Generale Script is the font of choice for writing things that go beyond words. This font type is designed with high detail to deliver stylish elegance. So, it can be said, the character of the change is very beautiful, a kind of classical decorative copper script. Generale Script presents alternative variants of most letters, binders, and many calligraphy tips, ideal for elegant labels, high-end packaging, stationery, and compositions for certain brands, beautiful titling, verses, letters and short texts, which are intended to be read only with the eyes or intended to whisper into someone's ear. Generale Script has 300+ glyphs and alternative characters, including various language support. With the OpenType feature with an alternative style and elegant binder. The OpenType feature does not function automatically, but you can access it manually and for the best results needed for your creativity in combining these Glyph variations. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use stylistic sets fonts in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternates / swashes, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all the alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me. :) Thank You, Alpha Bento

Compendium is a sequel to my Burgues font from 2007. Actually it is more like a prequel to Burgues. Before Louis Madarasz awed the American Southeast with his disciplined corners and wild hairlines, Platt Rogers Spencer, up in Ohio, had laid down a style all his own, a style that would eventually become the groundwork for the veering calligraphic method that was later defined and developed by Madarasz. After I wrote the above paragraph, I was so surprised by it, particularly by the first two sentences, that I stopped and had to think about it for a week. Why a sequel/prequel? Am I subconsciously joining the ranks of typeface-as-brand designers? Are the tools I build finally taking control of me? Am I having to resort to “milking it” now? Not exactly. Even though the current trend of extending older popular typefaces can play tricks with a type designer’s mind, and maybe even send him into strange directions of planning, my purpose is not the extension of something popular. My purpose is presenting a more comprehensive picture as I keep coming to terms with my obsession with 19th century American penmanship. Those who already know my work probably have an idea about how obsessive I can be about presenting a complete and detailed image of the past through today’s eyes. So it is not hard to understand my need to expand on the Burgues concept in order to reach a fuller picture of how American calligraphy evolved in the 19th century. Burgues was really all about Madarasz, so much so that it bypasses the genius of those who came before him. Compendium seeks to put Madarasz’s work in a better chronological perspective, to show the rounds that led to the sharps, so to speak. And it is nearly criminal to ignore Spencer’s work, simply because it had a much wider influence on the scope of calligraphy in general. While Madarasz’s work managed to survive only through a handful of his students, Spencer’s work was disseminated throughout America by his children after he died in 1867. The Spencer sons were taught by their father and were great calligraphers themselves. They would pass the elegant Spencerian method on to thousands of American penmen and sign painters. Though Compendium has a naturally more normalized, Spencerian flow, its elegance, expressiveness, movement and precision are no less adventurous than Burgues. Nearing 700 glyphs, its character set contains plenty of variation in each letter, and many ornaments for letter beginnings, endings, and some that can even serve to envelope entire words with swashy calligraphic wonder. Those who love to explore typefaces in detail will be rewarded, thanks to OpenType. I am so in love with the technology now that it’s becoming harder for me to let go of a typeface and call it finished. You probably have noticed by now that my fascination with old calligraphy has not excluded my being influenced by modern design trends. This booklet is an example of this fusion of influences. I am living 150 years after the Spencers, so different contextualization and usage perspectives are inevitable. Here the photography of Gonzalo Aguilar join the digital branchings of Compendium to form visuals that dance and wave like the arms of humanity have been doing since time eternal. I hope you like Compendium and find it useful. I'm all Spencered out for now, but at one point, for history’s sake, I will make this a trilogy. When the hairline-and-swash bug visits me again, you will be the first to know. The PDF specimen was designed with the wonderful photography of Gonzalo Aguilar from Mexico. Please download it here http://new.myfonts.com/artwork?id=47049&subdir=original

Vanitas is an elegant high contrast contemporary sans. It is rooted in the style of a classic didone, excluding the typical serifs and ball terminals as well as being designed with a cleaner, more reductionist appearance. Strict attention was given to the cohesiveness and balance between letterforms as well as the careful refinement of all curves. Stylistically, Vanitas’ alluring, sophisticated sensibility is directly inspired by high fashion. The upright styles are complimented by a pairing of optically adjusted true italics, which were purposefully adapted to retain the sharpness of their counterparts. Abandoning traditionally executed cursive italic letterforms retains Vanitas’ sharp characteristic through each style. Features include: Precision kerning Standard Ligatures set including ‘f’ ligatures (fb, ff, fh, fi, fj, fk, fl ffb, ffh, ffi, ffj, ffk, ffl, ffy, ae, oe, AE, OE) Discretionary Ligatures set including (st, ct, No) Alternate characters (H, A, AE, Q, $, h circumflex, ¶ and numero sign) Case forms (shifts various punctuation marks up to a position that works better with all-capital sequences) Capital Spacing (globally adjusts inter-glyph spacing for all-capital text) Slashed zero Full set of numerators/denominators Tabular Lining, Proportional Lining, Tabular Oldstyle and Proportional Oldstyle Figures Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

ION A is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there's a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION A are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what's important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

Denominary typeface is about precision, beauty, and refinement. It's crafted with care and attention to detail for professional creative people who value quality and distinction. The Denominary typeface has an advanced feature that sets it apart from others: auto-active contextual alternates. Our font engineer writes this feature to minimize kerning between characters automatically, making it very convenient and easy to use, especially for web purposes where minimal kerning means a smaller font size. The feature adjusts the kerning based on the specific characters being used, ensuring optimal spacing between letters. Contextual alternates will push your typography project to a balanced form. We designed the letterform by considering the white space and contrast to get a natural voice and fluid, and of course, this will happen in a legible and stylish. Denominary typeface offers extensive language support and stylistic variations, thanks to its 482 glyphs. It also has discretionary ligatures, case-sensitive forms, and slashed zeroes for added typographic options. The condensed style saves space, and seven weights will provide more options. Denominary typeface brings refinement, exclusivity, and sophistication to any design project. It's a typeface that tells a story of precision, beauty, and distinction. Go ahead with the game in terms of its advanced auto-active contextual alternates feature, giving you a competitive edge in the design field.

ION C is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there's a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION C are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what's important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

Flamante Sans is a group of eight corporate typographies of geometric construction, without serifs and neo-grotesque style, are fonts with an excellent readability for titles, short texts or for use in signage. The group of fonts is made up of 4 weights: Light, Book, Medium & Bold plus their respective italics. This initial development of Flamante Sans typography has been the basis for the drawing of the "Flamante family" fonts composed of 5 styles (Sans, Serif, SemiSlab, Round & Stencil) making a total of 40 fonts that are perfect corporate use, advertising or editorial titles or signage of public spaces for example. They include the Bitcoin symbol. Swiss-style fonts built on a 4 ◊ 6 building grid, formed with 144 x 119 units (Medium version), two digits taken from the fibonacci and Perrin sequences, these measures define the width and height of the vertical and horizontal antlers and the overall proportion of the font. The metrics and kerning have been carefully set up for fluent reading in paragraph texts. ================================== - OpenType Features: Standard Ligatures, Additional languages, All Alternates, Alternate Annotation Forms, Superscript, Kerning, Superiors, Capital Spacing, Localized Forms, Superior letters, Discretionary Ligatures, Subscript, Fractions, Slashed Zero, Inferiors, Extended Fractions, Scientific Inferiors, Ordinals, Denominators, Oldstyle Figures, Numerators, Historical Forms, Historical Ligatures. They include the Bitcoin symbol. - 500 glyphs. Latin Extended-A ï OTF & TTF

Slowglass is a geometric semi-serif accompanied by geohumanist italics. Softly rounded edges lend it a friendly tone. The typeface includes two categories of stylistic alternates, available as font features as well as complementary font subfamilies. Text forms for increased legibility (Slowglass Text) and uncial-inspired unicase variants (Slowglass Alt). At over 1500 glyphs per weight, the fonts support 80+ Latin-based languages (incl. Vietnamese), 14 Cyrillic-based languages and polytonic Greek. OpenType features: Six sets of figures: proportional / tabular × oldstyle / lining / petite (ss20) Superscript and subscript figures Fractions, numerators, denominators Optional slashed zero Case-sensitive forms Glyph composition/decomposition (support for Navajo and Greek) Localization (Dutch, Marshallese, Bulgarian) Stylistic Sets: ss01 Roman: Two-story a, loopy α / Italic: Loopy α ss02 Roman: Simple g / Italic: Simple k ss03 Unicase r ss04 Alt f t г п т γ ss05 Descending η χ ss06 Unicase β ζ θ ξ ss07 Alt в г д ж з к п т ю ss08 Latinized ς, cursive и й ss09 Round Δ Λ Д д Л л Љ љ ss10 Full-stem a q ss11 Seriffed I ss12 Unicase A ss13 Unicase E Ω ss14 Descending F T Г П ss15 Descending G P Q Y ss16 Unicase M N И H Y ss17 Extending Φ Ψ ss20 Petite figures

ION B is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there’s a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION B are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what’s important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed à la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.” The great hype of Swisspalooza '07 prompted a look at Max Miedinger, the designer of Neue Haas Grotesk (later renamed to Helvetica). Surprisingly, what little biographical information available about Miedinger indicates that he was a typography consultant and type sales rep for the Haas foundry until 1956, after which time he was a freelance graphic designer — rather than the full-time type designer most Helvetica enthusiasts presume him to have been. It was under that freelance capacity that he was commissioned to design the regular and bold weights of Neue Haas Grotesk typeface. His role in designing Helvetica was never really trumpeted until long after the typeface attained global popularity. And, again surprisingly, Miedinger designed two more typefaces that seem to have been lost to the dust of film type history. One is called Pro Arte (1954), a very condensed Playbill-like slab serif that is similar to many of its genre. The other, made in 1964, is much more interesting. Its original name was Horizontal. Here it is, lest it becomes a Haas-been, presented to you in digital form by Canada Type under the name of its original designer, Miedinger, the Helvetica King. The original film face was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This face is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces four new weights, ranging from Thin to Medium, alongside the bold original. The Miedinger package comes in all popular font formats, and supports Western, Central and Eastern European languages, as well as Esperanto, Maltese, Turkish and Celtic/Welsh. A few counter-less alternates are included in the fonts.

INTRODUCING THE GEMINI TYPE FONTPACK, an industrial-strength OpenType font bundle inspired by and optimized for dimensional type. Chank Co is proud to introduce the new “Gemini Type Fontpack,” a collection of ten fonts available for use on your desktop computer or web pages, but also optimized for use as exterior cast-metal signage in bronze or aluminum in collaboration with Gemini, a family-owned industry leader in the wholesale manufacture of dimensional letters, logo and plaques based in Cannon Falls, MN. Gemini collaborated with Chank Co to assemble a line of fonts that would work well as dimensional, cast-letter signage for use on the sides of buildings, in stores, and other public spaces. The fonts included in the “Gemini Type Fontpack” are reinterpretations of previous Chank Fonts, now optimized for dimensional signage display, but then also repackaged and presented for your use as an OpenType desktop computer font collection: GT-Adrianna DemiBold GT-Adrianna Bold GT-Adrianna ExtraBold GT-Fairbanks GT-Forward Thinking GT-Hydropower ExtraCondensed GT-Kegger GT-Shopaganda GT-Shopaganda Condensed GT-Timeless Geometric. This is a multi-purpose collection of heavy-lifting fonts to convey your message strong and clearly, full of legibility and clarity, but also displaying personality and distinction. You can purchase and download these fonts in OpenType format for your desktop computer right now via MyFonts. Get it today and you'll also get a great introductory special sale price. These exclusive typefaces are also available as dimensional letters, manufactured by Gemini in bronze or aluminum, from 6" tall up to 18" tall, with a variety of finish options, for use in public signage and wayfinding systems. Gemini manufacture their products in 20 plants through out the US, Canada and Mexico, and all their products are backed by a lifetime guarantee. Chank Co is excited to offer these ten strong, industrial font designs in durable cast metal format via Gemini. ----- More about the fonts in the Gemini Type Fontpack: GT-Adrianna DemiBold, Bold, and Adrianna ExtraBold Clear, invisible, no-nonsense, multi-purpose. A versatile sans-serif heavy-lifting font family. GT-Fairbanks Vintage, silent film, speedball, old-timey, old-fashioned, retro. Based upon the lettering in the 1914 silent film, “The Good Bad Man.” GT-Forward Thinking Futuristic, semi-serif, clean, distinctive, contemporary, idiosyncratic. A font for tomorrow and the future. GT-Hydropower ExtraCondensed Extra-condensed, compressed, strong, rigid and concise. GT-Kegger Strong, sporty, collegiate, athletic. Nothing says “GO TEAM” quite like a big, bold slab-serif font. GT-Shopaganda and GT-Shopaganda Condensed Industrial, geometric, constructivist, propaganda, oh there’s so much to love about the strength and clarity of these two fonts. Based on Chank’s Liquorstore and Nicotine fonts, which have been married and unified here, with a few new twists and turns to their letterforms. GT-Timeless Geometric Bauhaus, anyone? The geometric and minimalist alphabet here is about as clean and straight-forward as a semi-condensed sans can get. ----- All of the fonts in this package are available individually, or save money when you purchase all ten of them as a collection. Download this digital font package from MyFonts today and you'll receive both OpenType and TrueType formats in your download for your desktop computer. Webfont format is also available. (If you'd like to use these fonts as cast-metal letters for exterior, architectural purposes, visit the Gemini website to learn more about how you can find a signage retailer near you.)

Whatever the medium, Girard’s love for typography was the common thread that wove his work together. We are honored that the Girard family has entrusted us to celebrate and expand upon the legacy of this design icon with this collection of fonts. The Girard Slab family gracefully synthesizes illustrative sensibilities into a practical typographic framework. Slab’s three widths and four weights ensure versatility in a modern editorial setting while its gentle curves transcend the sterility of traditional typography to add an unprecedented warmth and personality. From boutique chocolate packaging to the titling sequence for an indie vegan superhero cartoon, Girard Script deftly adds a contemporary sophistication to text and display settings. Inspired by a workhorse lettering style that helped Alexander Girard implement thousands of design elements in his overhaul of the Braniff identity system, Girard Sky pulls its weight in any contemporary application. In Girard Sansusie, each character stands alone as an illustrative element while coming together with its counterparts as a whimsical yet functional typeface. FEATURES: The ligatures feature substitutes specially-drawn letter combinations that combine two, three or even four characters to create smoother transitions and simulate lettering sensibilities. Girard Slab’s three widths and four weights ensure versatility in a modern editorial setting while its gentle curves transcend the sterility of traditional typography to add an unprecedented warmth and personality. Copious alternate characters and “smart” OpenType programming allow Sansusie to escape the rigid confines of typography to come alive as if flowing from Girard’s sketchpad. This animation shows a sampling of the swash characters available in the font. GIRARD CREDITS: Typeface Design: Alexander Girard, Ben Kiel, Ken Barber, Laura Meseguer Typeface Production: Ben Kiel Typeface Direction: Christian Schwartz, Andy Cruz, Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Introducing Monck, a modern display font that combines the best of modern typography and classic serif styles. With its sleek design and unique lettering options, Monck is perfect for a wide range of design projects. Whether you're creating logos, posters, quotes, or social media graphics, Monck offers a plethora of alternates and end swashes through its OpenType features. Monck comes with three different file formats - otf, ttf, and woff - making it compatible with various design software programs such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe InDesign, and Corel Draw. This means you can easily access and utilize the alternate glyphs in Monck to create eye-catching lettering compositions. The OpenType features in Monck allow you to access uppercase and lowercase letters, as well as alternates and ligatures, giving you endless possibilities for creative combinations. Additionally, Monck supports multiple languages, making it a versatile choice for designers around the world. In your zip package, you'll find the Monck font files in otf, ttf, and woff formats, providing flexibility for different design projects. The font includes uppercase and lowercase letters, numerals, punctuation, and symbols, ensuring that you have all the tools you need to create stunning designs. Monck is a versatile font that can be used for various design purposes, such as logotypes, headings, covers, posters, product packaging, headers, merchandise, social media graphics, greeting cards, and more. Its modern and classic fusion style adds a unique and contemporary touch to your designs, making them stand out in any context. In summary, Monck is a modern display font that offers a wide range of alternates and ligatures through its OpenType features, making it a powerful tool for creative lettering compositions. With its multilingual support and compatibility with popular design software, Monck is a must-have font for any designer looking to add a touch of modernity and versatility to their projects. So why wait? Get Monck now and start creating stunning designs with ease!

Rahere Informal is a slab semi-serif typeface that has a seriously charming personality and a little spring in its step. Serifs bend and flick, giving the characters a spirited, almost calligraphic feel. It's lively and friendly without being whimsical, great for messages that need a casual but credible tone with a bit of zing in the mix. Rahere Informal is suitable for a wide range of applications such as information signage, packaging, advertising, brochures, catalogues, screen text, visual identities and opera festivals. Want an annual report that pleases the board, shareholders and investors? Set it in Rahere Informal - that’ll put a smile on everyone’s face. The family comes in six weights from light to extra bold with corresponding italics. The lighter weights are more delicate, an evenly-spaced flamboyance of flamingos basking in the sun. As the weights get heavier, characters transform into a tight-knit group of line dancing rhinos. All styles contain a set of swash caps, a few ligatures and alternatives. Nice. The character set covers most European languages plus Vietnamese. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles (matching Rahere Sans and Rahere Slab). If a companion sans serif is needed, Rahere Sans is the ideal partner. They are both part of the extended Rahere typeface family and have been designed to complement each other. Seriously charming, charmingly serious. Seriously, what more do you want from a typeface? Rahere, founder of St Barts in London The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded the Priory of the Hospital of St Bartholomew, London in 1123. In 2007 I was successfully treated at Barts for relapsed testicular cancer so I’m indebted to all the doctors, nurses and support staff who work there. A special shout out to Orchid Cancer – a UK charity that helps men affected by cancer – who funded the research for my treatment.

Acarau is a 6 fonts display typeface with high reverse contrast—since from Roman capitals and calligraphy, usually Latin alphabet letters have thiner horizontal steams and thicker verticals, these features being optical or visual—quite adequate for logos, headlines and posters. Moreover, the style of the typeface is inspired by Italics form factor: lowercase letters having less strokes to make their shapes; A has one story; E has one stroke shape, such as K, G, Y and Z; F has a descent. To give it more calligraphic feeling, there is contrast for uppercases as well, this is very perceived by the diagonal letters like A, K, M, N, V, W, X, Y and Z. J also has a descent. Q and R have natural swashes, but they have alternates in case the costumer want to go for more usual forms—including accent marked letters. Acarau is a 12 months project, the contrast for uppercases were increasing as the process was made. In the middle it is found suitable blend the letter shapes with the history of Brazilian music from the 70’s and 80’s, since the font has a tropical, warm, spicy and nostalgic feeling. Songs from bands and singers that emerged on Rio de Janeiro like Paralamas do Sucesso, Cazuza, Lulu Santos and Kid Abelha bring the beach accent and rhythm that this font has. OpenType features complement the set, which has Multi-Lingual support for a comprehensive Latin set, including Vietnamese—meaning more than 640 glyphs: Case-Sensitive forms, so symbols can properly align to uppercase letters; Ligatures, to better reading for z_y and L_I, and style for s_s, w_w_w; also for ease arrows and punctuation typing; Stylistic Set 1: two story a—including accent marked letters; Stylistic Set 2: two story g—including accent marked letters; Stylistic Set 3: diagonal (usual) z—including accent marked letters; Stylistic Set 4: flower i and j dots; Contextual alternates; Terminal forms, for R and Q; Ordinals.

Introducing Kamasunday Dynamic Blackletter, a typeface that seamlessly blends the timeless elegance of blackletter script with a modern, dynamic twist. This font is a perfect fusion of tradition and innovation, offering an impressive array of 837 meticulously crafted glyphs, ligatures, and alternates that will elevate your designs to new heights. Key Features: Dynamic Wave Design: Kamasunday Dynamic Blackletter features a captivating wave-like design that adds a sense of movement and energy to your text. Each character flows seamlessly into the next, creating a visually stunning and cohesive text. Modern Elegance: This font embodies the essence of modern elegance, making it perfect for a wide range of design projects, from branding and packaging to invitations and posters. Extensive Glyph Set: With a whopping 837 glyphs at your disposal, you have access to a vast selection of characters, including uppercase and lowercase letters, numerals, punctuation, and a variety of special characters, ensuring your design needs are met with versatility. Ligatures: Kamasunday Dynamic Blackletter includes an extensive set of ligatures, allowing you to achieve a more fluid and natural look in your text. These ligatures create seamless connections between characters for a polished and sophisticated appearance. Alternates: The font offers an abundance of alternate characters and swashes, giving you the creative freedom to experiment and customize your text. These alternates add an extra layer of uniqueness to your designs. Versatile Usage: Whether you're designing a vintage-inspired logo, a Gothic-themed poster, or a contemporary Music event poster, Kamasunday Dynamic Blackletter adapts beautifully to various design contexts. Timeless Appeal: While embracing modernity, this font retains the timeless charm of traditional blackletter script, making it a versatile choice for projects that demand a touch of history and sophistication. Elevate your design projects with Kamasunday Dynamic Blackletter, where the past and present merge into a harmonious typographic masterpiece. This font promises to breathe life into your creative visions, making your designs stand out with its unique style and extensive character set.

Fruitygreen is Indonesian designer Andi AW. Masry's second typeface following Coomeec™. Idiosyncratic but appealing forms are the signature feature of Fruitygreen™ and provide this new typeface with its truly distinctive character that you can utilize for your projects - and not just in headlines. The unique forms of fruits are not only individually fascinating, but are just as captivating when they are brought together, for example as decoration on a dining table. For Masry, these can be compared with an alphabet whose letters spell out in combination different words and with this as his inspiration, he based his designs for Fruitygreen on the versatile forms of fruits. However, it was not the whole fruits as such but rather small sections of their curves and ends that he decided to use. It is not only because of the characteristic line terminals that the rounded characters of Fruitygreen seem at first glance reminiscent of a brush-written calligraphic typeface; these are traces of the creation process, in which Masry used a digital brush. At the same time, Fruitygreen is by no means simply a brush font. Its dynamic characters reference biological forms and there is definitely something amoeba-like about them, particularly in the bolder variants, and they exude the same serenity and harmony that is inherent to organic structures. The many unconventionally shaped characters also provide for optical contrast. There is, for example, the very scaled down g", the open "q" and the lowercase "r", which has the form of the capital letter. Other letters, such as the sinuous "k" and the rounded uppercase "F" impart an exotic touch to Fruitygreen. Similarly remarkable is the "@", that has only a semi-circle. Available to the designer are other characters that can be used to accentuate a design, such as swash capitals and numerous ligatures. And, last but not least, there are also various numeral sets with oldstyle and lining figures for setting proportional text and table columns together with a selection of symbols, such as arrows and, appropriately, fruits. "

Introducing Sixty Niners - a retro display font that draws inspiration from unique typography and lettering found in vintage magazines, combined with modern typography styles. This font features modern ligatures that allow you to create beautiful lettering and artwork. With its open type features, including a variety of alternates and end swashes, Sixty Niners provides ample options for customization and creativity. Sixty Niners is perfect for a wide range of design purposes, including logotypes, headings, covers, posters, logos, quotes, product packaging, headers, merchandise, social media posts, greeting cards, and more. Its distinctive retro style adds a touch of nostalgia and elegance to your designs, making them stand out and capture attention. To access the alternate glyphs in Sixty Niners, you can use design programs that support OpenType features, such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe InDesign, and Corel Draw. This allows you to easily switch between uppercase and lowercase letters, apply alternates and ligatures, and create unique and customized lettering compositions that suit your design needs. In your zip package, you'll find the Sixty Niners font files in otf, ttf, and woff formats, providing versatility for different design projects. The font includes uppercase and lowercase letters, numerals, punctuation, and symbols, ensuring that you have all the elements you need for your designs. Sixty Niners also offers multilingual support, making it accessible for designers around the world to create designs in different languages. Whether you're designing for English, Spanish, French, or any other language, Sixty Niners has got you covered. In summary, Sixty Niners is a retro display font that combines vintage and modern typography styles, providing a unique and elegant look to your designs. With its open type features, multilingual support, and versatile design options, Sixty Niners is perfect for various design purposes. So, elevate your designs with Sixty Niners and create stunning artwork that captures attention and stands out from the crowd! Thank you for choosing Sixty Niners from our collection. Happy designing!

The script version of the typeface Viabella introduces us to the calligraphic side of the Berlin type designer and typographer Karl-Heinz Lange. The sketches for this script typeface, which resulted from the close cooperation with Veronika Elsner and Günther Flake, found their roots in sketch drawings which Karl-Heinz Lange had already drawn in the 1980’s. For the Viabella design, Karl-Heinz Lange drew the basic letterforms of the Black and Regular cuts with a brush. He then re-worked the drawings and transferred them on to tracing paper. The design studio Elsner+Flake in Hamburg cut these typeface extensions and later digitized them manually with the help of the IKARUS Sustem. With the Regular cut as a basis, Elsner+Flake extended the family with the Light version and interpolated and re-worked the Medium weight. The completion of the family was taken over by the type designer Björn Gogalla who had done the same kind of work on Rotola, a design which Karl-Heinz Lange had also created for Elsner+Flake. While Viabella was originally conceived as a headline typeface, its lighter weights can certainly be used for shorter text applications. The Black version creates powerful headlines with highly effective accents. With the help of swashes, which are available for all weights, the user can lighten up longer texts and add special character to titles. In contrast to pure headline fonts, Viabella has been enriched by an extensive complement of special characters. In addition to the Europa-Plus character set which allows setting type in over 70 latin-based languages, the user will find multiple versions of numerals as well as oldstyle figures, tabular and proportional lining figures, diagonal fractions, and a complete set of superior and inferior figures and fractions (60%). With such a rich character set, Viabella is not only ideal for many different uses in the areas of newspaper, magazine and advertising but it will surely be chosen for the design of greeting cards, invitations and other design projects within the privat sphere.

ATTENTION! See the newest version of Reina here. Reina Neue is now a family of 45 styles and it's also a Variable Font! Have a look. For the traditional version of Reina, you may stay here ;) --- Reina is Sproviero’s didone of the year. We recommend seeing its user’s guide . Inspired in the sweet letters of calligraphy and typography masters of our past; such as Didot, Bodoni and the incredible Herb Lubalin, its aim was to incorporate the decorative accolades from blackletter and copperplate styles of calligraphy into a Modern Roman typeface. Reina reflects sovereignty due to the enveloping atmosphere and the sensation of greatness that can be felt when using it. It has an unique way of standing over paper and screen, being its swashes responsible of an extreme elegance. Similar to what Lian did in his last font Breathe , Reina was designed to be playful yet formal: While none of its alternates are activated it can be useful for short to medium length texts; and when the user chooses to make use of its open-type decorative glyphs, it can be useful for headlines with dazzling results. TECHNICAL Reina is a family with many members. In order to achieve better results when printing, Lian took his time to design the necessary styles: Reina 72 Pro, prepared for display sizes; Reina 36 Pro, for medium sizes; and Reina 12 Pro, the best for text or decorative words in small size. Each of these members have variants inside, which are open-type programmed: The user decides which glyph to alternate, equalizing the amount of decoration wanted. Reina Engraved Pro has the same features than the variants mentioned above. The family also contains variants which were made exclusively for decoration. These are: Reina Words, a set of the most common words used in english, german, italian, french and spanish; Reina Capitals, which consists in a big set of ornamented capitals; and Reina Fleurons, those little friends which always help to embellish our work.

Archive Garamond is a typeface roughly based on the designs of Claude Garamond (ca. 1480 – 1561), a French publisher and a leading typeface designer of that period. Garamond’s influence on type design is reflected in many typefaces that are today known under different commercial names. While the majority of contemporary digital interpretations of the “Garamond types” are cleaner and more polished versions of that genre, Archive Garamond tries to keep the rough nature which was typical in the early days of printing. Archive Garamond has a rather unique, distinctive temperament which is even more emphasised with the preserved non-uniformity, such as irregular glyph shapes or a variable baseline. Although Archive Garamond was clearly made to be used for display sizes it works surprisingly well in text. Archive Garamond is availale in three versions, each containing approximately 600 glyphs (in Pro versions). Archive Garamond Pro A Professional version of the typeface contains all glyphs, including the advanced typographic forms, such as different sets of figures, small caps, swashes, historical forms, etc. The font also enables full use of the OpenType features. It fully supports the languages listed in the language list. Archive Garamond Std A Standard version of the typeface is meant to be used for the basic typographic work. It typically contains the most common glyphs. The standard figures are proportional lining. Besides kerning this version does not contain any advanced OpenType features. A Standard file type fully supports the languages listed in the Language list. Archive Garamond Exp An Expert version contains glyphs that are supposed to be used in advanced typographic works. This type of file contains uppercase and small cap glyphs with the proportional oldstyle figures as the default set. Besides kerning this version does not contain any advanced OpenType features (all OTF features have to be replaced manually). An Expert file type fully supports the languages listed in the Language list.

Prepare to be enchanted by the artistry of "Crispo," a font meticulously crafted through the delicate strokes of pointed pen calligraphy. In the world of typography, each character becomes a masterpiece, resonating with the eloquence of a brushstroke. Experience the Dynamic Elegance of Pointed Pen Mastery: Elegance with "Crispo" transcends mere quality; it embodies the essence of pointed pen calligraphy as a true masterpiece. The flowing lines and timeless grace of every character reflect the precision and artistry embedded in this refined craft. In the realm of fonts, "Crispo" emerges as a distinctive personality, each character meticulously handcrafted with a pointed pen. These letters aren't mere symbols; they roar with the passion and personality of a master calligrapher's ink, leaving an indelible mark on your creative endeavors. "Crispo" is more than a font; it's a genuine work of art inspired by the rich traditions of calligraphy. It serves as the embodiment of the pointed pen's craftsmanship, where each curve and ligature is shaped with meticulous care, inviting you to delve into the world of true artistic expression. The elegance within "Crispo" extends beyond appearances; it resides in the essence of each stroke. Every character, ligature, and swash is a testament to the beauty of pointed pen calligraphy, culminating in a font that stands unparalleled in its grace and sophistication. Whether you're crafting wedding invitations, establishing brand identities, or embarking on any project that craves distinction, "Crispo" unlocks the door to limitless creative expression. Courtesy of pointed pen calligraphy's mastery, this font becomes your brush, painting a story of elegance and distinction. "Crispo" is not just a font; it's a journey through the soul of pointed pen calligraphy. It encapsulates the brushstroke of a skilled hand, the dance of ink on paper, and the unwavering passion behind every character. Step into the enchanting world of "Crispo" and infuse your designs with the dynamic elegance and strong personality of pointed pen calligraphy.

When Aldo Novarese designed his “tipo inglese” Juliet typeface, he had a simple objective in mind: Reduce the inclination angle of the traditional 18th and 19th centuries English script in order to make the punchcutter’s job easier and the resulting metal type more durable. But when Juliet was released by Nebiolo in 1955, it was a big surprise to both typesetters and calligraphers all over Europe. Novarese’s idea of working the standard copperplate script within the limited technology of the time proved to be a marvel in optical metal sizing (Juliet was available in sizes ranging from 12 to 60 pt), but also opened the door to new calligraphic possibilities. Easier readability and a very friendly color were obvious side effects of the reduced angle. So soon after its release, calligraphers worldwide began emulating the angle reduction and experimenting with the application of the same concept to other calligraphic genres. Today, more than 50 years later, many professional calligraphers point to Novarese’s Juliet as an opening to fresh ideas and new directions in 20th century elegant calligraphy. Ambassador Script, this digital version of Aldo Novarese’s surprising masterpiece, is the result of more than a thousand hours of work. Going above and beyond its duty as a revival, it was expanded by a great number of alternates, swashes, beginning and ending forms, as well as accompanying flourishes and snap-on strokes for even more ending forms. Ambassador Script also supports almost every known Latin-based language, which makes its name all the more fitting. Ambassador Script is available in all popular font formats. The True Type and Postscript Type 1 versions come in 12 fonts, available in different piecemeal configurations or a full volume. The OpenType version collects more than 2300 characters in a single feature-rich font that can sing mightily in OpenType-supporting applications. Ambassador Script is ideal for weddings, invitations, greeting cards, book and magazine covers, or anywhere a touch of calligraphic elegance is desired.

Duos Pro, a script for illusionists, comes in 10 styles. Whatever style you pick: apply this speedy monolinear handwriting font in large sizes, because it is made for catching the attention. Take Duos Sharp, which comes with speedy strokes and sharp endings in light, regular and black weights. Or pick Duos Round, and its 3 styles with a softer voice and round endings. Some people call those endings “funky ball noses“, an odd but appropriate description. Round styles look more like round tip speedball lettering, but contrary to most speedball letterings they're written with a very high speed. Especially Duos Round Black is more cuddlesome than its sharper counterpart. For an even more intuitive feel, we added two more sets: Duos Brush & Duos Paint. Duos Brush combines monoline strokes with brush beginnings and endings, for that graphical, freshly lettered touch. A closer look will reveal how its brushed tails vary all the time. Duos Paint is made up out of rough & artistic painted strokes, with all its accompanying shortcomings. In contradiction to the finesses of lighter weights, Duos Paint Black scores in being the most nonchalant and impressionistic. Poésie brutale! As well as having the option to choose between (or mix) these 10 styles, Duos Pro has additional hidden functionalities. For example, every style has many alternate lettershapes and ligatures, offering various different results and lengths to display every single word. Or manually add one of the swashes for more emphasis. A bonus font, Duos Tools, includes tool icons, strokes and banners. If that ain’t enough, throw in some polysemic letters for smart, ambiguous communication if you like. Want to become a signpainter? Then be a signpainter. Always wanted to be an artist? This is your chance! Duos Pro boosts your look. Make your visual vocabulary as grandiose, dramatic, sensitive or picturesque as you want. But whatever you do, don't hesitate to apply Duos Pro “short & big”!

Odile is a text typeface with bracketed head and bracket-free bottom lower case serifs, a quality that counters rigidness most traditional slab serif typefaces possess. This contemporary design draws inspiration from an experimental typeface named Charter originally designed by the American book and type designer William Addision Dwiggins. It consisted of an informal lowercase alphabet, a narrow seemingly non-inclined vertical letter with script attributes, featuring non-joining letterforms. Dwiggins’ contemplated Charter as the italic companion to Arcadia, Experimental No. 221. The Charter project progressed sporadic stalled during the Second World War and came to a halt in 1955. Charter remained incomplete and was never commercially released. Assessing Charter’s whimsical design, its fragments were rethought and developed into a comprehensive text family. Odile Upright Italic reveals recognizable similarities shared by Dwiggin’s Charter and defines the design approach for the family. The steep calligraphic outstroke and low junctions off the stem as in the upright italic “n” or “r”, for example, are gradually lessened in the italic and moved up for the roman weights. The six optically balanced weights range from the delicate Light to stark Black, accompanied by display variants with feminine flair and ardent Ornaments. Two sorts of Initials, one amplified with interweaving swashes, the other more restrained, both are clearly derived from the Upright Italic. This mid-contrast serif offers a wide range of tools for text and display typographies with a palette of strict to playful. This family shines in magazine, book and display use. The graceful serifed type harmonizes perfectly with Elido, Odile’s sans companion. Sans and serif share the family array and OpenType features in perfect tune. Odile offers an extensive character set, numerous OT features including roman and italic Small Caps, five sets of numerals, alluring ligatures, and many more. OT stylistic variants (with accents) offer a one-story “a” for the roman weights, alternate “g” and “s” designs for the italics, and a variant “s” for the Upright Italic.

Wardshus Calligraphy is a unique blend of medieval gothic style and modern script, creating a distinctive and eye-catching blackletter font. The heavy, hand-drawn design brings an air of the Middle Ages to your projects, making it perfect for logos, posters, rock or hip-hop music album covers, and other display purposes that require a cool and striking touch. The beautiful cursive elements add a touch of elegance to the font, while the bold strokes and intricate details give it a strong presence. Wardshus Calligraphy is a testament to the rich artistic history of the past, reimagined for contemporary design projects. Use # after any letter to make a crown. Example: Que#en Use underscore _ anywhere to make a swash. Example: Kingdom_Heroes Use multiple underscores to make underlines of different lengths. Example: Knig___hters The Wardshus Calligraphy font family includes nine high-quality styles to suit various design needs: Regular: A well-balanced, classic blackletter script style. Regular Upright: Adds a more controlled, vertical look to the regular style. Regular Italic: Combines the balance of regular with a touch of expressiveness. Bold: A stronger, more assertive version of the script for impactful designs. Bold Upright: Merges the boldness of the bold style with the structure of upright. Bold Italic: A dynamic fusion of the bold style and the energy of italic. Black: The heaviest, most powerful iteration of the blackletter script. Black Upright: Combines the weight of the black style with the upright structure. Black Italic: Adds expressiveness and flair to the intense black style. Built with advanced OpenType functionality, Wardshus Calligraphy ensures top-notch quality and provides you with full control and customizability. It includes stylistic and contextual alternates, ligatures, and other features to make your designs truly unique. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

This is what you get when you mix monoline rounded letters with some bracketed serifs and finish it off with a sprinkle of ornamental appendages. The result is very readable, rather original and quite charming. I have fixed some inconsistencies in serif designs across the weights, cleaned up the serif connections - and added a fourth weight. But I have kept all the wonky curves and slightly differing stroke thicknesses, as they are so integral to the charm. Kevin King says: "I guess all type designers at some point think 'Well, I'll just have a go at a standard text face...' There is a long story here somewhere, suffice it to say that I started with the thinnest version - typical. I wanted to make a standard serif text face - until I saw it in print and thought "Yuk! it looks like everything else!" - still does really but with twiddles and pooneys..." If you find the "twiddles & pooneys" too much you can tone them down with the OpenType Stylistic Alternate feature (which will make sure they don't appear on three consecutive letters) or remove them completely with the OpenType Swash feature. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Introducing Chrome Slab, our brand new aesthetic semi-condensed serif font that embodies a perfect balance of elegance and versatility. With its captivating uppercase characters and exquisite design, this font is set to elevate your design projects to new heights. Chrome Slab boasts up to 45 beautiful ligatures, meticulously crafted to add a touch of sophistication and uniqueness to your typography. These ligatures seamlessly blend letterforms together, creating fluid and visually pleasing connections that enhance the overall aesthetic appeal of your text. *Make user to use capital letters to activate ligature features. In addition to its stunning ligatures, this font supports multilingual language, making it an ideal choice for projects with diverse linguistic requirements. Whether you're working with English, Spanish, French, German, or any other language, Chrome Slab ensures seamless integration and legibility across different typographic needs. The semi-condensed structure of Chrome Slab optimizes space utilization, allowing for efficient and impactful designs without sacrificing readability. Its compact yet elegant proportions make it perfect for a wide range of applications, including editorial designs, branding materials, packaging, and digital displays. With Chrome Slab, you'll have a powerful tool at your disposal, enabling you to create visually striking and professionally polished designs. Its aesthetic appeal, versatile ligatures, and multilingual support make it a must-have font for designers seeking to make a lasting impression. ——— Chrome Slab features: A full set of uppercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +279 Total Glyphs Up to 45 Aesthetic Ligatures ——— ⚠️To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe InDesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as Pop Char (for Windows and Mac). ⚠️For more information about accessing alternative, you can see this link: http://adobe.ly/1m1fn4Y

Introducing Nipsey - a unique display font inspired by vintage albums and posters from 1970s music bands. With its classic typeface and groovy impression, Nipsey brings a fun and retro vibe to your designs. What sets Nipsey apart is the combination of various alternates, such as swashes, stylistic sets, stylistic alternates, contextual alternates, and ligatures, making this font even more distinctive and versatile. Nipsey is perfect for a wide range of display purposes, including album covers, posters, labels, t-shirts, apparel, signage, quotes, logos, greeting cards, logotypes, and more. Its eye-catching design adds a touch of nostalgia and personality to any project, making it stand out in a crowd. To access the alternative characters in Nipsey, you can use OpenType savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop, Corel Draw X version, and Microsoft Word. The OpenType features allow you to easily switch between uppercase and lowercase letters, as well as apply alternates and ligatures to create unique and customized lettering compositions. In your zip package, you'll find the Nipsey font files in otf, ttf, and woff formats, providing versatility for different design projects. The font includes uppercase and lowercase letters, numerals, punctuation, and symbols, ensuring that you have all the elements you need for your designs. Nipsey also offers multilingual support, making it accessible for designers around the world to create designs in different languages. Whether you're designing for English, Spanish, French, or any other language, Nipsey has got you covered. If you have any questions, feedback, or comments, feel free to reach out to PutraCetol Design Studio via PM or email. The team is happy to assist you in your creative endeavors. In conclusion, Nipsey is a unique and versatile display font that brings a fun and retro vibe to your designs. With its alternative characters and multilingual support, Nipsey offers endless possibilities for creating eye-catching designs for various display purposes. So, let your creativity flow with Nipsey and elevate your design projects to the next level! Thanks for choosing Nipsey from PutraCetol Design Studio. Happy Creating!

A friend of mine says that sports are the ultimate popular drug. One of his favorite things to say is, “The sun’s always shining on a game somewhere.” It’s hard to argue with that. But that perspective is now the privilege of a society where technology is so high and mighty that it all but shapes such perspectives. These days I can, if I so choose, subscribe to nothing but sports on over a hundred TV channels and a thousand browser bookmarks. But it wasn't always like that. When I was growing up, long before the super-commercialization of the sport, I and other kids spent more than every spare minute of our time memorizing the names and positions of players, collecting team shirts and paraphernalia, making up game scenarios, and just being our generation’s entirely devoted fans. Argentina is one of the nations most obsessed with sports, especially "fútbol" (or soccer to North Americans). The running American joke was that we're all born with a football. When the national team is playing a game, stores actually close their doors, and Buenos Aires looks like a ghost town. Even on the local level, River Plate, my favorite team where I grew up, didn't normally have to worry about empty seats in its home stadium, even though attendance is charged at a high premium. There are things our senses absorb when we are children, yet we don't notice them until much later on in life. A sport’s collage of aesthetics is one of those things. When I was a kid I loved the teams and players that I loved, but I never really stopped to think what solidified them in my memory and made them instantly recognizable to me. Now, thirty-some years later, and after having had the fortune to experience many cultures other than my own, I can safely deduce that a sport’s aesthetic depends on the local or national culture as much as it depends on the sport itself. And the way all that gets molded in a single team’s identity becomes so intricate it is difficult to see where each part comes from to shape the whole. Although “futbol” is still in my blood as an Argentinean, I'm old enough to afford a little cynicism about how extremely corporate most popular sports are. Of course, nothing can now take away the joy I got from football in my childhood and early teens. But over the past few years I've been trying to perceive the sport itself in a global context, even alongside other popular sports in different areas of the world. Being a type designer, I naturally focus in my comparisons on the alphabets used in designing different sports experiences. And from that I've come to a few conclusions about my own taste in sports aesthetic, some of which surprised me. I think I like the baseball and basketball aesthetic better than football, hockey, volleyball, tennis, golf, cricket, rugby, and other sports. This of course is a biased opinion. I'm a lettering guy, and hand lettering is seen much more in baseball and basketball. But there’s a bit more to it than that. Even though all sports can be reduced to a bare-bones series of purposes and goals to reach, the rules and arrangements of baseball and basketball, in spite of their obvious tempo differences, are more suited for overall artistic motion than other sports. So when an application of swashed handlettering is used as part of a team’s identity in baseball or basketball, it becomes a natural fit. The swashes can almost be visual representation of a basketball curving in the air on its way to the hoop, or a baseball on its way out of the park. This expression is invariably backed by and connected to bold, sleak lettering, representing the driving force and precision (arms, bat) behind the artistic motion. It’s a simple and natural connective analysis to a designer, but the normal naked eye still marvels inexplicably at the beauty of such logos and wordmarks. That analytical simplicity was the divining rod behind Fan Script. My own ambitious brief was to build a readable yet very artistic sports script that can be a perfect fit for baseball or basketball identities, but which can also be implemented for other sports. The result turned out to be quite beautiful to my eyes, and I hope you find it satisfactory in your own work. Sports scripts like this one are rooted in showcard lettering models from the late 19th and early 20th century, like Detroit’s lettering teacher C. Strong’s — the same models that continue to influence book designers and sign painters for more than a century now. So as you can see, American turn-of-the-century calligraphy and its long-term influences still remain a subject of fascination to me. This fascination has been the engine of most of my work, and it shows clearly in Fan Script. Fan Script is a lively heavy brush face suitable for sports identities. It includes a variety of swashes of different shapes, both connective and non-connective, and contains a whole range of letter alternates. Users of this font will find a lot of casual freedom in playing with different combinations - a freedom backed by a solid technological undercurrent, where OpenType features provide immediate and logical solutions to problems common to this kind of script. One final thing bears mentioning: After the font design and production were completed, it was surprisingly delightful for me to notice, in the testing stage, that my background as a packaging designer seems to have left a mark on the way the font works overall. The modern improvements I applied to the letter forms have managed to induce a somewhat retro packaging appearance to the totality of the typeface. So I expect Fan Script will be just as useful in packaging as it would be in sports identity, logotype and merchandizing. Ale Paul

TT Tunnels useful links: Specimen | Graphic presentation | Customization options TT Tunnels is a modular font family with narrow proportions and a large number of pronounced visual compensators. In the basic version of the typeface, all glyphs have simple chopped shapes, created according to the usual geometric principles. In the alternative version of TT Tunnels, which becomes available when you turn on OpenType feature stylistic alternates or stylistic set 1, the typeface comes to life and turns into a stylized ductal gothic grotesque, in which the design of glyph forms is created based on the pen movements. Despite the fact that TT Tunnels was created as a display typeface for use in short inscriptions and titles, it works very interestingly in the body text, adding a small touch of archaics. This is especially evident in the Bold and Black faces, when the rhythm and thickness of the strokes create a dense set, covering the paper with a solid, dense pattern. The density and style of such a set conceptually refers us to the old Gothic texture and the Old Slavonic script. In addition to a larger number of alternates for lowercase letters, the typeface features an alternate for number 2, an alternate slashed zero, many ligatures, and other useful OpenType features (ordn, frac, sinf, sups, numr, dnom, case, tnum, onum, pnum, liga, salt, ss01, zero). The TT Tunnels includes five faces: Thin, Light, Regular, Bold, Black.

Gigafly™ is a contemporary high-contrast sans-serif display typeface designed for branding and impactful posters. The family features very modern and sharp design language, opening a world of lively compositions full of strength, energy and movement. Its playful contrast makes it stand out from the crowd and gives it a unique type of cheerful elegance. Gigafly features lots of stylistic alternates, allowing to create a collage-like, dynamic compositions by mixing the styles and weights of the letters. To make things even more fun, the family contains a set of quirky icons that will inject even more personality into your designs (do not miss out on the super cool manicules!). The family is very powerful, extravagant, playful, yet it manages to keep its elegance - it can be more calm, measured and simple when needed as well. It has a vibe of modern, crisp sans-serif as well as fashion magazine type didone. The full family consists of 15 styles - 5 weights in 3 different optical sizes for headlines, display sizes and big posters. The family offers a 2-axis variable (weight and optical size) font that contains every style and gives even more flexibility and versatility. Each font features 1400 glyphs, including uppercase, lowercase, icons, tons of alternates, as well as other OpenType features such as stylistic sets, case sensitive forms, lining and old style figures, basic fractions and superscript/subscript, slashed zero, currencies and symbols.

Yafferbuddle comes in the category of 'a funky fun font' with a pleasing rounded shape, but it still has the extensive range of features you'd expect in a modern OpenType font. It's especially useful for posters, headlines and comics. There's 5 weights and a Shadow version in Regular and Italic, making 12 fonts in all. To let you know what's in the font that you might otherwise not suspect . . . With Discretionary Ligatures on, you get special characters if you type Mc St. Rd. Bd. Ave. c/o No. (p) (P) - include the full-stop/period where given. With Stylistic Alternates switched on, you get plenty of extra characters - including a WiFi symbol (type Wifi or WiFi) / bullet numbers instead of ordinary numbers / that different U-dieresis / special characters for c/o No. Mc / an upside down ~ / a huge bullet, and different forms for cent, dollar, percent, per-thousand. As you'd expect, there's all the accented characters for all Western European scripts using Latin letters, and standard ligatures, plus other Open Type features including Class Kerning, Slashed-Zero, Historical Forms, Sub- and Superscript numbers, fractions for halves, thirds and quarters, Ornamental forms giving bullet numbers, etc. There's even some of the more obscure stuff like the main mathematical operators, symbols like card-suits and male/female signs and so on, schwa, U-horn O-horn, and there's more if you can Access All Alternates. Much will depend on what features your software recognises.