Fioritura is a floral display typeface inspired by Sandro Botticelli's "Primavera" ("Spring") and Guiseppe Arcimboldo's "The Four Seasons" paintings. Fioritura means flowering in Italian, and the character composition consists of stems, leaves, flowers, and flying pollen. Scripts: Latin, Greek, Cyrillic. Language count: 480+. Glyph count: 1103. Kerning: 936 class pairs. Hinting: Not applied. Contextual Alternates: AA BB CC DD EE FF GG LL MM NN OO PP RR SS TT ZZ aa bb cc dd ee ff gg ll mm nn oo pp rr ss tt zz. To keep the writing natural, every second of two frequently repeated letters is automatically replaced by its alternative version. Turned on by default. Contextual Alternates: ΆΈΉΊΌΎΏ. Greek uppercase accented characters lose their tonos accent and retain only dieresis in All Caps mode. Turned on by default. If you need tonos accents in All Caps then turn off Contextual Alternates (calt) feature. Stylistic Alternates: ABCDEFGLMNOPRSTZ abcdefglmnoprstz. Supported languages: Abenaki, Abron, Acheron, Achinese, Achuar-Shiwiar, Adamawa Fulfulde, Adangme, Afar, Afrikaans (Latin), Aghem, Aguaruna, Aja, Akan, Albanian, Alsatian, Amahuaca, Amarakaeri, Amis, Andaandi (Dongolawi), Anuta, Ao Naga, Apinayé, Arabela, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asháninka, Asturian, Asu, Atayal, Awa-Cuaiquer, Awetí, Aymara, Azerbaijani (Latin, Cyrillic), Baatonum, Bafia, Bagirmi Fulfulde, Balinese, Balkan Romani, Bambara (Latin), Baoulé, Bari, Basaa, Bashkir (Latin), Basque, Batak (Latin), Belarusian (Latin, Cyrillic), Bemba, Bena, Biali, Bikol, Bini, Bislama, Boko, Bora, Borgu Fulfulde, Bouna Kulango, Bosnian, Breton, Buginese (Latin), Bulgarian, Buryat, Bushi, Candoshi-Shapra, Cape Verdean Creole, Caquinte, Caribbean Hindustani, Cashibo-Cacataibo, Cashinahua, Catalan, Cebuano, Chachi, Chamorro, Chavacano, Chayahuita, Chechen, Chewa (Latin), Chickasaw, Chiga, Chiltepec Chinantec, Chokwe, Chuukese, Cimbrian, Cofán, Colognian, Cornish, Corsican, Creek (Muscogee), Croatian, Czech, Dagaare, Dagbani, Danish, Dawan, Dehu, Delaware, Dendi, Dholuo, Dimli, Dinka, Ditammari, Drehu, Duala, Dutch, Dungan, Dyula, Embu, English, Erzya, Ese Ejja, Esperanto, Estonian, Ewe, Ewondo, Falam Chin, Fanti, Faroese, Fijian, Filipino, Finnish, Folkspraak, Fon, French, Friulian, Frisian, Fula, Gagauz (Latin), Galician, Ga’anda, Garifuna, Gen, Genoese, German, Gikuyu, Gilbertese, Gonja, Gooniyandi, Greek, Greenlandic (Kalaallisut), Guadeloupean Creole, Guarani, Gusii (Latin), Gwich’in, Haitian, Hakha Chin (Latin), Hän, Hani, Hausa (Latin), Hawaiian, Hiligaynon, Ho-Chunk, Hopi, Hotcąk (Latin), Huastec, Hungarian, Icelandic, Ido, Igbo (Latin), Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Ixcatlán Mazatec, Jamaican, Javanese (Latin), Jèrriais, Jola, Kabuverdianu, Kabiyè, Kabuverdianu, Kabyle (Latin), Kaingang, Kako, Kala Lagaw Ya, Kalaallisut, Kalenjin, Kalmyk (Cyrillic), Kamba, Kanuri, Kaonde, Kapampangan (Latin), Kaqchikel, Karachay (Cyrillic), Karakalpak (Latin), Karelian, Kashubian, Kazakh, Kekchí, Kenzi, Khalkha (Cyrillic), Khasi, Khoekhoe, K’iche’, Kikuyu, Kimbundu, Kinyarwanda (Ruanda), Kiribati, Kirmanjki, Kirundi (Rundi), Kissi, Kituba, Klingon, Kölsch, Kongo, Konzo, Koyra Chiini, Koyraboro Senni, Kpelle, Krio, Kuanyama, Kumyk, Kurdish, Kven Finnish, Kwasio, Kyrgyz (Cyrillic), Ladin, Ladino, Lakota, Lamnso’, Langi, Latgalian, Latin, Latino sine Flexione, Latvian, Ligurian, Limba, Lingala, Lithuanian, Lobi, Lojban, Lombard, Low German, Lozi, Luba-Katanga, Luba-Lulua, Luo, Luxembourgish, Luyia, Maasai, Maasina Fulfulde, Macedonian, Machame, Madurese (Latin), Makhuwa, Makonde, Makwe, Malagasy (Latin), Malaysian Malay (Latin), Maltese, Mam, Maninkakan, Manx, Maore Comorian, Māori, Mapudungun, Marquesan, Marshallese, Masai, Matsés, Mauritian Creole, Mbelime, Megleno-Romanian, Mende, Meriam Mir, Meru, Meta’ (Latin), Metlatónoc Mixtec, Mezquital Otomi, Mi’kmaq, Minangkabau, Mirandese, Mískito, Miyobe, Mizo, Mohawk, Moksha, Moldovan, Mongolian (Cyrillic), Montagnais, Montenegrin (Latin, Cyrillic), Mossi, Mundang, Munsee, Murrinh-Patha, Murui Huitoto, Mwani, Naga Pidgin, Nagamese Creole, Nahuatl, Nama, Nateni, Navajo, Ndebele, Ndonga, Neapolitan, Ngazidja Comorian, Ngiemboon, Ngiyambaa, Ngomba, Nigerian Fulfulde, Niuean, Nobiin, Nomatsiguenga, Noongar, Norwegian (Bokmål, Nynorsk), Novial, Nuer, Nyamwezi, Nyanja, Nyankole, Nyemba, Nzima, Occidental (Interlingue), Occitan, Ojitlán Chinantec, Old Icelandic, Old Norse, Onĕipŏt, Oromo, Oroqen, Oshiwambo (Ovambo), Ossetian (Latin, Cyrillic), Otuho, Páez, Palauan, Paluan, Pampanga, Papantla Totonac, Papiamentu, Pedi, Picard, Pichis Ashéninka, Piedmontese, Pijin, Pintupi-Luritja, Pipil, Pohnpeian, Polish, Portuguese, Potawatomi, Prussian, Pulaar, Pular, Purepecha, Qiandong Miao, Quechua, Rarotongan, Romani, Romanian, Romansh, Rombo, Rotokas, Russian, Rusyn, Rwa, Sakha, Samburu, Sami (Inari, Lule, Northern, Southern, Pite, Skolt, Ume), Samoan, Sango, Sangu, Saramaccan, Sardinian, Scottish Gaelic, Secoya, Sena, Serbian, Seri, Seychellois Creole, Shambala, Sharanahua, Shawnee, Shilluk, Shipibo-Conibo, Shona, Shuar, Sicilian, Silesian, Siona, Slovak, Slovene (Slovenian), Slovio (Latin), Soga, Somali, Soninke, Sorbian (Lower, Upper), Sotho (Nothern, Southern), Spanish, Sranan, Sukuma, Sundanese (Latin), Susu, Swahili, Swazi, Swedish, Swiss German, Tachelhit (Latin), Tagalog, Tahitian, Taita, Tajik (Cyrillic), Talysh, Tasawaq, Tatar (Cyrillic, Latin), Tedim Chin, Teso, Tetum, Ticuna, Timne, Tiv, Toba, Tojolabal, Tok Pisin, Tokelauan, Tonga, Tongan, Tosk, Totontepec Mixe, Tsafiki, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin, Cyrillic), Tuvaluan, Tuvan, Twi, Tzeltal, Tzotzil, Uab Meto, Ukrainian, Ulithian, Umbundu, Urarina, Uyghur (Cyrillic), Uzbek (Latin, Cyrillic), Vai, Venda, Venetian, Veps, Vietnamese, Volapük, Võro, Vunjo, Waama, Waci Gbe, Wallisian, Walloon, Walser, Wangaaybuwan-Ngiyambaa, Waorani, Waray, Warlpiri, Wasa, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof (Latin), Xavante, Xhosa, Xwela Gbe, Yagua, Yanesha’, Yangben, Yanomamö, Yao, Yapese, Yindjibarndi, Yoruba (Latin), Yucateco, Záparo, Zapotec, Zarma, Zazaki, Zulu, Zuni. The promo images used photos of Cottonbro, Maria Lindsey from Pexels, and Andreea Popa, Wyron A from Unsplash.

Introducing the unique family of COLORED fonts "Boldini" with minimalistic clean letters of a harmonious form in the style of modern POP culture. You no longer need to adjust the gradient for each letter, letters are immediately printed in gradient! Gradient fonts is perfect for headlines for fashion websites, magazines, and print design, and the basic solid font is suitable for branding boutique signs as well as for large amounts of text, because the font is very readable in a small size. Font family has two thicknesses - bold & regular, 6 gradient directions, gradient fonts also 2 type - with transparency and without transparency, as well as 2 basic monochrome fonts. Font consists of letters of the same height without division into uppercase and lowercase glyphs. *See also these fonts, which based on this family: Culoare & Anaglyph. Which means that if necessary you can combine these families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Such color combinations in gradients are universal and very convenient for repainting. IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you see all fonts in black and not in multicolor in the tab “Individual Styles” - all fonts are working and have passed technical inspection, but not displayed in multicolor they, just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. Try to experiment, it is so interesting and very easy! ld.luxfont@gmail.com

La versión propuesta por la SEMOVI (Secretaria de Movilidad) es un estilo más angosto y ortográfico, creadó con la finalidad de aligerar las aplicaciones tipográficas del sistema. Se emplea oficialmente en todas las aplicaciones del sistema de Movilidad Integrada de la Ciudad de México. El creador de la tipografía es Lance Wyman. En esta edición, los tipos minúsculas son una adaptación “no oficial” para el Tipo Movin CDMX, enriqueciendo la tipografía a un estilo visual de altas y bajas, por lo que se prescinde del diseño base como trabajo propio para enfatizar los tipos minúsculas exclusivamente, además de que se han añadido algunos caracteres de acentuación extendiendo su uso a otros lenguajes. Los tipos son una nueva propuesta por Ixipcalli en el presente año 2023. The version proposed by SEMOVI (Secretary of Mobility) is a narrower and more orthographic style, created with the purpose of lightening the typographic applications of the system. It is officially used in all the applications of the Integrated Mobility system of Mexico City. The creator of the typeface is Lance Wyman. In this edition, the lowercase types are an “unofficial” adaptation for the Tipo Movin CDMX, enriching the typography to a visual style of highs and lows, so the base design is dispensed with as my own work to emphasize the lowercase types exclusively, In addition, some accentuation characters have been added, extending their use to other languages. The types are a new proposal by Ixipcalli in the current year 2023.

A geometric Art Déco multi-widths type family Anisette has sprouted as a way to test some ideas of designs. It has started with a simple line construction (not outlines as usual) that can be easily expanded and condensed in its width in Illustrator. Subsequently, this principle of multiple widths and extreme weights permitted to Jean François Porchez to have a better understanding with the limitations associated with the use of MultipleMaster to create intermediate font weights. Anisette is built around the idea of two widths capitals can be described as a geometric sanserif typeface influenced by the 30s and the Art Deco movement. Its design relies on multiple sources, from Banjo through Cassandre posters, but especially lettering of Paul Iribe. In France, at that time, the Art Déco spirit is mainly capitals. Gérard Blanchard has pointed to Jean François that Art Nouveau typefaces designed by Bellery-Desfontaines was featured before the Banjo with this principle of two widths capitals. A simple sentence will be as diverse in its representations, as the number of Anisette variables available to the user. With Anisette, typography becomes a game, as to design any title page as flamboyant as if it has been specially drawn for it. Two typefaces, many possibilities The complementarity between the two typefaces are these wide capitals mixed with narrow capitals for the Anisette while the Anisette Petite – in its latest version proposes capitals on a square proportions, intermediate between the two others sets. Anisette Petite proposes capitals in a square proportion, intermediate between the two other sets, all of which are interchangeable. In addition, Anisette Petite also includes a set of lowercase letters. Its style references shop signs present in our cities throughout the twentieth century. Anisette, an Art Déco typeface Anisette: Reveal your typographic expertise Club des directeurs artistiques, 46e palmarès Bukva:raz 2001 Slanted: Contemporary Typefaces #24

Full of life Hispanic Didot in 2 optical sizes Retiro is a daring interpretation of Spanish typography. Severe, austere and yet, full of life, Retiro is a vernacular version of Castilian and Andalusian in a typical Didot. Named after a lovely park in Madrid, Retiro started life as a a bespoke typeface designed to give a unique voice to the magazine Madriz. In 2006, the founder of Madriz was looking for a Didot for his new magazine. The Didot is the archetypal typeface used in high-end magazines. Retiro is a synthesis of these high contrast styles mixed with an Hispanic mind. Result is then, after 2-3 years of work, a typeface with countless variations to establish typographic shades adapted to different sections and pages of the Madriz. In 2014, it was necessary to further revise the typeface before its launch at Typofonderie. In order to keep its originality, the unique weight was retained, but complemented with optical size variants to set highly contrasted headlines into various sizes, visually balanced. How to use Retiro optical sizes? Each font provided in Retiro family is named according to the scale of body size: 24 pt and 64 pt. Of course, these names are referring to the body sizes used in typographic design. In the “glorious old days,” the letterpress period, it was customary to cut punches directly to the size at which typefaces would be used. The punchcutter had to visually adapt his design to the engraving size. The aim was to optimize the best contrast and general weight, but also to respect both design’s and reader’s needs. In Retiro’s case, intended for large titling sizes, it’s an adaptation of this ancient practice for our contemporary uses. Although each font is named by a typographic point size, do not feel obliged to use this font at this precise size, but why not, in larger or smaller. It’s rather the concept of gradients that must be preserved in layouts, rather than strictly size numbers. It’s up to the designer to select the right font size for his own designs. Granshan Awards 2012 Creative Review Type Annual 2011 Designpreis 2011 Club des directeurs artistiques, 41e palmarès Type Directors Club 2010 Certificate of Type design Excellence

La tipografía “Tipo Metro CDMX” fue desarrollada por Lance Wyman como parte del proyecto “Metro” desde los años setenta, y es uno de los elementos clave de la cultura visual del transporte del Sistema de Transporte Colectivo Metro (STC Metro). Este estilo se ha convertido en el icónico fundamental del trasporte público para los residentes de la Ciudad de México. En esta edición, los tipos minúsculas son una adaptación “no oficial” para el Tipo Metro CDMX, enriqueciendo la tipografía a un estilo visual de altas y bajas, por lo que se prescinde del diseño base como trabajo propio para enfatizar los tipos minúsculas exclusivamente, además de que se han añadido algunos caracteres de acentuación extendiendo su uso a otros lenguajes. Los tipos son una nueva propuesta por Ixipcalli en el presente año 2023. The “Tipo Metro CDMX” typeface was developed by Lance Wyman as part of the “Metro” project since the 1970s, and is one of the key elements of the visual culture of transportation of the Metro Collective Transportation System (STC Metro). This style has become the iconic fundamental of public transportation for the residents of Mexico City. In this edition, the lowercase types are an “unofficial” adaptation for the Tipo Metro CDMX, enriching the typography with a visual style of highs and lows, so the base design is dispensed with as my own work to emphasize the lowercase types exclusively, In addition, some accentuation characters have been added, extending their use to other languages. The types are a new proposal by Ixipcalli in the current year 2023.

Crox™ is a sans-serif professional typeface inspired by crude geometry, creativity, and art. In the font family, there are 19 styles, including upright and italic, It is constructed of big lowercase letters with a maximum x-height for excellent optical reading. English letters are supported as a numerator and denominator set, this feature may aid in the creation of fractions using letters and numbers, as well as for sophisticated scripting and various scientific fractions forms. All weights support over 25 professional OpenType features within each style, with extensive coverage of western languages. These features were originally planned for personal and professional use, including multi-alternative characters in Styles: 1, 2, 4, 10, 11. Operational styles 6, 7 are enhanced with some scientific forms, to write the fit derived (SI units' expressions). Otherwise, it supports a wide range of professional factory pricing styles for business and marketing, as well as retail pricing styles in Sets 5, 8, and 9, with ligatures, old-style numerals, ordinals, swashes... Crox™ is enhanced with a poster weight like the fantastical type to fulfill your creative needs in three styles: poster, poster oblique, and poster italic for ADS and web design, branding, or product design. Glyphs: More than 970 glyphs, including those accessible with OpenType features. Powerful OpenType features: Standard Ligature, Alternate access, Automatic ordinals (English, French...), Case sensitive, localized forms, Numerator set, Denominator set, Subscript, Superscript, Swash, Stylistic alternate, Styles 1,2,3,4,5(Pricing style 1), 6(Derived Units),7(Advanced Fractions for Scientific units, Derived Units Vulgar Form), Set 8 (Pricing Style 2), Set (Pricing Style 3), Proportional Old-style, Tabular Old-style, Proportional Lining, Tabular Lining, Zero with slash, Fractions (Default, Automatic). Suitable for: logo and modern branding, web design, packaging, Product packaging, Articles, scientific document, Product user guides, multiple works in the Media, Design, ADS... Specimen Crox™ is a trademark of Yassine Abdi.

"Berganza" is a typeface designed as a tribute to the spanish century called "Siglo de Oro". Embellished with several ornaments and swashes, it quickly reminds an age in which castilian arts & letters were flourished, as well as the fantasy knighty fables adventures of heroes, loved ladies and evil villains. Although the Siglo de Oro cannot be set in specific dates, it is generally considered to have lasted more than a century; between 1492, the year of the discovery of America and 1681, the year in which the writer Pedro Calderón dela Barca died. Lope de Vega, Francisco de Quevedo, or even William Shakespeare (in England) are also famous figures of this time. Berganza typeface takes its name from the main character of the picaresque novel "The Conversation of the Dogs" (Cervantes, 1613). Berganza is able to speak with the other dog Scipio on a big number of social & philosophical topics. Talking about technics, Berganza is a modern typeface but with a humanist flavour. Thanks to its various styles and flourishes, it immediately refers to the culteranism aesthetic of that time, whose aim was to elevate the noble over the vulgar. But also, Berganza takes advantage of the contemporary technology, highlighting in his drawing the contrasted forms and certain broken and unusual strokes in order to give it a brave and different style touch. Berganza includes four weights to be used for continuous reading with great visual richness. However, it is more recommended for large sizes, since its unusual and particular details appear when the letter grows. Finally, the hundreds of glyphs and Opentype features that it has incorporated, allow us to change the aesthetics of the type according to our needs. OPENTYPE FONT 518 CHARACTERS 1113 GLYPHS 4 INSTANCES (Regular, Bold, Italic & Bold Italic) 38 LANGUAGES 28 LAYOUT FEATURES (stylistic sets, ligatures, historical ligatures, swashes, contextual alternates, numerals, etc) DESIGNED BY CARLOS CAMPOS IN 2021 www.cuchiquetipo.com Dummy text from wikisource.org («Rinconete y Cortadillo», by Miguel de Cervantes).

The turn of the millennium marked a significant shift in the world of design. From the pulsating lights of Times Square to the glowing screens of our computers, technology became an essential part of our lives. Inspired by this futuristic aesthetic, the Xyzai typeface brings a unique blend of industrial elegance and scientific clarity to your message. Xyzai’s segmented LED-inspired structure and unusually wide letterforms are sure to catch the eye of any viewer. Its unconventional design allows for a voice that is both striking and sophisticated. Whether you’re creating a digital display, poster, or magazine layout, Xyzai adds a touch of boldness and sophistication to any project. This Y2K-inspired techno typeface comes in two styles—regular and italic—allowing for versatility in your design choices. Whether you’re looking to create a sleek and modern feel or want to add a touch of edginess to your design, Xyzai is the perfect choice. The ruggedness of Xyzai’s design is reflective of the technology that inspired it, giving it a raw, authentic feel. Its LED-inspired design is both innovative and timeless, making it a font that will stand the test of time. In conclusion, Xyzai is a typeface that bridges the gap between technology and art. Its industrial elegance and scientific clarity make it a must-have for any designer looking to create a bold and striking message. Choose Xyzai and embrace the future of design today. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, 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, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venda, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

As if gliding in on the tide, ITC Kahana floats across the page with the pulse and sway of the sacred Hawaiian hula dance. The original drawings for this display typeface were created while designer Teri Kahan lived in the Aloha State, and its bold verticals symbolically convey the power and strength of the Polynesian people. Kahan has spent most of her life working with letters. She discovered Speedball lettering pens in her teens, opened a design studio that specialized in the lettering and calligraphic arts while in her early twenties, and grew her business in California and Hawaii. Today, she embraces new design challenges and digital technology, but letters are still at the core of her work. In ITC Kahana, Kahan created a design that is both distinctive and versatile. Menus, posters, display headlines, packaging and brochures fall easily within this typeface's range. And the word “kahana” is more than just a namesake: in Hawaiian, “kaha” means “to mark, draw, place, turn or surf,” and “na” means “belonging to.” ITC Kahana also includes an enchanting decorated alphabet in the lowercase position that expands this typeface's usefulness to the designer.

Pilar and Ferran based Arlette on the fast stroke of one letter from a Roger Excoffon family, but along the way they abandoned that starting point in favour of experimentation. Many sans serifs are like a svelte black dress: functional, beautiful, and the unfussy outfit for a nice evening get together. The Arlette family isn’t like this. It’s a stunner — an incandescent reimagining of what defines a sans and how it can look. Arlette explores the boundaries of the sans serif landscape and returns with forms developed from gestural vigour. Thinking of it as “painterly” may at first seem to fit, but it underestimates Arlette’s ability to master an unseen world of countless emotions and physical applications: magazines, branding, editorial, teen and young adult works, book covers, and a host of products and packaging whose content will be amplified with Arlette’s voice. Not only does Arlette use its eight weights plus italics to speak in Latin-based scripts, it is also fluent in Thai and has six weights (hairline through bold) with which it meets that challenge, whether in text or display. Arlette Thai’s modern nature is seen in two features for the script. One is the decorative Thai characters that are based on original palm leaf manuscripts. Another is a version of the Latin numerals adapted to the height of the script due to their wide use in Thailand. Arlette Thai has been meticulously developed, including contextual kerning to avoid mark clashes. Arlette’s OpenType capabilities include mathematic and scientific figures, positional forms, pointers, arrows, and oldstyle, lining, and tabular lining numerals. In addition to all this, it’s packed with swashes and swash ligatures in both scripts for enthusiastic typesetting. Because it pushes experimentation without compromising readability, both Arlette Thai and Latin are surprisingly legible in small sizes and arrestingly beautiful when their details can be seen.

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

Carnero™ is a feisty hybrid of precise geometry and calligraphic flair; a design that walks that fine line between being sensible and a standout. In an increasingly monotone typographic landscape – Carnero has a unique pulse that moves the reader along with a new energy. Carnero gives life to simple utility with kinetic letter shapes, open apertures, and generous counters Drawn by Steve Matteson for the Monotype Studio, Carnero’s versatility is its strength. From digital ads and applications to packaging and branding, Carnero is comfortable and contemporary. The lightest and boldest weights create inviting headlines, while the middle weights read well for body copy. Used together, they build a lively brand and a clear hierarchy. Matteson infused Carnero with a modernist exterior resting on a 10th century calligraphic foundation. Delightful flourishes on the capital R and K, and lowercase a, k and l, give the design a distinctive demeanor; while the alternate italic swash caps are a saucy nod to the scribes. The result is a design that is warm, approachable – and a bit lighthearted. Matteson describes Carnero as, “transcending the static posture of the geometric sans genre.” The Carnero family is a compact collection of six distinct weights, ranging from an engaging light to an authoritative black, each with an italic counterpart. Its extended Latin character set ensures worry-free localization for eastern/western European languages. This is a design that will prove its value many times over. Matteson has drawn over 80 distinctive typeface families for major corporations, branding firms and retail sales. His passions for the outdoors and performing music balances an intense focus on work – and subtly finds its way into typefaces like Carnero. Matteson has designed custom fonts for three generations of the Microsoft Xbox® game console, the original core fonts for the Android® mobile-phone platform, in addition to branding typefaces for Toyota®, Rocket Mortgage®, and Google®. He also drew the Kootenay™ family, Monotype’s proprietary branding typeface. Matteson’s retail designs range from the elegant and utilitarian Open Serif™ (a companion to Google’s Open Sans), to a growing series of Frederic Goudy revivals. Carnero Variables are font files which are featuring one axis and have a preset instance from Light to Black.

Carnero™ is a feisty hybrid of precise geometry and calligraphic flair; a design that walks that fine line between being sensible and a standout. In an increasingly monotone typographic landscape – Carnero has a unique pulse that moves the reader along with a new energy. Carnero gives life to simple utility with kinetic letter shapes, open apertures, and generous counters. Drawn by Steve Matteson for the Monotype Studio, Carnero’s versatility is its strength. From digital ads and applications to packaging and branding, Carnero is comfortable and contemporary. The lightest and boldest weights create inviting headlines, while the middle weights read well for body copy. Used together, they build a lively brand and a clear hierarchy. Matteson infused Carnero with a modernist exterior resting on a 10th century calligraphic foundation. Delightful flourishes on the capital R and K, and lowercase a, k and l, give the design a distinctive demeanor; while the alternate italic swash caps are a saucy nod to the scribes. The result is a design that is warm, approachable – and a bit lighthearted. Matteson describes Carnero as, “transcending the static posture of the geometric sans genre.” The Carnero family is a compact collection of six distinct weights, ranging from an engaging light to an authoritative black, each with an italic counterpart. Its extended Latin character set ensures worry-free localization for eastern/western European languages. This is a design that will prove its value many times over. Matteson has drawn over 80 distinctive typeface families for major corporations, branding firms and retail sales. His passions for the outdoors and performing music balances an intense focus on work – and subtly finds its way into typefaces like Carnero. Matteson has designed custom fonts for three generations of the Microsoft Xbox® game console, the original core fonts for the Android® mobile-phone platform, in addition to branding typefaces for Toyota®, Rocket Mortgage®, and Google®. He also drew the Kootenay™ family, Monotype’s proprietary branding typeface. Matteson’s retail designs range from the elegant and utilitarian Open Serif™ (a companion to Google’s Open Sans), to a growing series of Frederic Goudy revivals. Carnero Variables are font files which are featuring one axis and have a preset instance from Light to Black.

Fashion style meets typography in 9 styles The Ysans designed by Jean François Porchez is a sanserif influenced by Cassandre lettering pieces and the geometric sanserif style from the inter-war period. Since Chanel logo, the geometric sanserif style is the favorite typographic thing in fashion. Ysans asserts this reference. Not only Haute-Couture houses use these categories of typefaces for their visual identity, but fashion magazines usually strength their layout with these geometric sanserif when a Didot isn’t used. Details of Ysans drawings Nevertheless, Ysans takes its sources in certain details imagined by the graphic designer Adolphe Mouron Cassandre for the monogram then logotype Yves Saint Laurent (1961 …). One thing keeps coming in again and again in Cassandre’s post-war graphic work: the pointed finish and endings, the references to the Roman capitals engraved and unique features such as the open R or other details influenced by Antiqua and calligraphic forms or ductus (you should have in mind that an earlier typeface by Cassandre is the Peignot, a modern uncial based on researches of the palaeographer Jean Mallon.) Certain letters from the Ysans are directly an homage to the Yves Saint Laurent logo, the R, the narrow U, the apex of the N, and all the details of such pointed endings on the f and t lowercases. The Ysans, a typeface between diversity and synthesis There are several ways to approach the design of a new geometric sanserif. The first approach is to follow the Bauhaus philosophy by designing in the most rational way, typographic forms based on simple geometric elements: square, round, triangle. Another approach is to start a revival based on an historical geometric typeface and optimize the original ideas, in order to adapt certain details to the contemporary needs. For Ysans, the approach is somewhat different because this project started in 2011 at ZeCraft as a typeface designed specifically for Yves Saint Laurent Beauty, still in use by the brand under its original name Singulier. The Singulier-Ysans has been conceptualized by ZeCraft, both drawing its sources from Cassandre and various historical geometric typefaces. Some will spot specific traits as in Futura, others in Metro or Kabel. By closely observing the Ysans, the result can also recall the way Eric Gill draw the curves and endings of his typefaces, of which Jean François Porchez is a fervent admirer. In the end, Ysans is like fashion as envisioned by Yves Saint Laurent who constantly revealed multiple references in his new collections, without being recognisable any other than with his unique style. “Fashions pass, style is eternal. Fashion is futile, not style.” Cherry on the cake: Ysans Mondrian Ysans Mondrian, named in reference to the Mondrian dress created by Yves Saint Laurent, is the multi-layer version of the family. Ysans, fashion style meets typography Club des directeurs artistiques, 49e palmarès

Varidox, a variable typeface design, allows users to connect with specific design combinations with slightly varied differences in style. These variations in design enable the user to reach a wider scope of audiences. As the name suggests, Varidox is a paradox of sorts--that is, a combination of two disparate forms with two major driving influences. In the case of type design, the conflict lies in the age-old conundrum of artistic expression versus marketplace demand. Should the focus center primarily on functionality for the customer or err on the side of advancing creativity? If both are required, where does the proper balance lie? Viewed as an art, type design selections are often guided by the pulse of the industry, usually emphasizing unique and contemporary shapes. Critics are often leading indicators of where the marketplace will move. Currently, many design mavens have an eye favoring reverse stress. However, these forms have largely failed to penetrate the marketplace, another major driving factor influencing the font world. Clients now (as well as presumably for the foreseeable future) demand the more conservative forms of monoline sans serifs. Typeface designers are left with a predicament. Variable typefaces hand a great deal of creative control to the consumers of type. The demands of type design critics, personal influences of the typeface designer and the demands of the marketplace can all now be inserted into a single font and adjusted to best suit the end user. Varidox tries to blend the extremes of critical feature demands and the bleeding edge of fashionable type with perceptive usability on a scalable spectrum. The consumer of the typeface can choose a number between one and one-thousand. Using a more conservative style would mean staying between zero and five hundred, while gradually moving higher toward one thousand at the high end of the spectrum would produce increasingly contemporary results. Essentially, variable fonts offer the ability to satisfy the needs of the many versus the needs of the few along an axis with a thousand articulations, stabilizing this delicate balance with a single number that represents a specific form between the two masters, a form specifically targeted towards the end user. Practically, a user in some cases may wish to use more conservative slab form of Varidox for a more conservative clientele. Alternatively, the same user may then choose an intermediate instance much closer to the other extreme in order to make a more emphatic statement with a non-traditional form. Parametric type offers a new options for both designers and the end users of type. In the future, type will be able to morph to target the reader, based on factors including demographics, mood or cultural influences. In the future, the ability to adjust parameters will be common. With Varidox, the level of experimentality can be gauged and then entered into the typeface. In the future, machine learning, for example, could determine the mood of an individual, their level of experimentality or their interest and then adjust the typeface to meet these calculated parameters. This ability to customize and tailor the experience exists for both for the designer and the reader. With the advent of new marketing technologies, typefaces could adjust themselves on web pages to target consumers and their desires. A large conglomerate brand could shift and adapt to appeal to a specific target customer. A typeface facing a consumer would be more friendly and approachable, whereas a typeface facing a business to business (B2B) customer would be more businesslike in its appearance. Through both experience, however, the type would still be recognizable as belonging to the conglomerate brand. The font industry has only begun to realize such potential of variable fonts beyond simple visual appearance. As variable font continues to target the user, the technology will continue to reveal new capabilities, which allow identities and layouts to adjust to the ultimate user of type: the reader.

Mymra fonts – an upgraded version of Mymra Forte and Mymra Mono (2009), with a careful re-dress of glyph shapes, and the extension of glyph amounts – which enables support of more Latin languages. One more weight – Black – has been added to the original three of Mymra Forte fonts. Fonts are intended for use in a vast variety of publications.

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.