The Commodore 64 (C64) is a home computer with 64 kilobytes of RAM that was popular in the 1980s. Released by Commodore Business Machines (CBM) to the public in August 1982 at a price of US$595, it offered sound and graphics performance that was good compared to the standard at that time.

Originally drawn in 1999 as a college project with the ambition to make the ‘most beautiful’ alphabet in the world. After these heroic beginnings Spaghetti lay dormant in the VLNL vaults for many years, appearing to silently peter away. Now look at it! Ten years hence, it is finally being served up in glorious OpenType, precisely al dente. As automated special sauce, each lowercase character before or after a space receives a nice little ball ending to round things off. And finally, the parmesan cheese sprinkled on top is like a tasty bunch of ligatures – enough to make your mouth water.

The inspiration source for Monarchy Initials is the 1934 Book of American Types by American Type Founders. In that specimen book, they had created a sophisticated two color initial design they called "Stationers Initials" which was only available in metal type at 24, 36, and 48 points. This wonderfully detailed initial style is now digitally recreated and revived for modern use. Monarchy Initials is only capable of initial or single letter monograms due to its unique design. The two color aspect of the original design has been preserved and made accessible within all programs. The Capital character slots contain the background color glyphs, and the lowercase slots hold the outline art for the letters. You can choose a color, type a capital letter, then switch to black and type a lowercase letter for the two color effect, or just tpe a lowercase letter on its own. It's that easy! Download and view the Monarchy Initials Guidebook if you would like to learn a little more.

The inspiration source for Memoriam Initials is the 1934 Book of American Types by American Type Founders. In that specimen book, they had created a sophisticated two color initial design they called “University Initials” which was only available in metal type at 24, 36, and 48 points. This wonderfully detailed initial style is now digitally recreated and revived for modern use. Memoriam Initials is only capable of initial or single letter monograms due to its unique design. The two color aspect of the original design has been preserved and made accessible within all programs. The Capital character slots contain the background color glyphs, and the lowercase slots hold the outline art for the letters. You can choose a color, type a capital letter, then switch to black and type a lowercase letter for the two color effect, or just type a lowercase letter on its own. It’s that easy! Download and view the Memoriam Initials Guidebook if you would like to learn a little more.

Maple Drive is a bold rounded serif typeface with a warm and familiar feel built-in. Maple Drive delivers a recognizable nostalgic feeling polished for modern day use. Maple Drive works great as a logotype, in magazines, headlines, posters, advertising and packaging. As a product of the modern era, Maple Drive is fully equipped with plenty of OpenType goodness: Standard Ligatures are automatically on and they step in on certain letter combinations, such as ff and fi. In addition it has a wide range of, Stylistic, Swash and Titling Alternates as well as Discretionary Ligatures that you can trigger on or off from OpenType controls in any OpenType savvy program, or manually select the suitable variations from the character window. Try these alternates for more eloquent designs. Alternates are best to treat like you would treat a really strong spice: just a bit at a time. See the full range of the alternative glyphs on the specimen posters.

Imagine America in the 1930s. A gangster flick with Al Capone, a crime novel featuring Philip Marlowe. Our hero in a fedora sits in a classy bar, orders a double bourbon, lights a cigar and eyes the evening paper. He turns the pages, reading about a bank heist over on Third Avenue, a scandal involving a baseball player, a small ad for a general practitioner and a large spread about a famous law firm. What do the bottle of booze and the majestic facade of the bank have in common? The elegant baseball uniform and trustworthy attorneys? - Copperplate Gothic - When Frederick William Goudy created his legendary typeface in 1901, it went on to literally become the symbol of early 20th century America. Tiny serifs, characteristically broad letterforms, and particularly bold titles decorated calling cards at 6-point size, enormous bronze-cast logos, newspaper headlines, restaurant menus and more. This was the golden age of Copperplate, lasting up until the arrival of die neue Typografie and monospaced grotesques in the 1960s. Then the typeface almost completely disappeared. It made a partial comeback with the advent of the personal computer; digitizations of varying quality appeared, and one version even became a standard font in Adobe programs. This may have played a role in Copperplate later being used in DIY projects and amateur designs, which harmed its reputation. Copperplate New has been created to revive the faded glory of the original design. Formally, the new typeface expands the existing weight and proportional extremes. The slight serifs are reduced even further, making the typeface sans-like at smaller point sizes and improving readability. In contrast, at large point sizes it retains all of its original character. Decorative inline & shadow styles have been added and both have been created in all five proportions, making it easy to adapt the typesetting to the format you need. Despite these changes and innovations, Copperplate New remains true to Goudy’s original design and represents a snazzy way to evoke a golden era in American culture. Specimen: http://carontwice.com/files/specimen_Copperplate_New.pdf

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. Simoncini Garamond was designed by Francesco Simoncini to be true to the Original.

Emainell Script is a handwritten typeface with classic roots, a beautiful formal script with an elegant touch. It works perfectly in the world of weddings, logos, greeting cards, branding, print ads, quotes, signage, magazines etc. Emainell Script features 466+ glyphs and 278 alternate characters. including initial and terminal letters, alternates, swashes, ligatures and multiple language support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). Thank you for your purchase! and please let me know if you have any questions.via email: joelpopon@gmail.com

Struffoli are small, marble sized deep fried dough balls from Naples. They are served with a variety of sweet condiments, like honey, sugar and sprinkles. There is nothing deep fried about Struffoli font, nor does it resemble a deep fried dough ball: I just liked the name and at least now I can say what Struffoli are! Struffoli was handmade using a brush and Chinese ink. It does look like a connected script font, but it is not (really): only a few letters connect, making it a more versatile font. Use it for your cookbooks, posters and toy packaging. Rest assured, it comes with a generous serving of diacritics.

Introducing Kinder, our first serif font featuring both upper and lowercase characters! Featuring unique beautiful curves and a modern feel (look at that K!) Inspired by old records and packaging designs, with an 1871 spin. It has a beautiful range of stylistic alternates with unique characters making it a versatile powerhouse for logos, headlines, posters, shirts, you name it! Pick up Kinder today and make the world more beautiful with your creations!

Following the death of Carl Dair, David Anderson redrew Dair’s design, Cartier, for Typsettra, where it was renamed Raleigh. Adrian Williams at Fonts added three weights as a display series for Conways, while Robert Norton drew the text series.

ITC Silvermoon was designed by Akira Kobayashi in the style of the advertisements of the 1920s. Art Deco was the artistic movement which marked the years between the two world wars, combining elements of Jugenstil, futurism and east Asian influences. This font carries on in that tradition. The small, high reaching figures with their elegant forms and reserved but distinguishing loops give Silvermoon its unmistakable look. Kobayashi designed this font in two weights, regular and bold. To retain the elegance of the bold weight, the consistent stroke width of the regular weight was exchanged for contrasting strokes. This gives the weight more weight without detracting from its grace. The nostalgic, romantic ITC Silvermoon is best used for headlines and short texts in point sizes of 12 and larger.

Taro Why do designers make more and more geometric fonts? There are already many geometric sans in the world. Because It is a natural flow of design. It is true that we like geometric type instinctively. Taro was designed to archive a good balance between the following three things geometrically. 1. To be Natural, Flowing, Organic. 2. To be Neutral, Unbiased, Universal. 3. To be legible, distinguishable, readable. Consists of eight weights and their matching italics. Supporting almost all latin languages. All-caps text for one line or a few is as wonderful as normal mixed-case typesetting.

Petunia is a calligraphy style font designed by New York based calligrapher Eliza Gwendalyn . Her modern copperplate script has been a style she has been developing throughout her career. Her angelic flourishes and bouncy style are widely influenced by Eliza’s favorite childhood character Alice in Wonderland falling down the rabbit hole. She pairs her elegant script with a traditional sans serif and serif which is based on Eliza’s everyday handwriting. The name ‘Petunia' acquired from her childhood nickname her parents called her which was only fitting to choose as the name of her font that was derived from her childhood fantasies. Widely known in the wedding industry, she curated this font family for industry professionals with a versatile array of styles: a script, a bold script, sans serif, sans serif italic, serif, serif italic, and specially calligraphy words & ornaments making this a total package for all types of designers.

Sydonia Atramentiqua is a strange creation. The inspiration was the first releases of "Malleus Maleficarum" (actually the typography used there). I decided I wanted something strange, so Sydonia came into being. Like a blood of all witches who were being hunted down by Malleus Maleficarum's "fans" for their skills and beliefs. Why Sydonia? Sydonia von Borck was a witch from my area. It was probably the last woman executed for witchcraft. The genesis of the name. Sydonia was THE WITCH, and by the name I added "Atramentiqua". It is a combination of the words "Ink" (polish "ATRAMENT") + "Antiqua". The idea of ​​spilling a font is historical. The former Zecer composition was not perfectly sharp. As it was a "wet job", there were always light exits behind the lines. Who supported me? The GENEALOGIA project has been carried out for several years in cooperation with the Academy of Art in Szczecin and the National Museum in Szczecin. The project's supervisors are prof. Waldemar Wojciechowski and MA Patrycja Makarewicz, who runs the Visual Communication Studio. Some information: Sydonia was like that! This is not an everyday font. It is a stylized font, used to imitate old prints made by Zecer. The first version of Sydonia Atramentiqua was created in 2018 for the purposes of the exhibition at the National Museum in Szczecin. Base inspiration: Malleus Maleficarum & Caslon.

Bunday Clean is a minimalist and friendly font family with different moods. It drops everything unnecessary like spurs and ears and appears crisp and contemporary with a slightly squarish touch. Like the other members of the superfamily (Bunday™ Sans and Bunday™ Slab), Bunday Clean provides uprights, a second set of styles with characters that reference handwritten cursive. These curvy styles give words a distinct look and are especially attractive for use in display applications and logotype design. Bunday™ Clean is space-saving and creates a homogenous text color with good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure perfect appearance in all media. It ships with 9 standard, 9 upright, and the corresponding italic styles from a considerably thin hairline to a quite thick heavy. It supports at least 99 languages and provides OpenType® features for ligatures, alternative glyphs, localized forms, and much more. Feature Summary*: -4 Moods: Normal, Upright, Italic and Upright Italic -9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy -Supports at least 99 Languages incl. eastern european -Overall width: Narrow or Space-Saving -Advanced f- ligature set including fb -Discretionary s- and c- ligatures -Alternative Characters: a, e, f, g, l, t, y, A, E, F, L, and more -Capital German Eszett -Extra characters with Polish Kreska -Catalan Punt Volat -More than 570 characters per font * Some features may only be available in OpenType®-savvy applications Please, take a look at the other Bunday superfamily members: Bunday™ Sans Bunday™ Slab

Grabnika Unix is a unicase style typeface with a straight and a bit tall look and it has a residual influence of monospaced fonts. One of the major characteristics of this typeface are those sharp cuted ears and joints that appears repeating at some of the letters and gives him a distinctive personality and a minimalist design approach on other group of letters that creates an alternative interesting fill of the spaces. It is suitable for signage purpose and headlines or relatively short body texts and also for logo design and branding. It is a loud and fresh display that could give a certain distinctive and young personality to your designs. As a fun fact, the name of this font comes from the romanian word “grabnic” that means “fast” and I developed this font by chance as a custom lettering for a logo design project, so I saw it proper as an alternative in the actual wide font markets and I decide to finishing it as a multilingual support typeface. Enjoy!

“There is just something magical about type design,” says Sebastian Lester. “If you draw a successful typeface it can travel the world, taking a part of you with it.” If this is true, his Soho® Gothic family has taken him far and wide. Understated, modern and exceptionally versatile, the family has been put to good use in just about every application imaginable. A good choice for virtually any type of project, The Soho Gothic family performs equally well as the backbone of a global brand as it would in an edgy fashion magazine. Versatile, extensive, customizable, and multilingual – the Soho Gothic typeface family has it all.With the same proportions as Soho, its slab serif cousin, Soho Gothic ranges across seven weights, from a willowy hairline to a brawny ultra – each with a complementary italic.Lester took care to ensure that the Soho and Soho Gothic designs work in perfect harmony. According to him, “The typefaces were developed alongside each other so that I could consider every aspect of each design and be certain that they would be absolutely compatible.”Soho Gothic is a more understated and more subtle design than Soho. Features that give the design its distinctive tone are the flat, crisp apexes of the diagonal characters like the A and V, and the marked horizontal stress in the a, g and s. “I wanted the family as a whole to radiate effortless modernity,” recalls Lester, “to be a master communicator that works in all conditions and at all sizes.” A collection of alternate and “semi-slab” characters were also part of Lester’s plan. “I like to develop alternate characters for all my type designs,” he says. “I believe they give graphic designers greater flexibility and make a typeface more valuable.” Soho Gothic is available as OpenType® Pro fonts that have an extended character set which supports most Central European and many Eastern European languages. If you’re looking to complete your designs, consider pairing it with Bembo® Book,Joanna® Nova,Neue Frutiger®,PMN Caecilia®,or ITC Stone® Serif.

The Palatino™ typeface was first designed over 50 years ago by Hermann Zapf, and is probably the most universally admired and used of his type designs. In 1950, it was punchcut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt am Main, and then adapted for Linotype machine composition. Zapf optimized Palatino's design for legibility by giving it open counters and carefully weighted strokes, producing a typeface that was legible even on the inferior paper of the post-World War II period. The font was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. It has become a modern classic in itself, and is popular among professional graphic designers and amateurs alike. Palatino works well for both text and display typography. The new Palatino™ Linotype typefaces are OpenType format fonts, which include many newly designed characters in four large character sets; including extensive support for the Latin, Greek, and Cyrillic alphabets, as well as for Central European and many other languages. The Palatino Linotype OpenType fonts contains the following Microsoft code pages: 1252 Latin 1, 1250 Latin 2 Eastern, 1251 Cyrillic, 1253 Greek with polytonic Greek, 1254 Turk, 1257 Windows Baltic, and 1258 Windows Vietnamese. The fonts also include many ligature glyphs, including some historical long s-ligatures, as well as sets of Small Caps, Old style Figures, and vertical & diagonal fractions. Each font contains 1325 different glyphs.

In the immortal words of Homer Simpson, "It's easy to complain... and so much FUN, too! Woo-HOO!" Now your characters can grumble, mumble and mutter in barely audible tones as they dredge up some bit of misery from their lives, unleash a rambling river of criticism and complaints about the state of their health, or the government, garbling as much graphic detail as time and your imagination will allow! Or perhaps your creations are issuing drunken slurs as they wake up outside their own fricka-frackin' houses cuddling wheelie bins, covered in glitter, wearing a shiny hat and budgie smugglers over their jeans while holding the reins to a miniature horse. So moan, groan, gossip incoherently or swear under your whiskey-soaked breath like a trooper... courtesy of those Rassum Frassum font lovers at Comicraft. >Hic!

One menorah that I have long found particularly appealing was named The Tree of Life Menorah, a replica of which I gave as a gift one holiday to a kindly old couple who were neighbors and became friends. It had a simple, organic elegance that I see in the best of Art Nouveau sculpture. To me personally, Judeism is a celebration of life, like the triumph of the flower that blossoms in the crack of the city sidewalk. Just as Hanukkah celebrates the rededication of the temple and the miracle of the oil, it celebrates the victorious quest for freedom of the Hebrew people led by Judah Maccabee. Hanukkah represents determination and courage and faith — and it represents the presence of God in the lives of His people. It is interesting to note that the founding of the Albanian nation in the early twentieth century grew out of the resistance of the Albanian people to the imposition of Greek language and culture in the aftermath of the dissolution of the Ottoman Empire. The typeface, HADASSAH, designed by Henri Friedlander (1904-1996), is my favorite Hebrew typeface. Thirty years in the crafting, I believe it is unsurpassed for its shear beauty, combining a subtle modulation of stroke with a simplicity and clarity of form. No doubt, that is why it has become so popular. For me, the Sîyn/Shîyn characters are especially satisfying. For a Hanukkah message in Hebrew, I would choose HADASSAH LIGHT for a headline and print it as large as I could. If, however, you are looking for a friendly, warm face for a seasonal message in a roman-letter based language, may I suggest BETHLEHEM EPHRATH. It will be as comfortable as a bulky, hand-knit sweater on a frosty afternoon and reflects the solid, encompassing, family orientation of this holiday. It was on the way to Ephrath that Jacob’s beloved wife Rachel gave birth to Benjamin and then died from her labor. It was to Ephrath that Naomi and Ruth returned and in Ephrath that we have the wonderful, heart-warming story of the marriage between Ruth and her Redeemer-Kinsman, Boaz. And it was to Ephrath that prophet, Samuel, went to find a new king and there in Ephrath that the prophet annointed a small shepherd boy named David. The Proverbs tell us to seek wisdom. Never underestimate the impact you have on others. Words of kindness can change people’s lives. The Talmud says that the highest form of wisdom is kindness. Be wise this holiday season. The font BETHLEHEM EPHRATH is based on the typeface Accent with the permission of URW++ of Hamburg, Germany. Like most display fonts, it is most effective at 18 points and larger. Like most script fonts, it is most effective when set with both upper and lower case. Although this font is readable in all caps (many scripts are not), that does not make it a good idea. Do so only with caution.

Dorriss girls were the dancing troop at the Moulin Rouge. I had the idea for this font while trying to come up with an alternative to beveling. I thought it would be interesting to create this sort of stepped effect as I've never really seen this treatment on a font before. Then my need to create chaos shows up again with Doriss Girls informal. A hand drawn take on the forms. This seemed like it would appear on an old art nouveau poster by the great Toulouse Lautrec, so there you have the genesis of this font. I've been somewhat compelled by the letterforms so I may expand and create a more normal version of this font someday with a range of weights. That would be the bees knees.

The inspiration source for Zulu Monogram is a vintage publication called “Bibliotheque D.M.C: Alphabets et Monogrammes 2nd Series”. This wonderful design is an alternative to the diamond shape monogram that dominated monogram at the time. A Zulu shield-like form, this monogram style is now digitally recreated and revived for modern use in Zulu Monogram, with two letter monograms and a selection of additional frame styles for a final classy touch! Download and view the MFC Zulu Monogram Guidebook if you would like to learn a little more.

Linotype Startec, from Jan Tomás, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. This is another fun font from Tomás, who also designed Alphabat, and the two share some characteristics. Linotype Startec is an outline font whose unique forms are reminiscent of futuristic dreams and space adventures. It should be used in point sizes of at least 18, but the phrase 'the bigger the better' fits this font well. The careful details and figures of the alphabet turn into UFOs and space ships from another world when set in very large point sizes. Linotype Startc is best for very short texts and headlines.

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.

Bredagh (pronounced Braid-ah) is a happy font! It can bring a smile to your face, yet is at one with science and mathematics and the Arts. The first presentation is in a Poetry book. Overall, it is a strong and capable font. The organic nature of the font Breadgh is in Nature itself, with the roundels as found in the cross-section of a tree, for example, both circular and rounded oblong shapes, influencing. Accordingly, some of the characters are of a condensed nature and some are not. The lower case does not have the condensed aspects but the numerals do. In the creation of Bredagh, it was the dynamic between all of these that was part of the challenge. And to make them all work together subtly to be in overall harmony—was the ultimate challenge.

The main difference between Accord Alt and Accord is in the way curved strokes join with vertical stems in letters such as “bpn”. The Italics are designed at an italic angle of 10 degrees. All the letter forms have been kept similar while designing italic instead changing the form e.g. 'a' remains same double story in italic also instead changing it to single story. The intention is to keep it simple and neutral which helps communicate the corporate sense of professionalism.

Print Illustrations JNL gathers a number of charming and functional designs redrawn from vintage sources. There are attention getters, spot illustrations, catch words and decorative embellishments all in one digital file.

Mustang is a powerfully expressive brush font that combines an edgy urban aesthetic with a smooth feminine flow. Some have suggested that Mustang is romantic. Some say it has something to do with speed or freedom. While precisely what Mustang expresses is up to debate, there’s no doubt that it’s expressing it with intensity. The style was born in my high school years, when I would wreck my notebooks with multiple layers of graffiti tags which would start in the margins and then creep in to cover the entire page. I developed a sensibility towards a very fast, expressive use of my hand, which later easily and naturally translated into brush. I used this style typographically on several projects throughout the years, and even turned it into a signature illustration style. Mustang is the second font, after Streetbrush, to use this brushwork as its inspiration. Mustang will be especially evocative at large sizes, where the details and sharpness of the shapes really come to life. It also holds together well for use as body copy, but may lose some of its aesthetic integrity at really small sizes.

Unarmed began life as a series of rectangles in Fireworks. The task was designing my own business card for the first time in years, and the perfect lettering couldn't be found in either free or commercial fonts. While there were some good choices, none of them really communicated who I was. Initially only the lowercase letters in my name were created, with each being designed around a 7 x 4 grid of squares. I liked the result so much that I wanted to use the same typeface in different projects - and to save time in future, I decided to create this font. In creating DM Unarmed, the intention was to avoid diagonal lines, and to keep all the lines horizontal, vertical and grid-like. This made creating some of the characters - particularly the rounded ones and the letters X and Z - challenging. Coming from both worlds, I wanted to achieve a blend of technicality and creativeness, without trying to pretend one was the other. For best results this font should be used for large and prominent text, although it works at smaller sizes up to 12pt. I've spent a lot of time trying to hint a few characters that wouldn't play ball, such as 2, 7 and 8. In case you're wondering: DM Unarmed got its name from my philosophy of facing challenges without reliance on tools and weapons.

Hasler Circus packs amusement park, Old West, folk art, and tattoo shop all into one colorful font. Characteristic of reverse-contrast faces, Hasler Circus swaps the weight of its stems and serifs creating an unexpected yet charming rhythm. The font also features an added bonus: split stroke endings to crank up the flavor. Inject a dose of novelty into toy packaging, candy wrappers, cook books, vintage signs, or festival marketing. Drawn in the 1950s for Photo-Lettering, Inc. by influential British designer and typographer Charles Hasler, Circus was digitized by Erik van Blokland in 2011, with a helping hand from Ken Barber. HASLER CIRCUS CREDITS: Typeface Design: Charles Hasler Typeface Digitization: Erik van Blokland, Ken Barber Typeface Production: Ben Kiel Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Novella has always been one of Fonthaus' more popular period (Art Nouveau) fonts. The style of Novella captures the essence of typography that was popular at the turn of the 20th century (1890-1905). Its curvilinear lines are organic and floral, complimenting the work of Louis Comfort Tiffany, Charles Rennie Mackintosh and Gustav Klimt among others of the time.

Trajan The original template for this one-weight, all-caps font was the inscription on Trajan’s Column, carved in AD 113 to celebrate the emperor Trajan’s victory in the Dacian Wars. College student Jason Smith copied the stone lettering from the cast on display in London’s Victoria & Albert Museum. In Roman times, the signmaker would paint letters onto stone with a wide brush for the stone mason to chisel out later. The signwriter would end each stroke with a flick of his brush, which the mason would also carve into the stone. Ecce (as they would have said in Rome): the serif was born. Hand-crafted “I first drew this typeface when I was 17,” says Jason. “I drew it with a very sharp 9H pencil on polydraw film. “Then, using a Rotring pen, I inked the letters in and scraped back the serifs so they were perfectly sharp. These letters were then reduced on a PMT camera. I’d designed my first typeface, although it wasn’t digitised till much later.” Digitised Years after Jason had drawn the original typeface, its transfer into digital form made further refinements necessary. The serifs and weights needed thickening slightly, creating a crisp, new version whose delicate elegance is best appreciated in larger sizes. A classically-inspired font, timeless and perfectly-proportioned, to reflect the refinement of premium brands.

Specimen VI is a refined hand by artist Aileen Fretz of Plume Calligraphy: thoroughly modern yet absolutely timeless. We have our sights set on this one becoming an instant classic. OBSERVATIONS Specimen VI takes its inspiration from the old world, while remaining thoroughly contemporary. It is unique while maintaining legibility. DEFINING CHARACTERISTICS At 2,580 characters, we dare say it is one of the most robust script fonts on the market today. The font includes extensive Opentype programming that authentically replicates Aileen’s unique handwriting pattern. As you type, watch the letters automatically adjust between connected and disconnected forms. Specimen VI also features formal titles, prepositions, social media wordart, and web navigation wordart, serif and sans serif Roman numerals, in and out-stroked letterforms at beginning and end of words, multiple alternate lowercase t cross-strokes, realistic double-letter ligatures, seamlessly connecting calligraphic letters, multiple styles of alternate capital letters, including swashes, and basic Latin encoding. Specimen VI is a typesetters’ dream. POTENTIAL SIGHTINGS In the pages of your favorite wedding tome; the signage, robe embroidery, and dinner menus of that coveted boutique hotel on the Italian Riviera, the labels of an artisanal hand-poured candle line, your new favorite Rosé, hand-crafted Belgium chocolate truffles, the indie cosmetic line fit for royalty, in any instance that you may be in need of a refined modern script.

My daily challenge is how to get my kids out of bed, feed them breakfast, get them to dress, wash and pack their school bags and drop them off at school before the bell rings. The rest of the day, the challenge is to renovate our house, get my work done, pick up the kids from school (plus all of their friends, who want to come and play) and cook dinner. Of course, the word ‘challenge’ was misused by the internet. Not too long ago, there seemed to be and endless stream of crazy challenges that ended up hurting or even killing a few people. Daily Challenge font is none of the above: it is a clean cut, 100% handmade, all caps font. The only challenge here is how to adapt your design so it fits this font perfectly… ;-)

Rozza is a single weight stencil cursive fat face font for extremal display use. Looking at this font the story of beauty and the beast comes to mind. That is how I would describe it. On the one hand prickly and dangerous, and on the other - pulsating beauty and passion. Try to combine Rozza together with Displace — great pair!

Delikaat is made up of thin & thick strokes - a version of Cubo Font's former Delicate. Most cursive fonts intend to create the look and feel of real handwriting: many letters have a specific drawing, following other letters that come before and after, or its position at the beginning or at the end of the word. “Delicate” resolved that problem thanks to the OpenType technology, and offers many discretionary ligatures (group of pre-drawn letters), adapted to numerous combinations. Therefore, it’s not only a decorative and calligraphic writing, but also a fluent and energetically one. In order to make the most of it, please activate your software’s OpenType features.

The Face2Face (F2F) series was inspired by the techno sound of the mid-1990s, personal computers and new font creation software. For years, Sibylle Schlaich and her friends formed a unique type design collective, which churned out a substantial amount of fresh, new fonts, none of which complied with the traditional rules of typography. Many of these typefaces were used to create layouts for the leading German techno magazine of the 1990s, Frontpage. Schlaich and her fellows would even set in type at 6 points, in order to make it nearly unreadable. It was a pleasure for the kids to read and decrypt these messages! F2F Styletti Medium is one of 41 Face2Face fonts included in the Take Type 5 collection from Linotype GmbH."