Tetria was designed by Martin Jagodzinski, who says that the font came from the need for a compact, constructivist typeface. Tetria combines the expression of simplicity of the 'norm' typefaces like DIN Mittelschrift with elements of Old Face typefaces which optimize legibility. It therefore contains old style figures and a larger stroke contrast, which makes the font legible even in smaller point sizes." Sources of inspiration for Tetria were the designs of Joost Schmidt and Herbert Bayer as well as the norm typefaces. The name comes from the Greek word for 'four', tetra. "Four is the number of many simple and useful objects, four wheels on a car, four corners of a book. Also, the basic forms of Tetria come from the simple geometric form of the square." The space-saving Tetria is well-suited to a variety of uses, from corporate typeface to text to display on posters, flyers or onscreen."

Let it be known that this font is named for Excalibur, King Arthur's Magic Sword. The font is derived from a note that Arthur hastily penned to his Queen, Guinevere, during a lull in one of his many battles against the Saxons. Arthur's armour was so hefty that he could not easily seat himself, and so to pen his letter to Guinevere he plunged his legendary sword Excalibur into the marshy soil on which he had been fighting and thereby steadied his writing hand with the hasp of his magical sword. This ancient and battle-weary font is based on the writing from a fragment of that original document. It has been heralded by modern scholars as "grunge" writing of great antiquity. The font Excalibur SCF contains a full character set and it is professionally letterspaced and kerned. Use this font to create a feeling of haste, of authentic ancient history, of magical times, of chivalry, of dragons and of brave battles fought.

Voluta Script is the work of Austrian designer Viktor Solt, created for use in a guide to the Austrian Gallery at Castle Belvedere. A volute (Latin voluta") is a spiral or scroll-shaped ornament used in the Baroque architecture of Castle Belvedere, similar to the swashes in this typeface. The castle was the historic residence of Prince Eugene of Savoy, one of the great military commanders of the 18th century and a prominent figure in Austrian history. When asked to create a typeface based on the calligraphy of the period to illustrate Eugene's epic, Solt turned for inspiration to Kurrent writing, a cursive blackletter style. Solt created a hybrid style that embodies the rhythm and basic forms of its ancestors, with large capitals, dark vertical strokes, and flourished beginning and ending characters. The typeface was designed to be used in sizes of 24 points and greater. Voluta Script allows designers to evoke the Baroque era or to lend a hint of majestic grace to contemporary typesetting."

Singel is a neoclassical serif with semi-condensed proportions. As a contemporary interpretation, this typeface combines the rationalist modulated stroke with an elegant silhouette and crisp serifs. The altogether splendid appearance of Singel, completed with a full set of Small Capitals and true form of italics makes it perfect for any luxurious and graceful design. Other aspects of its characteristics include the consistency of 10 styles from Light to Bold; a coverage of Extended Latin and Cyrillic with span for more than 130 languages; a flawless functionality and support of many OpenType features, such as localizations, tabular numerals, inferiors and superiors, numerators & denominators, fractions, case sensitivity etc. Features: • Over 900 glyphs in 10 styles (Light to Bold); • Extended Latin and Cyrillic for more than 130 languages; • Tall x-height and Semi-Condensed proportions; • High contrast and modulated stroke with vertical stress; • Neoclassical characteristics and moderate apertures; • Full set of Small Capitals; • True form of italics; • Coverage of multiple OpenType features; • Suitable for wide design purposes.

Typeface Laborat™, designed by Kristína Jandová, is a Grotesk typeface that combines the geometry of a circle and a square. The visual message of geometry is applied to stylistic sets and modified by special characters, including abstract forms or symbols, that turn the typeface into a visual “graphic” language. The basic character of the typeface lies in the default set based on the circle-like shapes of letters. The stylistic sets 01 to 03 are characterized by different geometrical modifications of the growing character and the idea “from circle to square” applied on the letters a, f, g, l, r, t, u, y. By using these different alterations of consistent letterforms, it offers a playful space for everyone. The first inspiration of the typeface origins in Paul Renner’s Futura sketches, that were a celebration of geometrical playfulness of modernism meeting constructivism. It is modified into a new contemporary “wave” of typography as a graphical method. Laborat comes in six weights, from Hairline to Heavy.

Aldine 401 is a Bitstream version of Bembo type family. It was designed on the base of artwork of Francesco Griffo for Aldus Manutius. Originally the font appeared in “De Aetna” in 1495 — the book by Pietro Bembo about his journey to Mount Etna. Griffo’s design was one of the first old style typefaces followed by Garamond. It was the forerunner for the standard text types in Europe for the next two centuries. A modern version of Bembo was designed at Monotype under the supervision of Stanley Morison in 1929. Aldine 401 is still very popular in book design due to its well-proportioned classic letterforms and lack of peculiarities. Italic was based on the handwriting of Giovanni Tagliente. Books and other texts set in Aldine 401 can encompass a large variety of subjects and formats because of its classical beauty and high readability. Cyrillic version was developed by Isabella Chaeva and released by ParaType in 2008.

Linotype Mindline is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. With Mindline, the German designer Critzler plays with geometry and typefaces. Each character is basically a rectangle with a geometric form etched in it which happens to be a member of the alphabet. This formal style comes from the advertisement typefaces of the 1920s and is reminiscent of the constructivist posters of this time. The appearance of the characters take priority over the funcitonality and the eye can hardly recognize the forms of letters and numerals which meet it everyday. Linotype Mindline makes us take another look at forms which we see so often that we hardly notice them, only reading them for the information which they impart, and the font is therefore best used when the content of the text less important is than the impression its forms make.

Vertrina marries four virtues: elegance, simplicity, character and usefulness. It started as an idea to combine two things: the elegance of classical Roman typefaces and of classical Roman architecture. The result is that rarest of all things - a truly new face that is elegant yet characterful but not so obtrusive as to be restricted to display work. All the faces' uprights mirror the elegant taper of Roman columns, as used in the most simple and elegant form of Roman architecture. The serifs are a subtle shape that mirrors the pediments and corbels of that same order of architecture. Vertrina is a family of eight faces, four upper and lower case faces, suitable for the elegant setting out of text, and four small capitals faces ideal for headings and titles. You'll find regular and bold weights and normal and condensed width, as well as a range of Opentype ligatures. All faces are offered individually and in family groups. Bring some simple elegance to your work.

An unconventional classicistic Roman typeface This Roman typeface has a livelier effect than is typical of the epoch of classicistic style. In the lower case letters, an echo of the smoother forms of historically early scripts is identifiable. Typical of a classicistic Roman typeface are the emphasized and clear contrast in the weight of the strokes, the fine serifs and the accentuation of the vertical bold stem. Charpentier Classicistique is pleasantly legible. Its effect is much less harsh than other classicistic fonts. The pointed forms of M and N are uncommon. At 30°, the italic version of Charpentier Classicistique is unusually strongly slanted. The italic lower case letters refer, in part, to English handwriting, which also falls under classicism. Especially the curves show forms influenced by writing. Charpentier Classicistique supports all European languages including Turkish, Greek and Russian. It includes lots of ligatures, also discretional ones, as well as tabular figures and cap-height figures.

Historical typography makes a comeback. A revival of one of the most popular of a number of rugged typefaces used around the turn of the century, Croft revives the creation of Lewis Buddy III, known as "Roycroft" in 1912 ATF catalogs. It also, according to ATF, was designed "partly" by Morris Benton, around 1898. The original typeface might be considered an early form of grunge fonts. This typestyle maintains historical flavor, while also being relevant today. It has been expanded to have more discretionary ligatures and numerals sets for versatility, and maintains the original stylistic alternates and standard ligatures. See the 5th graphic for a comprehensive character map preview. Opentype features include: Full set of Inferiors and Superiors for limitless fractions. Tabular, Proportional, and Oldstyle figure sets. A small collection of Discretionary & Standard Ligatures. Stylistic Alternates for variations of several characters such as R, u, t, etc. Approx. 482 Character Glyph Set: Croft comes with a glyphset that includes standard & punctuation, international language support, and additional features.

Roos ST is a special version of the Roos family, engineered specifically for science writing. It is equipped with SciType, a combination of additional characters and OpenType programming included in the fonts to help with typesetting science text. For more information about SciType, please consult the SciType FAQ available in the Gallery section of this page. The Roos design is the Dutch classic made by S. H. de Roos during the years of the second World War, and subsequently used for a special edition of the Dutch Constitution on which Juliana took the oath during her inauguration as the Queen of the Netherlands. This design is widely regarded as de Roos's finest, and has one of the most beautiful italics ever drawn. Aside from the SciType additions, all the Roos ST fonts contain OpenType features for ligatures, ordinals, automatic fractions, and seven kinds of figures. For details about the functionality of Roos ST, please consult its Access Chart PDF available in the Gallery section of this page.

Step into the artful world of Akashii, a Japanese brush font that embodies the beauty of traditional calligraphy with a contemporary flair. Crafted with precision and inspired by the elegance of brush strokes, Akashii is a visual symphony that captures the spirit of Japan's rich artistic heritage. The strokes of Akashii tell a story, conveying both strength and grace. Whether you're designing invitations, branding materials, or adding a touch of Eastern charm to your artistic creations, Akashii elevates your work with its unique cultural character. Dive into the world of Akashii and let your designs resonate with the poetic elegance of Japanese calligraphy. This brush font is more than a typeface; it's a brushstroke of cultural authenticity, inviting you to infuse your projects with the artistry of Japan. FONT FEATURES Additional Accents 68 Languages Ligatures Swashes SOFTWARE RECOMMENDATION Adobe Photoshop CC 2020 or the latest Adobe Illustrator CC 2020 or the latest

On a cold winter's night, George Ryan, of Galápagos Design Group, began musing on the possibilities for a “truly original” sans serif typeface. What came out of his musing, and his always-present sketchpad, was ITC Adderville, a typeface whose visual impact is immediate and strong. Ryan explains how he did it: “The rounded ends of its strokes and their skewed baseline contact create an illusion of dancing feet. The tops of lowercase stems emit serif buds, suggesting transition into or out of the serifed form. The spear-like lowercase stroke terminators, along with other distinctive elements such as the stylized reticulation of the lowercase 'g' segments, the salute of that same character's spur, and the bold, non-self-conscious 'i' and 'j' dots, all contribute to the playful and unique nature of this design.” The result is a friendly, lively type family whose graduated weights -- book, medium, and heavy -- lend themselves especially well to use at small display sizes and in short blocks of text.

TT Fors useful links: Specimen | Graphic presentation | Customization options TT Fors is a modern geometric sans serif with characters and shapes contrasting in width, as close as possible to the basic geometric shapes (circle, square, triangle). TT Fors is a great addition to TypeType's line of functional sans serifs, which already includes such fonts as TT Norms Pro, TT Commons, TT Hoves and TT Interphases. The main inspiration for the creation of TT Fors was the study of geometric grotesques of the early to mid-20th century (Futura, Neuzeit Grotesk, Twentieth Century, Avantgarde Gothic, etc.), and the analysis of the contribution they made to the visual environment of that time. We gave ourselves the task to create the most versatile functional typeface that draws inspiration from the visual environment of the early to mid-20th century, but at the same time is aimed at uninterrupted use in all modern media, from branding and packaging design to work in interfaces and applications. This versatility is reflected in the title TT Fors (for), a typeface for a wide range of uses. The rounded characters in the font family tend to be shaped as the correct circle as much as possible, while the rest of the characters have narrower proportions. For more functionality, the typeface has rather high lowercase characters. Thanks to the correct and precisely selected geometric shapes and uniform construction rules, TT Fors works great both in the format of large headings and in very small text sizes used in book printing and in web design. In addition, the TT Fors family has a display subfamily TT Fors Display, which is a trendy pair for the text fonts. The main feature of the display subfamily is high contrast in horizontal or vertical strokes. When choosing a contrasting stroke, we paid attention that the shape of the letter would not go into reverse contrast and become a stressed sans serif. The subtle strokes in TT Fors Display have added sufficient display vibe to give the font a vibrant character, while remaining intelligent and serious. In total, TT Fors family includes 34 fonts: 9 weights and 9 italic styles in the text subfamily, 6 weights and 6 italic styles in the display subfamily, 2 outline styles and 2 variable fonts for both subfamilies. TT Fors has stylistic alternatives, ligatures, small caps (text family only), numbers in circles, arrows and a set of alternative round full stops and punctuation marks (text family only), slashed zero, and other useful features. More details about all OpenType features can be found in the font specimen. And, by good tradition, TT Fors has two variable fonts, for each of the subfamilies. Each variable font supports two axes of variability—thickness and slant. An important clarification—not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/. To use the variable font with two variable axes on Mac you will need MacOS 10.14 or higher. TT Fors supports more than 180+ languages, such as: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani+, Banjar, Basque+, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Bosnian (lat), Breton+, Catalan+, Cebuano+, Chamorro+, Chichewa, Chiga, Colognian+, Cornish, Corsican+, Cree, Croatian, Czech+, Danish, Dutch+, Embu, English+, Esperanto, Estonian+, Faroese+, Fijian, Filipino+, Finnish, French, Frisian, Friulian+, Gaelic, Gagauz (lat), Galician+, Ganda, German+, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish, Italian+, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Kinyarwanda, Kirundi, Kongo, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda+, Luo, Luxembourgish+, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay+, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau+, Moldavian (lat), Montenegrin (lat), Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish+, Portuguese+, Quechua+, Rheto-Romance, Rohingya, Romanian +, Romansh+, Rombo, Rundi, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (lat)+, Seychellois Creole, Shambala, Shona, Silesian, Slovak+, Slovenian+, Soga, Somali, Sorbian, Sotho+, Spanish+, Sundanese, Swahili, Swazi, Swedish+, Swiss German+, Tagalog+, Tahitian, Taita, Talysh (lat), Tatar+, Teso, Tetum, Tok Pisin, Tongan+, Tsakhur (Azerbaijan), Tsonga, Tswana+, Turkish+, Turkmen (lat), Uyghur, Valencian+, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh+, Wolof, Xhosa, Zaza, Zulu+, Belarusian (cyr), Bosnian (cyr), Bulgarian (not localization), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian

Awwam refers to the region of Awwam which is now thought by most scholars to be Ma'rib or the famous temple of Awwam otherwise known as Mahram Bilqis. The Awwam temple—Arabic Haram Bilqis or Mahram Bilqis—is a Sabaean temple near Ma'rib in today's Yemen. It was built by Mukarrib ‘Yada'il Dharih I’ between the 7th and 5th century B.C. Also, one of the most frequent titles of the God ‘Almaqah’ was the Lord of Awwam. Almaqah was the main God of the ancient Yemeni kingdom of Saba' and also the kingdoms of D’mt and Aksum in Eritrea and Northern Ethiopia. Different members of the ruling dynasties of Saba' regarded themselves as Almaqah’s children. Awwam is a wide and headline Arabic display typeface. The main trait of this typeface is the wide, curved, and streamlined design of its wide kashida, letters, and ligatures. This feature renders it as one of the modern stylish typefaces used for headlines, titles, headers, banners, and captions. Among the distinguished letters of Awwam typeface are the “Alef”, “Qaaf”, “Waaw”, “Yaa”, “Gheen”, and others. Moreover, Awwam typeface has a character set which supports Arabic, Persian, Urdu, and simple Latin letters/numerals with a limited range of specific Arabic and Latin ligatures. This typefac comes in two styles (i.e., Awwam, and Awwam-Pro) with a single weight (i.e., regular) and nearly 650 distinctive glyphs for each style. Due to its ultra-wide design, Awwam typeface is mostly appropriate for headings and titles in Arabic, Persian, and Urdu. It can be graphically and visually exploited in books, novels, magazines, newsletters, pamphlets, posters, and interfaces of other objects such as clothes and equipment. Moreover, it can be pleasingly used for signs, books’ covers, advertisement light boards, and titles of flyers, and books of children and adults. In brief, Awwam typeface is one of the new wide Arabic typefaces which can be utilized efficiently in diverse graphic, typographic, and artistic works for different languages and cultures.

Sagoma is a font family expression of conscious opulence. It supports 111 languages, features a total of 311 glyphs and includes an italicized version for each of the 3 weights.

The font DXOldStandard Condensed No2 was revival on the basis of the Antiqua Condensed type, which was issued by type foundry of Russian from the beginning of the 20th century.

The product of 3 weeks of work. It was a very nice style, it became a font that plays with the perception of the brain. Use it in beautiful works.

A stencil variant of last year's bestselling Device font family, Korolev . Named after Sergei Korolev, father of Soviet astronautics, and based on signs from the Red Army parade of 1932.

The hand lettering of a piece of 1930s sheet music's title has once more yielded an interesting take on the popular "thick and thin" lettering of the Art Deco period.

Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the Old Face font Garamond. What is accepted is the influence this font had on other typeface developments from the time of its creation to the present. Garamond, or Garamont, is related to the alphabet of Claude Garamond (1480-1561) as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In comparison to the earlier Italian font forms, Garamond has finer serifs and a generally more elegant image. The Garamond of Jean Jannon was introduced at the Paris World’s Fair in 1900 as Original Garamond, whereafter many font foundries began to cast similar types. Morris F. Benton’s Garamond appeared in 1936 and is based on the forms of Jean Jannon, which already displayed characteristics of the Transitional style.

The design of Kristall Grotesk is based on a cut by Wagner & Schmidt, Leipzig, from the 30s of the last century. The basis for the digital version of the Stiftung Werkstattmuseum für Druckkunst , Leipzig was the standard font (28p) of the manual cuts as offered by the font foundry Johannes Wagner, Ingolstadt. The implementation was deliberately created as a replica to create a faithful reproduction as a starting point for the design of other design sizes. The present Kristall Grotesk is therefore a headline design. The appearance of the typeface can be varied by a number of alternative forms of capitals, which, according to the taste of the time, contain either pointed or flat formations. Designer: Hausschnitt Johannes Wagner, Leipzig, Redesign Elsner+Flake, Hamburg Designdate: 1937, 2009 Publisher: Elsner+Flake Design Owner: Stiftung Werkstattmuseum für Druckkunst , Leipzig Original Foundry: Wagner & Schmidt, Leipzig

As a successor of Didots famous font, which marked the beginning of modern typography, the Monceau has inherited the spirit, elegance and sophistication of french style, although in a revamped design, typical for the first years of the 21st century. Liberated from its serifs and with soft and round small letters the Monceau approaches ornamental typography and thus perfectly lends itself to being enlarged: it’s a font that loves to be closely looked at. Its name, lent from the famous parc Monceau in Paris, evokes and reinvents in a modern graphical way all of the Parisian chic at the end of 18th and the beginning of the19th century (the time Didot was born), the French Revolution and Empire, the architecture of this business quarter and notably the arabesques of the monumental gates still present in our times.

JMTF Robin is a new post-modernist typeface in the spirit of Art & Crafts, born as a concept of a reformulation of a Gothic traditional building structure. Interestingly medieval structural architectural rescue form is for creating a font of traits absolutely contemporary without losing its artisan flavor. JMTF Robin is then a modular typography with very specific characteristics that provides an innovative texts while an appearance of great personality. Early versions of Robin was winners in Letras Latinas 2006. JMTF Robin representing a before and after in terms of contemporary texts composition. JMTF Robin is a typeface family that is presented in a wide variety of forms, from JMTF Robin in condensed forms to other roman proportions like Robin9, ideal for text, also JMTF Robin comes in Shadow and Double Outline. I dedicate this letter to creative genius William Morris father of modernism.

Erdogan Karayel, a master in graphic arts and a cartoon artist, has long dreamed of transforming characters made up of his own handwriting into fonts. This dream has come true with the technical support of Karayel's school friend Sabahattin Kayış, a graduate of the Istanbul School of Applied Fine Arts (Marmara University Faculty of Fine Arts). The biggest problem of handwritten fonts in the font world is the difficulty of reading in long texts due to their curved and flexible letters that create spacing problems when used side by side. The "Karayel Calligraphy", on the contrary, is created as a solution to this problem. It's a font that is sufficiently fluid, visually satisfying and easy to read. In particular, a lot of effort is made to ensure the utmost harmony between the character's spaces. The “Karayel Calligraphy” font is now available for download.

Six Hands is a set of handwritten fonts based on various writing tools, such as pencil, felt-tip pen, ball-point pen, and brush. The character set of each of these fonts supports the Cyrillic alphabet, as well as the extended Latin script for all European languages. Most of the styles also contain additional alternatives that have the capability of automatically interchanging in the setting, which significantly variegates and humanizes the text. Six Hands is quite a rare combination of diverse display fonts that work well together. It is made for talented designers who can use it creatively in packaging, advertising, displays, posters, menus, invitations and so on. The design of Six Hands was a result of collaboration between Alexandra Korolkova, Alexander Lubovenko and all those who assist them in this work. This set of fonts was released by Paratype in 2018.

Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the Old Face font Garamond. What is accepted is the influence this font had on other typeface developments from the time of its creation to the present. Garamond, or Garamont, is related to the alphabet of Claude Garamond (1480–1561) as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In comparison to the earlier Italian font forms, Garamond has finer serifs and a generally more elegant image. The Garamond of Jean Jannon was introduced at the Paris World’s Fair in 1900 as Original Garamond, whereafter many font foundries began to cast similar types. Garamond Classico is based on the forms of Jean Jannon, which already displayed characteristics of the Transitional style.

Type designers are crazy people. Not crazy in the sense that they think we are Napoleon, but in the sense that the sky can be falling, wars tearing the world apart, disasters splitting the very ground we walk on, plagues circling continents to pick victims randomly, yet we will still perform our ever optimistic task of making some little spot of the world more appealing to the human eye. We ought to be proud of ourselves, I believe. Optimism is hard to come by these days. Regardless of our own personal reasons for doing what we do, the very thing we do is in itself an act of optimism and belief in the inherent beauty that exists within humanity. As recently as ten years ago, I wouldn't have been able to choose the amazing obscure profession I now have, wouldn't have been able to be humbled by the history that falls into my hands and slides in front of my eyes every day, wouldn't have been able to live and work across previously impenetrable cultural lines as I do now, and wouldn't have been able to raise my glass of Malbeck wine to toast every type designer who was before me, is with me, and will be after me. As recently as ten years ago, I wouldn't have been able to mean these words as I wrote them: It’s a small world. Yes, it is a small world, and a wonderfully complex one too. With so much information drowning our senses by the minute, it has become difficult to find clear meaning in almost anything. Something throughout the day is bound to make us feel even smaller in this small world. Most of us find comfort in a routine. Some of us find extended families. But in the end we are all Eleanor Rigbys, lonely on the inside and waiting for a miracle to come. If a miracle can make the world small, another one can perhaps give us meaning. And sometimes a miracle happens for a split second, then gets buried until a crazy type designer finds it. I was on my honeymoon in New York City when I first stumbled upon the letters that eventually started this Affair. A simple, content tourist walking down the streets formerly unknown to me except through pop music and film references. Browsing the shops of the city that made Bob Dylan, Lou Reed, and a thousand other artists. Trying to chase away the tourist mentality, wondering what it would be like to actually live in the city of a billion tiny lights. Tourists don't go to libraries in foreign cities. So I walked into one. Two hours later I wasn't in New York anymore. I wasn't anywhere substantial. I was the crazy type designer at the apex of insanity. La La Land, alphabet heaven, curves and twirls and loops and swashes, ribbons and bows and naked letters. I'm probably not the very first person on this planet to be seduced into starting an Affair while on his honeymoon, but it is something to tease my better half about once in a while. To this day I can't decide if I actually found the worn book, or if the book itself called for me. Its spine was nothing special, sitting on a shelf, tightly flanked by similar spines on either side. Yet it was the only one I picked off that shelf. And I looked at only one page in it before walking to the photocopier and cheating it with an Argentine coin, since I didn't have the American quarter it wanted. That was the beginning. I am now writing this after the Affair is over. And it was an Affair to remember, to pull a phrase. Right now, long after I have drawn and digitized and tested this alphabet, and long after I saw what some of this generation’s type designers saw in it, I have the luxury to speculate on what Affair really is, what made me begin and finish it, what cultural expressions it has, and so on. But in all honesty it wasn't like that. Much like in my Ministry Script experience, I was a driven man, a lover walking the ledge, an infatuated student following the instructions of his teacher while seeing her as a perfect angel. I am not exaggerating when I say that the letters themselves told me how to extend them. I was exploited by an alphabet, and it felt great. Unlike my experience with Ministry Script, where the objective was to push the technology to its limits, this Affair felt like the most natural and casual sequence of processions in the world – my hand following the grid, the grid following what my hand had already done – a circle of creation contained in one square computer cell, then doing it all over again. By contrast, it was the lousiest feeling in the world when I finally reached the conclusion that the Affair was done. What would I do now? Would any commitment I make from now on constitute a betrayal of these past precious months? I'm largely over all that now, of course. I like to think I'm a better man now because of the experience. Affair is an enormous, intricately calligraphic OpenType font based on a 9x9 photocopy of a page from a 1950s lettering book. In any calligraphic font, the global parameters for developing the characters are usually quite volatile and hard to pin down, but in this case it was particularly difficult because the photocopy was too gray and the letters were of different sizes, very intertwined and scan-impossible. So finishing the first few characters in order to establish the global rhythm was quite a long process, after which the work became a unique soothing, numbing routine by which I will always remember this Affair. The result of all the work, at least to the eyes of this crazy designer, is 1950s American lettering with a very Argentine wrapper. My Affair is infused with the spirit of filete, dulce de leche, yerba mate, and Carlos Gardel. Upon finishing the font I was fortunate enough that a few of my colleagues, great type designers and probably much saner than I am, agreed to show me how they envision my Affair in action. The beauty they showed me makes me feel small and yearn for the world to be even smaller now – at least small enough so that my international colleagues and I can meet and exchange stories over a good parrilla. These people, whose kindness is very deserving of my gratitude, and whose beautiful art is very deserving of your appreciation, are in no particular order: Corey Holms, Mariano Lopez Hiriart, Xavier Dupré, Alejandro Ros, Rebecca Alaccari, Laura Meseguer, Neil Summerour, Eduardo Manso, and the Doma group. You can see how they envisioned using Affair in the section of this booklet entitled A Foreign Affair. The rest of this booklet contains all the obligatory technical details that should come with a font this massive. I hope this Affair can bring you as much peace and satisfaction as it brought me, and I hope it can help your imagination soar like mine did when I was doing my duty for beauty.

PT Unovis™ was designed for ParaType in 2001 by Tagir Safayev. Inspired by the shapes of lettering of the Russian Avant Garde artists of Kazimir Malevich’s circle at the beginning of the 20th century. Based on simple geometric forms. Caps only. For use in advertising and display typography.

It is difficult to define the classification of Winterfell. The caps are definitely Roman however the lowercase is italic and slightly calligraphic. Because of its old style look I decided to describe it as modern medieval. This design reminded me of Game of Thrones hence the name Winterfell.

Federal Case JNL is a stencil version of Government Issue JNL... adding the feel of industrial, military or high-level government espionage... From the lettering on a shipping crate to the cover of a secret folder of undercover plans, this font fits like a hand in a glove.

ITC Freemouse was designed by Slobodan Miladinov in 1998. It is a fresh font, with the look of a chancery italic. ITC Freemouse's design displays a lively contrast of stroke and curve, which captures the expressiveness of calligraphic writing, combining it with the modern look of a digital typeface.

Aguero Sans – Font Family is a modern serif font family whose design refers us to the style of modern sans serif. The distinctive features of Aguero Sans – Font Family are the relatively low contrast of strokes, the slightly squarish shapes of round characters and the emphasized business like simplicity.

Hubbard is based on hand lettering from the Roycroft Arts and Crafts movement of turn-of-the-century New York. The Roycrofters were heavily influenced by the design concepts of William Morris and Charles Rennie MacKintosh. The font takes its name from Elbert Hubbard, leader of the Roycroft movement.

Two sets of signs and pictures designed by Natalia Vasilyeva. The first one includes figures, arrows, geometric shapes and other signs of abstract nature. The second set — pictures of flora and fauna (animals, fishes, birds, insects, plants,...) and pictures of common staff (houseware, instruments,…). Released by ParaType in 2009.

Cift Serif is inspired by the work of charming lettering artists with a combination of Old Style Display Bold. Each letter is modified so that the distance, width and weight can give the beauty of the alternates given. A passionate curve gives a touch of beauty to this font.

Ailey Display is inspired by the work of charming lettering artists with a combination of Old Style Display Bold. Each letter is modified so that the distance, width and weight can give the beauty of the alternates given. A passionate curve gives a touch of beauty to this font.

Stempel Elan is Frank Griesshammer's revival of Elan, a script typeface released by D. Stempel AG in 1937. That Elan was originally created by Hans Möhring. The first digital release of the design, Stempel Elan includes a number of OpenType features, including alternate versions of certain glyphs, etc.

Recon, developed from the 112 Hours numbers-only font of the same name, explores modular forms suggested by quartz displays. The constrained rules of construction, using a limited number of repeated elements, lead to many interesting and unexpected letter-shapes. Suggestive of science fiction movies, technology or military labelling.