body size TT Ricordi Marmo makes a neutral impression, but as the size gets bigger, the user is taken on a playful quest to search for interesting moves, graphic peculiarities and unusual solutions. TT Ricordi Marmo is great for poster design, packaging, and setting large and medium-sized inscriptions. Thanks to its idiosyncrasy, the typeface may look nice both at a poster in a grand academic theater and at an acid rave party. You can find a set of icon patterns that can be used in several ways. First, you can substitute letters with these patterns, thus getting an inscription with a visible graphic element. Then you can also construct borders and interval marks, or just use them as icons. All patterns are perfectly adapted to the design of letters in the font. TT Ricordi Marmo consists of 2 styles and one variable font. Each of the styles contains over 630 glyphs and 18 OpenType features. As we have conceived TT Ricordi Marmo as a poster typeface from the very beginning, it features small capitals instead of lowercase characters. In addition, the typeface has a set of interesting ligatures, stylistic alternates, pointers, hands, and pattern icons. TT Ricordi Marmo OpenType features list: AALT, CCMP, LOCL, NUMR, ORDN, TNUM, PNUM, CASE, SS01 (Alternative latin E), SS02 (Alternative Eszett), SS03 (Alternative Cyrillic I), SS04 ( Alternative Amper- sand), SS05 (Romanian Comma Accent), SS06 (Dutch IJ), SS07 (Catalan Ldot), DLIG, CALT, SALT.

IMPORTANT – Please consider the superior Carrig Pro before making a purchase decision. Carrig started its life in 1998. I was working for a design agency in Cork, Ireland and was given a new brand identity project for a lakeside hotel in County Kerry. While visiting the hotel I made various sketches of the surroundings and upon returning to the studio, it was clear that my strongest ideas for the identity would be based on these freehand drawings. I wanted a classic, rough, hand-drawn typeface to complement this style but at that time, the studio didn’t have anything suitable, so I decided to draw my own. I found a Trajan-esque typeface that I really liked the look of in an old calligraphy workbook. I set about drawing my own version and then digitised it. Once the client had seen and approved my design, I began working on creating a complete all caps typeface to use for the hotel’s stationery. With ‘carrig’ being the Gaelic word for ‘rock’, my new typeface was all the more appropriate as it had the appearance of letterforms that had been carved into stone and weathered by time. With the project completed and the client happy, Carrig then sat in my unused fonts folder for several years... but there was always a nagging feeling at the back of my mind that I should do something more with it. So, in the autumn of 2014, I finally set about doing just that and created the font family you now find at MyFonts. Carrig’s form and structure was influenced by a hybrid of Classic Roman and Garalde typeface designs. The original calligraphic elements from the 1998 version of Carrig have been retained to add personality—as can be seen in the serifs, strokes, spurs, terminals and open bowls. Perhaps its most distinctive trait is a high x-height combined with relatively short ascenders. I wanted Carrig to immediately resonate with the reader and have designed it to be familiar and friendly. I imagine designers might choose Carrig as an alternative to such typefaces as Trajan, Garamond and Baskerville. I see Carrig as primarily a display typeface for titles/headlines in printed materials. I would also love to see it being used for branding, packaging and promotional material and am keen to hear from designers who use it in their own work.

Irish Penny is based on the lettering from Percy Metcalfe's beautiful and influential pre-decimal coinage of Ireland, the Barnyard Collection. The font is more monoline than is conventional for Irish insular styles, almost giving the feel of a modern soft sans, and perfect for small and large scale display purposes. Irish Penny contains a full complement of Latin Extended-A accented characters, Irish lenited consonants with the dot accent, and the tironian et which is commonly used in Ireland instead of an ampersand. Lowercase characters are provided small caps style, slightly reduced in size and subtly thickened in weight. The licensed font comes with a faux italic, and although obliques are not common among insular typefaces, Irish Penny Italic is a useful smart and sporty extra. Although the insular G/g is usually understood, Irish Penny also includes a more latinised option as an alternate G/g. The supplemental 'Irish Penny Alternate G' font places the latinised G and g characters at the normal G/g keystrokes, and makes the original insular glyphs the alternates. An alternate E/e with an angled crossbar is also included. The font contains a selection of discretionary ligatures, these include the ligatures that were used for pre-decimal coins: AC/ac, AE/ae, AL/al, AO/ao, AU/au, AT/at (halfpenny, half crown), AX/ax, AY/ay CA/ca, CC/cc, CE/ce, CO/co (half crown), CU/cu, CY/cy EA/ea (halfpenny, half crown), EC/ec, EE/ee, ET/et, EU/eu (sixpence), EY/ey FE/fe (farthing), FF/ff, FL/fl (florin) GI/gi (penny), GU/gu KA/ka, KE/ke, KI/ki, KO/ko, KT/kt, KU/ku LA/la, LE/le (halfpenny, half crown), LL/ll (shilling), LO/lo, LT/lt, LU/lu, LY/ly RA/ra, RC/rc, RE/re (three/sixpence), RH/rh, RI/ri (florin), RK/rk, RN/rn, RM/rm, RO/ro (half crown), RR/rr, RT/rt, RU/ru, RY/ry TA/ta, TE/te, TO/to, TU/tu NOTE - Irish Penny contains some characters that are not accessible directly from your keyboard, but which may be copied from a font viewer such as Character Map, Font Book or FontExplorer, and pasted into documents. They can also be accessed from the Glyphs browsers within OpenType-aware applications like Adobe InDesign and Illustrator, and Affinity Photo and Publisher.

Soleil, designed by Wolfgang Homola, is a geometric sans serif typeface. Unlike most existing geometric sans serif typefaces, it has asymmetrical counters, making it look fresher, more dynamic and more contemporary. Simple geometric forms – such as the circle or the square – played a certain role in the design of the letterforms, but in order to introduce more fluidity into the rather stiff and rigid concept of geometric sans serif typefaces, a lot of optical corrections were necessary. Soleil is based on the modernist ideas of simplicity, clarity and reduction to essential forms. Yet its letter shapes are not the result of geometric construction, but of a design process that brings together simplicity and fluidity, clarity and rhythm. Soleil has a rather large x-height, making it legible also in small sizes or from a bigger distance. The typeface family consists of six weights. The Opentype version also allows for the implementation of typographic features such as Small Caps, lining and old-style figures, both tabular and proportional, ligatures, alternate characters, case-sensitive variants and fractions. Soleil offers a wide range of potential applications: signage and wayfinding systems, book and magazine design, branding and corporate publications.

Corsa Grotesk is our very own tribute to two typographic giants: the Futura and Avenir typefaces. It is Designed with geometric simplicity in mind with well balanced strokes and modern touch. Generous proportions and x-height with more contemporary details - the single story ‘a’ and the horizontally barred ‘k’ being just two of many examples makes it shine in every jobs it takes. Corsa Grotesk blends the classic geometric aesthetics into a well-balanced font with generous proportions and minimal contrast. It features 10 weights ranging from Hairline to Black plus matching italics, as well as Cyrillic support for Bulgarian and Russian localizations. Filled with all the essential OpenType features like tabular figures, fractions, ligatures etc, it is a great choice for branding, advertising, user interfaces or any text that needs a bit of polish and a slick, present-day look that still feels familiar. With its 2.0 version we managed to polish the font even more. We revisited every path and fixed all the inaccuracies throughout. Corsa Grotesk now comes with way better and consistent spacing and kerning, just the right amount of contrast and balance. Live Tester | Download Demo Fonts | Subscribe

Looking to infuse your brand with a burst of retro charm and a dash of pop culture pizzazz? Say hello to our Gresua Fonts! Designed to make your brand stand out in the realms of pop culture, lifestyle, and food and beverage branding, these fonts are an absolute game-changer. Gresua transports you to the golden era of the past, evoking a sense of nostalgia that resonates with pop culture enthusiasts. Seamlessly blending boldness and authenticity, they captivate the hearts of your audience, adding a unique and irresistible touch to your brand identity. In the ever-evolving world of pop culture, lifestyle, and food and beverage branding, it's essential to stay ahead of the curve. Our Gresua Fonts combine vintage aesthetics with a contemporary twist, allowing your brand to shine as a trendsetter. Embrace the bold and unexpected, and watch as your brand becomes the talk of the town. Are you ready to take your brand on an unforgettable journey through the realms of pop culture, lifestyle, and food and beverage branding? Embrace the captivating allure of our Gresua Fonts today and unleash a world of endless possibilities!

Maracay is a tropical typeface that works for texts or headlines, mainly as a display font and designed to work in layers of overlapping texts. Maracay is a unique design with nine fonts based creating a particular style of design and the combination of a couple different looks can be obtained eighteen. Thanks to the versatility of coloring matter, together form a coherent and attractive ideal for a variety of different projects such as invitations, menus, magazines, brochures, packaging, design, etc. Maracay provides alternate characters, swash, ligatures, icons, ordinals and fractions. Maracay has 4 shape styles : Regular Maracay base as essential as Tooled variations of brightness or wood with the appearance of a WoodType vintage wooden texture . Inner font as serves as Light or inner contour of the foregoing. Follow three fonts contouring as Outline, Shape and Umbra as a 3D projection. For decorative purposes Shape that there is a textured lines or Half as a split in the top half letter. Maracay has been carefully studied to provide the best combinations of the most of pairs and trios of glyphos avoiding undesirable extensions between ornate characters through its Opentype programming.

Salome is a revival, normalization and elaborate expansion of a 1972 film face called Cantini. The original film type, released by a tiny independent outfit called Letter Graphics, looked like it was hand drawn with little consideration for consistency in essential lettering flow measurements, like angles, stroke widths, and vertical metrics. All these issues have been resolved in this digital version, and the original character set, including the whole lot of alternates, was entirely redrawn and expanded to include even more alternates and many useful ligatures, as well as extended support for Latin-based languages. Combining elements of early 20th century art nouveau with common 1960s and 1970s signage and poster lettering flair, Salome uses curls and curves to wave its fantastic shapes in a most hypnotic dance. Salome simply cannot be unseen. Just like its namesake, the female seduction icon, it does not hesitate to put all of its natural beauty and energy on display in order to get what it wants. Salome comes in all popular font formats. The OpenType version, Salome Pro, combines the main font with the alternates one, and contains convenient features for push-button alternation and ligature substitution in supporting software programs.

In August of 2009, I was commissioned by Zoo York, a New York City based skateboard company, to visit Buenos Aires to study and document street typography. As soon as my taxi driver took the bustling street Entre Ríos, it was clear that the city and I were going to be good friends. Many of the independently owned businesses on Entre Ríos are adorned with handmade signage. These signs are painted in a style called Fileteado which is a century-old Argentinian type of lettering and floral ornamentation. Nowadays, Fileteado is still a prominent part of the city’s landscape, coloring the façades of restaurants, bars and coffee shops. Calaveras and Diablitos are two new typefaces that were inspired by Fileteado. Stylistically, the fonts are a return to a rhythmic and playful sensibility reminiscent of Vitrina and Cuba, two fonts that I designed in 1996. Along with dynamism and dance, these new fonts incorporate a rigor and functionality essential to labelling any font a ‘workhorse.’ The names Calaveras and Diablitos, came from the name of a song by the infamous Buenos Aires rock band, Los Fabulosos Cadillacs. —Pablo A. Medina

Introducing Etnier – A brand-new modern family with a unique! Etnier is a modern variable font. Essentially, it's a sans-serif font with a sturdy and squared appearance, ensuring excellent legibility. It offers various widths and italics that provide versatility for your designs. The bolder, the stronger – this defines Etnier. Its bold and robust qualities, especially in the italic version, make it ideal for UI/UX-related designs. In total, there are 14 font styles available, or even more if you use the single files variable. You have the flexibility to slide through the weight and width options to find the sweet spot for Etnier. shape! What's Included? Etnier Main File 14 fonts family with Weight and Oblique options Instructions (Access special characters in all apps, even in Cricut Design) Accessible in Adobe Illustrator, Adobe Photoshop, Microsoft Word even Canva! PUA Encoded Characters. Fully accessible without additional design software Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/ Have a great day! Dharmas Studio

In August of 2009, I was commissioned by Zoo York, a New York City based skateboard company, to visit Buenos Aires to study and document street typography. As soon as my taxi driver took the bustling street Entre Ríos, it was clear that the city and I were going to be good friends. Many of the independently owned businesses on Entre Ríos are adorned with handmade signage. These signs are painted in a style called Fileteado which is a century-old Argentinian type of lettering and floral ornamentation. Nowadays, Fileteado is still a prominent part of the city’s landscape, coloring the façades of restaurants, bars and coffee shops. Calaveras and Diablitos are two new typefaces that were inspired by Fileteado. Stylistically, the fonts are a return to a rhythmic and playful sensibility reminiscent of Vitrina and Cuba, two fonts that I designed in 1996. Along with dynamism and dance, these new fonts incorporate a rigor and functionality essential to labelling any font a ‘workhorse.’ The names Calaveras and Diablitos, came from the name of a song by the infamous Buenos Aires rock band, Los Fabulosos Cadillacs. —Pablo A. Medina

Introducing the CA Superpilot Sans & Script family pairing - the ultimate package designed specifically for creatives and designers. The CA Superpilot Sans font family, with its contemporary take on Futura, is the perfect choice for those seeking a sleek and modern typeface. With five weights and italics, this font is flexible enough to be used in any project. In addition, it includes an extensive Central European character set and alternate characters, ensuring that your designs will stand out in any language. On the other hand, the CA Superpilot Script font family is a monoline script font that takes inspiration from vintage camera equipment logos and type designations from the 1950s. The result is a unique and retro-inspired typeface that adds personality and charm to any project. With regular and italic styles, you have plenty of options to work with. Despite being a script typeface, its bold strokes and clean lines make it ideal for captivating and impactful headlines in uppercase. Using these two fonts together gives you unmatched flexibility for any project, whether it's branding, website design, or print design. Don't miss out on this essential font pairing - get it today!

The Pattern Project is an ornamental display type family. It is inspired by medieval initials and transforms their mesmerizing rhichness of detail into cool state-of-the-art typography. All letter shapes and patterns are exclusively geometric, providing a very distinct and contemporary feel. Pattern is the new sexy – perfect for vodka labels, record sleeves and posters. For editorial design and packaging. With a special typographic impact. Some practical details: - Family consists of 9 diverse patterns + a blank version. - 3 weights available. - As with patterns in general: It is quite essential how far you zoom in to change the graphic impression. 3 pattern resolutions (Coarse, Medium + Fine) allow varying the pattern size independently from the font size. - Each pattern comes with diverse weights and/or pattern resolutions. - Use in display sizes only. The bigger – the better! - Fine pattern resolutions require even larger font sizes than coarse resolutions. - Fonts gain kind of ʺtransparencyʺ through the patterns - handy for use on top of images. - Characterset is caps only and supports Central, Eastern and Western European languages. - Entertaining 2 min movie explaining the basic concept: youtube.com/watch?v=wbuUkRDApzs

King Tut is a restoration and expansion of the original Egyptian Expanded, a single bold face cut in 1850 by Miller & Richard, the famous Edinburgh founders. This aesthetic, though originally issued to help drive simple print advertising of those days, is perhaps the longest lasting genre of typeface. This aesthetic flourished in the later part of the 19th century, helped by the surge of similar faces from England (such as Figgins' Antique 6 and Expanded Antique), and became the defining index of the old American wild west that continues to this very day. King Tut serves up its impact through a balance between the wide, compact letterforms and elegant curvature that manages to come through even in confined areas. The family's weight variety allows for more options in counterspace use as well as precision in the amount of curve definition and contrast needed by the typographer. The lighter weights completely oppose that 19th century boldness and expose the alphabet's skeleton in a strive for simplicity that fits modern applications. With generous language support to boot, King Tut's diverse offerings make it an essential addition to today's designer repertoire.

This Arabic typeface is one of Parachute’s most involved text typefaces. For the first time -back in 2010- a contemporary Arabic equivalent to a comprehensive DIN series of fonts was available. In fact, this set of fonts contains the most complete and powerful array of Arabic features commercially today. It comes in eight weights and includes Latin. Based on the DIN Text Pro superfamily, Parachute® released -in collaboration with designer Hasan Abu Afash- 2 new versions. DIN Text Arabic is the basic Arabic version which includes Latin and supports all variations of the Arabic script such as Persian, Urdu and Pashto. The second version DIN Text Universal is the most advanced DIN superfamily ever. It combines the powerful DIN Text Pro with DIN Text Arabic bringing the number of glyphs to 3320 per font. It is also enhanced with 30 advanced opentype features and kerning for all languages. Altogether it supports hundreds of languages, proving to be an essential tool for corporations which operate internationally. The whole family consists of eight weights from extra black to hairline. DIN Text Arabic is featured in the recent book Arabesque 2 by Gestalten.