Hello! Introducing a geometric style font — Stripy Matey. It's a vintage look smooth typeface built of dashed flowing lines. Stripy Matey font has multilingual support (check out a screenshot with available letters and signs). Thank you and wish you a peaceful sky!

Scritta Nuova was born to transpose my personal handwriting and evolved today into a smart typeface that maintains the original feel with improved legibility and visual balance. The steady rhythm and roundness of Scritta Nuova give the impression of a smooth, girlish and gentle writing. It also evokes retro calligraphic styles taught in Italian schools around the 1950s, which might have influenced in one way or another my original handwriting. Note that the capital letters can be nicely set next to each other without overlapping, unlike script typefaces with swashy capitals created as initials.

This font from the same family as Scripio A and Scripio B. The truth it more likely their cousin, very much it is not similar to them. Though looks not so bad.

Henri Abraham Chatelain was a cartographer and publisher of the famous Atlas Historique, ou Nouvelle Introduction a L'Histoire, a world atlas released between 1705 and 1732 in Amsterdam. A few years ago, at an antique book shop in London, I bought a page from Chatelain's atlas—a page covering the Near East, India, the Indian Ocean—that had a particularly alluring, oblique handlettering style. The text is in French, which gave me plenty of samples of diacritics and accented characters. The overall effect is neat and legible, with a distinctly historical flair.

Scripio A was the first font which I submitted to MyFonts.com. It is a decorative font. Little bit technical. I wanted to make a font which would be interesting to all. To some extent it has justified my hopes.

A comprehensive and faithful rendition of Rudolf Koch’s first release, usually referred to as “Fette Deutsche Schrift” or "Koch-Schrift". In addition to the regular character set, the font includes a large number of alternates and ligatures, plus two sets of ornamental initials (Initialen mit Zierstrichen und Punkten zur Koch-Schrift, and Initialen zur halbfetten deutschen Schrift von Rudolf Koch). The main sources used during the font design process were a sample page from Hendlmeier, W. (1994), Kunstwerke der Schrift, Hannover: Bund für Deutsche Schrift und Sprache (p. 164), and several specimen sheets from the Gebrüder Klingspor Type Foundry for Koch’s “Deutsche Schrift” type family. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Deutsche Schrift” Font Page.

The Vtg Stencil fonts from astype are based on real world stencils from several countries. The Italian stencils that I chose as a model for this font are roughly based on classic French stencil letters. Please compare the figures (numbers) with their French counterparts. However, the Italian stencils are made with a different production technique. The design of the letters is clearly not punch-cut into the plates, maybe they are drilled, milled or etched. Details such as the serifs look bold and clumsy, and when using the stencils as they are meant, with viscous sign paint, smaller details easily fade away. So I took my freedom to design a font close to the original design but adding several typographic tweaks to let it shine, hoping to get closer to the intended design idea of these Italian stencils. Enjoy the vintage!

The Pictographs MT font was contains over 700 emoji icons (emoticons). These symbols, pictures and images cover a range of expressions and uses. Emoji were very popularized in Japan and have become widely adopted and integrated into the Unicode specification. The Pictographs MT font was created to support messaging applications, and to give designers and developers a robust set of emoticons.

Paula is a non-joining rough brush script with traces of the brush's backstroke that give it that typical look. Paula is an open script with very good readability.