Suggested by J.M.Bergling’s 1917 “New Romeo Initials, Last Midnight is a display face created in a distinctive pseudocalligraphic Belle Époque style that we’ve come to associate with beloved fairy tales. Rich in typographic goodies, with two additional stylistic sets and a host of standard ligatures, Last Midnight now even has a Roman small caps set in both smooth and rough varieties — great for all of your tale-telling, folkloric, swashbuckling, & spellcasting needs! Part of The Ampersand Forest's Sondheim Series.

Dahliana is a humanist serif type family that has the heritage of classic Old Style and Transitional type while having the crisp lines and functionality of contemporary fonts. Its defining features include a high-contrast combined with diagonal stress, along with pinched stems and horizontals. There are 18 fonts altogether over 9 weights in roman and italic, you can also avail of one variable fonts which allow you to fine tune the weight to your exact liking.

Chank created Zsazsa Galore as a fresh alternative to Mister Frisky, another jerky, hypercaffeinated interpretation of the traditional roman alphabet. The difference this time is that the new font has no descenders. Every letter comes to rest hard on the baseline. It sits there firmly rooted with branches wiggling around in the air. It was released as the Chank Font of the Month in October 1999 and it was named after Zsa Zsa Gabor because she is beautiful.

Jason Uncial, a unicase font, was created by Dutch designer Coen Hofmann. Uncial hand writing began to spread in Europe at the time of the late Roman Empire (200 A.D.). It influenced both the Carolingian Minuscule as well as our present lower case letter forms. Uncial fonts are still very much in use. It is used for headlines, display, titles, certificates, and not surprisingly, very much in Ireland or for anything with a Gaelic/Irish or Celtic touch.

Badr is a traditional-style Arabic text typeface with two weights: Badr Light and Badr Bold, and include Latin glyphs (Cochin Roman and Bold), allowing a single font to set text in both most Western European and Arabic languages. The two Badr fonts incorporate the Basic Latin and the Arabic character sets, which support Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Galdana font family is a Roman serifs typeface, whose most relevant characteristic is the slanted angle of its true italic, at seventeen degrees. Its design was inspired by one of the most prominent American calligraphers of the last century, the book designer Oscar Ogg. Galdana contains 18 styles: starting from thin to ending in a fat typeface. This family is completed with multilingual support and a set of OpenType features such as stylistic alternates, swashes, and ligatures.

Coliseum Pro is a five-weight compressed spur serif font family. ITF’s original Coliseum family, released in 1992, was designed by Julie Hopwood and Pat Hickson. Steve Jackaman completely redesigned, redrew, and improved the Coliseum family over a two-year period, and two additional lighter weights have emerged: Light and Book. Coliseum Pro is inspired by Roman display typefaces, and is powerful and eye-catching at any size. Two sister typefaces, Clydesdale and Torpedo, were born from Coliseum’s redesign.

In 1938, Frederic W. Goudy designed California Oldstyle, his most distinguished type, for the University of California Press. In 1958, Lanston Monotype issued it as Californian. Carol Twombly digitized the roman 30 years later for the University of California; David Berlow revised it for Font Bureau with italic and small caps; Jane Patterson designed the bold. In 1999, assisted by Richard Lipton and Jill Pichotta, Berlow designed the black and the text and display series; FB 1994–99

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast. It’s a sort of typographic journey, from the 18th century typefaces to the 19th century slab serif typefaces, gathering information from the Scotch Roman fonts on its journey. Prumo is a type family with classic proportions that takes advantage of the recent type production technology while looking carefully at the most important historical references.

Frederic Goudy designed National Old Style Roman in 1916. It is loosely based on a logo he lettered for the National Biscuit Company in 1901. Steve Matteson expanded on Goudy’s original by designing a bold, semibold and matching italics. While much of Goudy’s work is strongly influenced by Venetian types of the 15th and 16th centuries - this design has a truly American quality about it. The design is useful for text or headlines that captures a sense of Americana.

Alchimia is an all caps serif font with a strong focus on ligatures. It captures the medieval aesthetic of the ancient roman serif fonts and remixes it with a modern approach. Imbricated letters gives to the font a playful yet clean and eerie look. It is designed mainly to be used as a display typeface, and it's perfect for striking headlines or unique logo designs. FEATURES : — Total Glyph set: 724 — Uppercase — Base Latin — Diacritics — Numbers — Symbols — 579 contextual ligatures

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast fonts, is a sort of typographic journey, from the eighteen century typefaces to the nineteen century slab serif typefaces, gathering information from the scotch roman fonts on it's journey. Prumo is a type family with classic proportions, that takes advantage of the recent type production technology while looking carefully at the most important historical references.

Carte Blanche literally means 'Blank Ticket'. Yeah, yeah, it is also a very 007-ish catchphrase, but I wanted to give this elegant font a 'stylish' name and Carte Blanche popped up. All glyphs were hand drawn on a rather expensive piece of heavy-weight paper and were put into the font in between changing nappies, bouts of the flu and the subsequent wiping of snotty noses. Carte Blanche speaks most Roman-based languages - albeit nasally…

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast. It’s a sort of typographic journey, from the 18th century typefaces to the 19th century slab serif typefaces, gathering information from the Scotch Roman fonts on its journey. Prumo is a type family with classic proportions that takes advantage of the recent type production technology while looking carefully at the most important historical references.

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast. It’s a sort of typographic journey, from the 18th century typefaces to the 19th century slab serif typefaces, gathering information from the Scotch Roman fonts on its journey. Prumo is a type family with classic proportions that takes advantage of the recent type production technology while looking carefully at the most important historical references.

Clydesdale is a five-weight compressed sans serif font family. It was designed by Steve Jackaman over a several-year period, and was released in 2017. Clydesdale, much like its sister typefaces Coliseum and Torpedo, was inspired by authoritative Roman display typefaces. The font family excels in displays, but is a great performer in all text sizes. It is perfect for users who enjoy the impressiveness of Coliseum Pro and Torpedo, and need a complementary sans serif typeface.

The pLatinum family was created in 1998. Ink, scanner, Fontographer and as a result Regular and Italic styles of pLatinum typeface. Kyrillitsa'99 International type design competition Award winning typeface. The design style is “Irregular Serif”. The glyphs of pLatinum roman are reminiscent of the Russian types of early eighteenth century—especially in the smaller point sizes. An Italic, surprisingly close to the handwriting copybooks of mid-eighteenth century, is a later addition to the design.

Sarabande is a painstaking reproduction of Jean Jannon's famous "Garamond" of 1621 -- also known as "Caracteres de l'universite." Whereas the original was intended for setting French and Latin text only, Sarabande has all standard international characters and diacritics, along with a Euro symbol. (There are however no characters for higher mathematics or logic, and the number of other unhistorical characters has also been kept to a practical minimum.) Sarabande comes with two styles: a roman and a true italic.

Amici means 'friends' and the Amici family was conceived as a big friendly Roman typeface for headings, posters, signs and anywhere else that an approachable easy-reading typeface is needed. It's the sort of thing you used to see in Magazine mastheads before everything went boringly sans serif. Three faces are offered within the family, Regular - solid and clear, Bold - with that bit more body and presence and italic - bringing in script elements to its design.

Coltan Gea is a Slab Serif typographic family with 6 Weights plus the italic versions all include small capital letters and cryptocurrency symbols. It is a geometric, minimalist typeface, with neo-grotesque modulations and slightly rounded corners. The typeface has alternative letters and numbers, small caps and advanced OpenType functions. The proportions, metrics and kerning I have configured meticulously for a perfect reading in any size. The complete package includes the roman version in VariableFont format.

Inspired by classic calligraphy, Armstead is an elegant and sophisticated handwritten font with a classic charm. All lowercase have 8 - 9 variants, total of 203 alternates, 7 ligatures, 20 swash of which 10 are final, and there are old roman numerals from 0 to 12. This font is perfect for your wedding invitation, greeting card, certificate, branding, magazine, book cover and much more and the alternates will help you to make your design unique. Thank you!

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast. It's a sort of typographic journey, from the 18th century typefaces to the 19th century slab serif typefaces, gathering information from the Scotch Roman fonts on its journey. Prumo is a type family with classic proportions that takes advantage of the recent type production technology while looking carefully at the most important historical references.

Mexican Pattern is my vision of classic Mexican style with colorful and ornate pattern. Mexican patterns appeared as a result of the fusion of two cultures. Aztec and Mayan heritage mingled with Spanish traditions in bright colors. You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ Please note that the Canva & Corel & Affinity doesn't support color fonts! Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast. It’s a sort of typographic journey, from the 18th century typefaces to the 19th century slab serif typefaces, gathering information from the Scotch Roman fonts on its journey. Prumo is a type family with classic proportions that takes advantage of the recent type production technology while looking carefully at the most important historical references.

TT Fellows useful links: Specimen | Graphic presentation | Customization options There can't be too many universal fonts! Meet TT Fellows, a new workhorse whose functionality allows you to comfortably use the font in a variety of projects. Calm and neutral at first glance, the mood of TT Fellows can change. Working with the typeface, you can reveal its soft and friendly nature, or even the brutal one, for example, by typing the text exclusively in capital letters in the bold style. TT Fellows is easy to use and perfect for setting large text arrays. Thanks to the font's uniwidth and versatility, the font is ideal for use on websites or in periodicals. Bold styles will work harmoniously in headlines or as accents in print or on packaging. TT Fellows is a humanist sans serif with a mechanical touch. With its open shapes, the friendly neutral character of thin weights and an even softer character in bold weights, the new typeface differs in character from the classic TT Norms® and TT Commons sans serifs, while still offering the same functionality. Calm regular styles differ from bold, deliberately display and more expressive ones. By the way, TT Fellows is a unwidth typeface. It was important for us that the user could change the styles, knowing that the layout will not suffer. The typeface features equal width proportions, open apertures, and slightly squared ovals, which associatively brings it closer to other popular modern fonts. Since the idea of the typeface was focused on it being a uniwidth typeface, we needed to fit the bold styles into the regular em squares, which led to interesting graphic solutions that are noticeable, for example, in the k and ж characters, in which the branches are cut directly into the stems. TT Fellows consists of 19 styles: 9 upright, 9 italic and 1 variable, each with over 700 glyphs. The font has 26 useful OpenType features. For example, there is a switch to single-part versions of letters a and y, fractions, tabular characters, case versions of punctuation, and localized versions of characters for different languages. There is a ligature for a combination of two characters of a complex design fl. TT Fellows font field guide including best practices, font pairings and alternatives.

The Scriptuale family, which contains eight styles, is a contemporary upright calligraphic face. Designed by German designer Renate Weise in 2003, this family of typefaces speaks to the present, while at the same time reflecting on a lyrical past. The letterforms of the Scriptuale family are romanticized, they reference German calligraphic styles from the 19th and early 20th Centuries. For instance the design of Scriptuale's uppercase strays from the canon of classical proportion into romantic idealism. While the C and O are drawn according to the ancient quadratic proportions - almost twice as wide, optically, as the E or the L - the letter A is wider than would be expected, and the D narrower. These subtle differences introduce a different rhythm into text set in Scriptuale than Italic styles of calligraphy may offer. Scriptuale's Gs merit special notice: both the upper and lower case G lunge slightly forward, further enhancing the dynamic quality of the text. Also unique in Scriptuale's design is the lowercase width: the letterforms appear slightly condensed; they have large x-heights to compensate for this. In a delightful twist, the number 2's beak has been closed by drawing it full-circle, back into the stem: this references a style of letter design that was practiced, among other places, by artists from the old Klingspor foundry in Offenbach Germany. Typefaces constructed there easily captured the zeitgeist of the romantic period, but are less calligraphic than Scriptuale (e.g., Rudolf Koch's Koch Antiqua). A semi-serif face (like Prof. Hermann Zapf's Optima or Otl Aicher's Rotis Semi), some of Scriptuale's letters have serifs (D), and some do not (A). And although both the B and the E normally have the same "structure" on their left side, Weise has drawn them differently in Scriptuale. These strengthen the calligraphic-like quality of the family. Traces of the pen are easy to see in Scriptuale's design; it is a thoroughly calligraphic face. The eight typefaces in the Scriptuale family include Light, Regular, Semi Bold, and Bold weights. Each weight has a companion italic. Scriptuale is similar to one other contemporary calligraphic family in the Linotype portfolio, Anasdair , from British designer

‘Skiart Serif Leaf’ has been on a long growing path getting to where it is now. Originally inspired by the san serif font ‘Skia’ by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any serifs. It took a step between sans serif and serif fonts. Next on the path towards a serif font came Skiart Serif Mini, with tiny serifs added. This was a true serif font, although they were subtle. This font ‘Skiart Serif Leaf’ is the next in the series. After many reiterations, ‘Skiart Serif Leaf’ was built and rebuilt many times until finally, this version deserved to be presented to the world. Style and flow had been added to this font. It remained fully readable and feels as clean and normal as any of the best body copy serifs, and yet has an original modern flair to it. The font feels strong and solid while having a subtle organic flow in its form. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Leaf’ lowercase is more open with a taller x-height, increasing its readability and friendliness. The serifs are smaller and less distracting. They are not pretending to be ligatures. This font may be organic but is not in anyway script like. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Leaf’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the a’s and g’s are round single story, feeling warmer and more inviting in the ‘Serif Leaf’ font. Much more friendly than the stuffy double storied versions in fonts like ‘Times’ etc. ‘Skiart Serif Font’ comes with a somewhat organic italic.

Hello! Do you need letters that look like they are drawn with a brush so that your creative work shines and stands out? We present Bechamel, a family of script fonts designed to be combinable with Bechamel Roman. BECHAMEL SCRIPT was hand drawn to design words and phrases in logos, packaging, posters, envelopes and greeting cards. BECHAMEL SCRIPT has high expressiveness because its energetic set of letters are meticulously drawn with calligraphy and lettering. In addition each of its incredible cursive letters give you the possibility to add a central vein to change the color, enhancing its impressive artisan splendor. These are the possibilities you receive by acquiring BECHAMEL: A) BECHAMEL-SCRIPT & VEIN: Cursive letters with carousel effect and OPENTYPE contained in: 26 Uppercase letters, 26 Small letters, 10 Numbers, 3 Fractions, 31 Punctuation marks, 77 Signs for languages belonging to Western Europe, 113 Signs for Central European languages. 20 Lowercase wipes, 13 uppercase alternatives for WORD START, 44 lowercase alternatives for HALF of word, 20 lowercase alternatives for WORD FINAL. NOTICE: Alternatives appear by clicking on glyph panel in Adobe Illustrator, Inkscape or Photoshop CC. B) BECHAMEL-WORDS: 57 words with capital letters underlined and combinable with BECHAMEL-SCRIPT 1, 2 and 3 ideal to connect and decorate your designs increasing expressiveness and authentic handwritten look of your ideas C) BECHAMEL-ORNAMENTS: 30 wonderful drawings made up of stars, borders, waves, hearts, dots, arrows, bow ties, etc., all specially coordinated to accompany your composite designs in BECHAMEL-SCRIPT and BECHAMEL-WORDS. Well, I hope that my work will be useful and above all that you have fun with it. If you have questions write to me that I will be happy to help you: • INTAGRAM: instagram.com/andinistas • BEHANCE: be.net/andinistas • FACEBOOK: fb.com/carlosfabiancamargoguerrero • TWITTER: twitter.com/andinistas

PB Capitalis Rustica IVc is a font face designed for imitate latin writing style found in manuscripts from 1st to 9th century. All characters are handwritten by use ink and reed pen (calamus), scanned, digitized and optimized for best quality without lost its handwritten visual appearance. Character set support codepages: 1250 Central (Eastern) European, 1252 Western (ANSI), 1254 Turkish, 1257 Baltic. Include also additional characters for Cornish, Danish, Dutch and Welsh language, spaces (M/1, M/2, M/3, M/4, M/6, thin, hair, zero width space etc.) and historical characters (overlined Roman numerals, I-longa, historical ligatures for "nomina sacra" and "notae communes"). OpenType TrueType TTF (.ttf) font file include installed OpenType features: Access All Alternates, Localized Forms, Fractions, Ordinals, Superscript, Tabular Figures, Proportional Figures, Stylistic Alternates, Stylistic Set 1, Historical Forms, Historical Ligatures. Include also kerning as single 'kern' table for maximum possible backwards compatibility with older software. Historical ligatures for "nomina sacra" and "notae communes" are mapped to Private Use Area codepoints. Use of OpenType features to get historical characters: ïTo get "I-longa" use Stylistic Alternates for: "I"(U+0049), "i"(U+0069), "dotless i"(U+0131). ïTo get "nomina sacra" use Historical Ligatures and write uppercase letters: DS for: "Deus", DMS or DNS for: "Dominus" EPS for: "Episcopus", IHS for: "Iesus", PBR for: "Presbiter", SCS for: "Sanctus", SPS for: "Spiritus", XPS for: "Christus". ïTo get "notae communes" use Historical Ligatures and write: B(U+0042) + "middle dot"(U+00B7) for: "-BUS", Q(U+0051) + "middle dot"(U+00B7) for: "-QUE". ïTo get "scriptio continua" (writing without words separation) use Historical Forms (regular spaces are replaced by zero width spaces between words). ïTo get "middle dot" for separate words use Stylistic Set 1 (regular spaces are replaced by middle dot between words).

Morris is a four-font family produced by HiH Retrofonts and based on the work of the very English William Morris. William Morris wanted a gothic type drawn from the 14th century blackletter tradition that he admired both stylistically and philosophically. He drew from several sources. His principal inspiration for his lower case was the 1462 Bible by Peter Schoeffer of Mainz; particularly notable for the first appearance of the ‘ear’ on the g. The upper case was Morris’s amalgam of the Italian cursive closed caps popular throughout the 12th through 15th centuries, a modern example of which is Goudy’s Lombardic Capitals. The gothic that Morris designed was first used by his Kelmscott Press for the publication of the Historyes Of Troye in 1892. It was called “Troy Type” and was cut at 18 points by Edward Prince. It was also used for The Tale of Beowulf. The typeface was re-cut in at 12 points and called “Chaucer Type” for use in The Order of Chivalry and The Works of Geoffrey Chaucer. Morris' objective is designing his gothic was not only to preserve the color and presence of his sources, but to create letters that were more readable to the English eye. ATF copied Troy and called it Satanick. Not only was the ATF version popular in the United States; but, interestingly, sold very well in Germany. There was great interest in that country in finding a middle ground between blackletter and roman styles -- one that was comfortable for a wider readership. The Morris design was considered one of the more successful solutions. Our interpretation, which we call Morris Gothic, substantially follows the Petzendorfer model used by other versions we have seen, with the following exceptions: 1) a larger fillet radius on the upper arm of the H, 2) a more typically broadpen stroke in place of the foxtail on the Q, which I do not like, 3) inclusion of the aforementioned ear on the g and 4) a slightly shorter descender on the y. We have included five ornaments, at positions 0135, 0137, 0167, 0172 and 0177. The German ligatures ‘ch’ & ‘ck’ can be accessed using the left and right brace keys (0123 & 0125). Morris Initials One and Morris Initials Two are two of several different styles of decorative initial letters that Morris designed for use with his type. He drew from a variety of 15th century sources, among which were Peter Schoeffer’s 1462 Mainz Bible and the lily-of-the-valley alphabet by Gunther Zainer of Augsburg. Each of the two initial fonts is paired with the Morris Gothic lower case. Morris Ornaments is a collection of both text ornaments and forms from the surrounding page-border decorations.

This is a free abridged edition of the full-featured Gutenberg B and Gutenberg C fonts. Although (as the name suggests) it was originally conceived as the first release in the B42-type series, it actually represents the colophon to this series. In addition to having a narrower scope, the font differs from its full-featured predecesors in both letter and word spacing, as well as in glyph design, using exclusively straight lines for every glyph and providing a significantly rough appearance at medium to large point sizes. The font includes the usual standard characters for typesetting modern texts, as well as a few special characters, alternates and ligatures that can be used for typesetting nearly as in Johann Gutenberg’s 42-line Bible and later incunabula. Please note that the use of this free font is subject to the same terms and conditions as those for Alter Littera’s pay fonts. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Gutenberg A” Font Page.

In 2014 I made a font called Whatnot. I think I made with with a roller ball pen, but I am not sure, as it was a long timer ago. I have always liked Whatnot font and I think it deserves a second lease on life, so I made a new (and improved) version of it, called Whatnot 22. Not Catch 22... It now comes with better kerning, multilingual support (including Vietnamese, Sami and Greek) and a cool set of contextual alternates that cycles as you type.

For any project that calls for a gothic touch, the Krinah font is ideal. Krinah Blackletter fonts are the way to go whether you’re looking for a font for your logo, label, badge, or your newest music video or movie! Labels, vintage posters, and other items should all be designed using the professional-grade font Blackletter. It’s ideal for any project that calls for a little gothic flair. Additionally, it has a variety of lovely, harmonious forms, allowing you to choose the ideal word for your project.

The name of this font is TWOMBLY, which is inspired by the abstract art master Cy Twombly. This original typeface has an Art Deco style with a firm, straightforward, confident character. Its self-respect is HEAVY, but it is very elegant and has a literary temperament. This font reveals a calm and calm temperament from Northern Europe. The details of the triangle used as a transition in the serif are full of playfulness, which makes the whole font have a youthful and cutting-edge feeling.

Charles W. "Plot" Plotner was a cartoonist who had developed a template-based cartooning set for kids circa 1952 called "Plot-O". A companion set was called "Plot-O the Clown". "Plot-O" consisted of two plastic templates with pre-cut and numbered cartoon shapes. By following the simple directions and tracing the corresponding parts, any youngster could create basic cartoons of people and finish them off with their own details. The hand-lettered instruction booklet provided the design inspiration for Cartoon Panel JNL.

Starlikes - classic duo typeface with stencil serif and regular typeface, which can be adapted to your needs and desires Starlikes is a beautiful, nostalgic lowercase and uppercase typeface that works best as focus display text (think logos, headers, pretty quotes, calls to action, etc.) think logos, headers, pretty quotes, calls to action, etc.). Upper and lower case give it great versatility, but I honestly can't get over all the crumpled uppercase letters. This is too good. Including: Numbers & punctuation Foreign language support Have a wonderful day SayStudio :-)

Borrowdale is a valley and civil parish in the English Lake District. In the 16th century a major deposit of graphite was discovered near Seathwaite, which kickstarted the pencil industry. Borrowdale font was made with one of my son's coloring pencils (which probably does not contain a single molecule of graphite). It is a very legible and easy-on-the-eye font, ideal for children's books, texts and product packaging. Comes with a mother lode of diacritics.

“Hello My Love” is a font love story. Inspired by my own long and happy marriage of 35 years, it was created to celebrate love! A classic hand-lettered script with a modern and fresh feel, it fits beautifully with current designs and yet is sure to stand the test of time. Made with invitation designers in mind, the Hello My Love Pro script font includes a total of 1985 glyphs plus a BONUS FONT, Hello My Love Ornaments! It has 91 hand illustrations including frames, florals and design elements. As a result, you will be able to create a variety of designs to highlight your special project. It’s especially well-suited for invitations for branding weddings and other special occasions! And it supports 129 languages! The font is loaded with features: Stylistic and Contextual Alternates, Swash Caps, Standard and Discretionary Ligatures, Beginning Swashes for lower case letters, Cross-less t and f that can be combined with a flourished letter to avoid clashing plus 3 ampersands, small word art "and" & "No.", Roman Numerals, Ordinals and Fractions. This font was created to make designing easy. Need to convert upper case letters into Roman numerals throughout a guest list? Just turn on contextual alternates in Open Type capable programs and presto, the caps become Roman! Want a variety of letter choices? There are 215 stylistic alternate upper cases and 259 stylistic alternate lower cases as well as 69 ligatures to give you plenty of options. You can choose from swashes in 4 different styles and 3 different lengths resulting in unique beginning lower case letters. Works for Cutting Machines! No special software is required to use Hello My Love. All of my fonts have been specially coded for PUA (Private Use Area) so you can access all of the swashes and alternates using Character Map (PC) or Character Viewer (Mac) or with any number of apps including PopChar. If you would like to purchase PopChar at a special discount email me and I will send you the link. For Microsoft Word users, you can easily access the Stylistic and Contextual Alternates and the Roman Numerals through the Typography feature. (Microsoft Word 2010 and later) For more details about how to use my fonts, check out my video tutorials on my YouTube channel: https://www.youtube.com/user/Letteringartstudio/videos