Distinguishing characteristics of Frank Marciulano’s Linotype Automat™ are its strictly constructed basis and its uniquely placed stroke contrasts. The emphasized vertical strokes are reminiscent of bars and give text a static feel. The forms of the letters are distinctly modern, an interpretation of a typeface meant for machines. Automat is not recommended for text but is particularly good for headlines in large point sizes, which allow its unusual forms to really stand out.

This font may be conservative and classic, but also may be more playful and modern. It is good for theater or art posters and for modern music, web-pictures or vinyl covers. Of course it also will be good for coffee shops, cafe's, restaurants, magazine's headers, signs or gift/post cards and weddings. Try to use it in your beauty or travel blogs, you will see how many options you will have with stylish REKAAH

This font may be conservative and classic, but also may be more playful and modern. It is good for theater or art posters and for modern music, web-pictures or vinyl covers. Of course it also will be good for coffee shops, cafe's, restaurants, magazine's headers, signs or gift/post cards and weddings. Try to use it in your beauty or travel blogs, you will see how many options you will have with stylish Sarah.

GL Miraflores is a nice slab serif font with the name of a Spanish village. It is an elegant vintage resource perfect for decorations, but also works perfectly for plain text, as you can see in the previews. The origin of the inspiration to create it is in the free font 'Molesk' as you can see in the capital letters. Hope it will be really useful for your arts from now on.

The Buchen is an excellent combination of smooth shapes and medium weight. It will fit perfectly into any project, both in a modern style and in a vintage style. It can also be classic and more expressive and playful thanks to the alternatives and ligatures that are harmoniously combined in this font and add charm to your project. Making it more versatile to use. This font is easy to use has OpenType features.

Introducing Redflick the display font, with consistent characters and a modern italic style. It has a naughty and unique look. The form has a firm consistency. I'd say that adds to its charm—and it does. It's great for headlines and titles, but also very easy to read in sentence form. It's perfect for branding and packaging, books, invitations, and anything else you want in a casual setting — without being too childish.

Boleo is a typeface designed to work in short texts such as headlines, banners, logos, signs, packaging and posters. It is a display font but has a good legibility thanks to well-proportioned shapes which let it works fine both on paper and screen. Boleo’s shapes remind to ribbons in motion, so that its lines, all curved, can be traced all at once. Boleo displays in three weights: regular, bold and black.

This font may be conservative and classic, but can also be more playful and modern. It is good for theater or art posters and for modern music, web-pictures or vinyl covers. Of course it also will be good for coffee shops, cafe's, restaurants, magazine's headers, signs or gift/post cards and weddings. Try to use it in your beauty or travel blogs, you will see how many options you will have with stylish Start.

The Standard version of the Norden font family (see Round and Display) is "a standard sans serif" font. However, the significant detail and difference is that it comes with slightly rounded end corners, which makes the font “easier on the eye”, especially at large sizes compared to traditional fonts with sharp-edge corners. This little but important difference gives the font a commanding yet poised presence, without it imposing itself, as it were.

This font may be conservative and classic, but also may be more playful and modern. It is good for theater or art posters and for modern music, web-pictures or vinyl covers. Of course it also will be good for coffee shops, cafe's, restaurants, magazine's headers, signs or gift/post cards and weddings. Try to use it in your beauty or travel blogs, you will see how many options you will have with stylish CLASSIC

This font may be conservative and classic, but also may be more playful and modern. It is good for theater or art posters and for modern music, web-pictures or vinyl covers. Of course it also will be good for coffee shops, cafe's, restaurants, magazine's headers, signs or gift/post cards and weddings. Try to use it in your beauty or travel blogs, you will see how many options you will have with stylish POSTER

Sweet Aloha is a cool and fashionable handwritten font. It is defined by smooth curves and is perfect for packaging or editorial designs. but also It’s ideal for branding and decorate your projects. Add this chunky lettered font to your designs and notice how it makes them come alive!. This font is PUA encoded which means you can access all of the cute glyphs with ease! It also features a wealth of including ligatures.

This font may be conservative and classic, but also may be more playful and modern. It is good for theater or art posters and for modern music, web-pictures or vinyl covers. Of course it also will be good for coffee shops, cafe's, restaurants, magazine's headers, signs or gift/post cards and weddings. Try to use it in your beauty or travel blogs, you will see how many options you will have with stylish FANTASY

Fiorentina is a ecstatic, abundant, embellished script in the Renaissance tradition. It could have been made for the Medicis or Sforzas. But I designed it completely new after being inspired by colorful Florentine wrapping papers. I gave it many different swashes and understrokes, alternate upper- and lowercase characters, 659 characters in all! The font has all accents for the European languages, Baltic, Roumanian and Turkish. Yours very versatile designer of beautiful typefaces Gert Wiescher

Cosmic Dust is dust that occurs in outer space or has fallen onto earth. Cosmic Dust font isn’t a dusty or celestial affair, no, it is a nice and useful font I made with a Sharpie pen. It is a little uneven, a little wobbly, but comes with a lot of character. Use it for your book covers, product packaging or posters. Cosmic Dust comes with extensive language support and a cool set of alternates.

This font may be conservative and classic, but also may be more playful and modern. It is good for theater or art posters and for modern music, web-pictures or vinyl covers. Of course it also will be good for coffee shops, cafe's, restaurants, magazine's headers, signs or gift/post cards and weddings. Try to use it in your beauty or travel blogs, you will see how many options you will have with stylish CATHRINE2

This font may be conservative and classic, but also may be more playful and modern. It is good for theater or art posters and for modern music, web-pictures or vinyl covers. Of course it also will be good for coffee shops, cafe's, restaurants, magazine's headers, signs or gift/post cards and weddings. Try to use it in your beauty or travel blogs, you will see how many options you will have with stylish REKAAH2

Conamore is a new Humanist Sans family. It consists of 16 styles (8 weights and 8 italics). The structure of the typeface is in a position that is neither too modern nor too classic. It was based on humanist frame and style, but we controlled the shape and removed potential eyesores so it can be easily recognized. These characteristics are suitable for the design requirements, such as editorial design, packaging, branding and display.

Solo is a renovation of an Arabic font designed by Sultan Maqtari in 2012 Solo is distinguished by its single and unconnected letters, as is the case with other Arabic fonts. Its letters are contemporary and do not dispense with the features of Arabic letters that are clear, legible and simple. But it gives user different creative possibilities, This font can be used in all artistic and creative projects in print and screen.

There is a very simple reason why the name of this font includes a potato. Or potatoe, if you prefer. It was carefully carved out of 14,5 kg of potatoes. Or 32.0 lb of potatos. Every single letter, every digit and every symbol. Manually, of course, and care-fully. It took a while. Longer than digitizing it, but since we love great quality, we put just as much care into this process.

Shooting star is a cool and playful handwritten font. It is defined by smooth curves and is perfect for kids theme or cheerful designs. but also It’s ideal for book, packaging and logo projects. Add this lettered font to your designs and notice how it makes them come alive!. This font is PUA encoded which means you can access all of the cute glyphs with ease! It also features a wealth of including ligatures.

Introducing Scandia, a unique geometric Scandanavian font with a beautiful and simple runic and Vikings style to help you bring the soul of the Nordic region into your design works! Based on Scandinavian runes and elegant geometric forms, this unique typeface has 3 weights to fit your needs. It includes some multilingual support, uppercase letters, numbers, and punctuation. It works great in titles, logos, and short quotes in modern and traditional projects. Check it!

This font may be conservative and classic, but also may be more playful and modern. It is good for theater or art posters and for modern music, web-pictures or vinyl covers. Of course it also will be good for coffee shops, cafe's, restaurants, magazine's headers, signs or gift/post cards and weddings. Try to use it in your beauty or travel blogs, you will see how many options you will have with stylish FOCUS

Lesthone is a display font that seamlessly merges vintage aesthetics with modern elegance. The rounded shapes of Lesthone contribute to its friendly looks. Each letter has its own personality, and this contributes to the font's handcrafted appeal. On the other hand, the most standout characteristic of Lesthone is its slightly rough texture that add a rustic charm. This font includes beautiful ornaments as a bonus. Lesthone fits in headlines, logos, branding materials, and many more.

Sabu is multitasking, modern sans-serif font family, and a great solution for anyone your project. It includes upright and Italic style, each of them has weight weights from thin to extra bold. This is a multi-purpose one that is perfect for big and small text, it is constructed modern and easy to read. With it, you can create logos, banners, use in advertising, packaging, books covers and magazines, headings, descriptions and much more.

Veritas is a serif text family. It is a narrow-width typeface, with a taller x-height than Times Roman for added legibility, but maintains a similar character count in text. It is typeface designed for publication, newspaper (anywhere where narrow columns are necessary) and identity design. It is exquisitely spaced and kerned, even in European characters. The Digital Type Review states "...Veritas is one of the most important contributions ... from any independent foundry."

This font may be conservative and classic, but also may be more playful and modern. It is good for theater or art posters and for modern music, web-pictures or vinyl covers. Of course it also will be good for coffee shops, cafe's, restaurants, magazine's headers, signs or gift/post cards and weddings. Try to use it in your beauty or travel blogs, you will see how many options you will have with stylish CATHRINE

Pixel Promise is my wannabe pixel font. Yes, it is not a pixel font…but it is handmade and the “pixels” are deliberately off here and there. Nevertheless, when typing with Pixel Promise, you get that retro gaming feeling, and before you know it, you feel like you just want to insert another coin, press 1 or 2 players and complete that level! :) I have added 5 different versions of each letter and multilingual support

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.

Machin is a French word meaning 'thing'. Apparently, it is also a species of macaque from the Philippines, but I named this font after the French word! Machin is based on a really old font I made back in the day. It was called Whynot and (because I didn't know a thing about making fonts at the time) I could not get it to work properly, so it had its 15 minutes of fame before it was pulled off of the internet. Machin was made using the recycled glyphs from Whynot and it does work. It comes with extensive language support (yes, Vietnamese and Sami too), some handy ligatures and a lot of scribbly panache.

Introducing Valve—the ultimate industrial typeface for the modern age. With its superelliptical letterforms and pragmatic stroke logic, Valve is the perfect choice for anyone looking to evoke the cold, hard world of plastics, pharmaceuticals, electronics, and alternative energy. But don’t be fooled by Valve’s emotionless, android-like forms. This is a typeface that packs a punch, with soft stroke ends that lend it a touch of elegance and sophistication. Whether you’re designing a cutting-edge tech brochure or a sleek new website, Valve is the perfect choice for anyone who wants to convey a sense of modernity and precision. And unlike other ultramodern typefaces that rely on tongue-in-cheek references to retro futurism, Valve is purely synthetic. Built solely from artificial elements with no specific structural source, this is a typeface that’s as forward-thinking as they come. So why settle for a typeface that’s stuck in the past when you can choose Valve and embrace the future? And with OpenType fractions, numeric ordinals, and a wide range of currency symbols included, Valve is more versatile than ever. Available in five weights—Extra-Light, Light, Regular, Bold, and Heavy—as well as a set of sleek obliques, Valve is the perfect choice for anyone looking to take their design game to the next level. So what are you waiting for? Choose Valve today and see the difference that a truly ultramodern typeface can make. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Glosa is a type family designed for editorial purposes. Glosa is delicate and highly readable at very small sizes but reveals all it’s strength and personality when used at big sizes. The contrast of the sharped serifs and ball terminals, provide a fresh and very contemporary look. Glosa Text is a bracketed serif, softer, smooth and less idiosyncratic, suitable for text settings. Both styles have four weights and italics, in a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others. Glosa Headline is ideally suited for nameplates and headline typography, with four weights and with lowercase matching the small caps. In Glosa most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters.