You may want your designs to look sharp, professional, and interesting without exaggerations, but how would you do it amid the abundance of font options available to choose? Rainbow Night is a perfect answer to your design needs. Rainbow Night is an elegant, prominent display serif font to attract everyone who sees it. A serif font is a font with hooks and tiny scratches attached to the letters’ edges. The huge serif size adjacent to each other in such a font makes the letters look heavier. Moreover, this font is deliberately created in thick lines and strong contrasts as the characters of a display font to produce strong visual displays. Generally, such a display serif font can show elegant, classy nuances to assign a strong identity to the brand, to stand the desired messages out, and to get the messages easily recognized by readers. You can apply this font for various text sizes due to its great legibility. In addition, you can make use of the available features here as well. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Rainbow Night fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

The ideal typeface for cartography The Swiss designer/typographer Felix Arnold designed Cisalpin during the late 1990s, after he had challenged himself to create a contemporary typeface that could be used for cartographic uses. Arnold came to the subject of cartographic typefaces after analyzing many maps and atlases, and discovering that there was no standard typeface for these types of documents. Like any good cartographic type, Cisalpin is very legible at small sizes. While he was drawing this typeface on his computer, Arnold used a reduction glass to refine his design, making it work in these situations. Cisalpin is a linear sans serif face, with slight resemblance to renaissance serif types. The various weights are all clearly differentiated from one another. And because space is often a premium on maps, Cisalpin runs narrow. Words close in around themselves to help them become more identifiable. The letterforms in Cisalpin are durable, and can maintain their readability when placed over complex backgrounds. They have open interior forms, flattened curves, tall x-heights, and a capital height that almost reaches the tops of the ascenders. Cisalpin also has pronounced Italics, with a very clear angle of inclination. Each letterform in the family has been optimized so that they cannot be easily mistaken for another. This again helps minimize the misunderstandings that often occur because of illegibility. Although Cisalpin was developed for use in cartography, it may be used for countless other purposes; any font that can work well in small sizes on a map could be used almost anywhere else!

Designed by Malou Verlomme of the Monotype Studio, Macklin is a superfamily, which brings together several attention-grabbing styles. Macklin is an elegant, high contrast typeface that demands its own attention and has been designed purposely to enable brands to appeal more emotionally to modern consumers. Macklin comprises four sub-families —Sans, Slab, Text and Display— as well as a variable. The full superfamily includes 54 fonts with 9 weights ranging from hairline to black. The concept for Macklin began with research on historical material from Britain and Europe in the beginning of the 19th century, specifically the work of Vincent Figgins. This was a period of intense social change--the beginning of the industrial revolution. A time when manufacturers and advertisers were suddenly replacing traditional handwriting or calligraphy models and demanding bold, attention-grabbing typography. Typographers experimented with innovative new styles, like fat faces and Italians, and developed many styles that brands and designers continue to use today, such as slabs, serifs, and sans serifs. Verlomme pays respect to Figgins’s work with Macklin, but pushes the family to a more contemporary place. Each sub family has been designed from the same skeleton, giving designers a broad palette for visual representation and the ability to create with contrast without worrying about awkward pairings. With Macklin, Verlomme shows us it’s possible to create a superfamily that allows for complete visual expression without compromising fluidity. Macklin™ font field guide including best practices, font pairings and alternatives. Featured in: Best Fonts for Websites

Satero was designed by Prof. Werner Schneider in 2007. Never before have we had so much written material to consume; this is the age of mass-communication. Unfortunately, the decision of which typeface to use is too often made lightly. The typeface is one of the most elementary means of language, and it can play a major role in a text's legibility and the amount of time the reader needs for it. The Satero Type System offers a high degree of legibility due to its dynamic and forms. The individual characters have been based on classical concepts. They are clearly made, and leave all unnecessary elements behind. The type works to create an environment of extreme legibility. Essential parts of the a, c, e, s, and r are to be found at the x-height line, which is the most important area of a line of text in determining legibility. The Satero Type System includes two members whose basic forms are the same. The Sans Serif members are more horizontally differentiated than common grotesques, which aides their legibility. The Serif design employs asymmetrical serifs, avoiding elephant feet" altogether. Their dynamic is progressive. The condensed nature of the seriffed counterparts is optimal for newspaper and magazine applications, where space is at a premium and paper must be saved. All fonts in the Satero Type System include a number of alternate glyphs, as well as ligatures and proportional lining figures; all weights except the Heavy and Heavy Italic fonts are also equipped with small caps, small cap figures, and oldstyle figures as OpenType features. "

Originally published by OurType, Dan Milne’s Tasman has found a new home at Retype. Milne first conceived Tasman as a typeface for newspapers. This influenced the proportions and look of the face considerably: the goal was to keep the personality as warm and playful as possible without losing the credible tone required to deliver all kinds of news. A sturdy, warm type family that is neither mechanical nor fragile. It borrows its name from Abel Janszoon Tasman (1603–1659), a Dutch seafarer, explorer, and merchant who mapped parts of Australia in 1642, including Van Diemen’s Land (now known as Tasmania). Tasman’s primary purpose is an unbiased presentation of information; it strives for neutrality over elegance. Its characters are sturdy and unambiguous, sporting strong serifs, punctuation, and diacritics, as well as generously sized small caps and hybrid figures. Rationalized letterforms give the face enough robustness to withstand the stress of screen applications and laser printing. The figures’ three-quarter x-height makes them considerably larger than traditional oldstyle numerals, yet they still integrate with the lowercase much better than lining figures do. Although initially intended for newspapers, Tasman’s somewhat corporate, objective appearance also makes it an excellent candidate for digital and print magazines, websites, annual reports, and corporate identities. Tasman is a suite of feature-rich OpenType fonts fully equipped to tackle complex, professional typography. The character set includes small caps, fractions, case-sensitive forms, bullets, arrows, special quotes, and nine sets of numerals. Besides standard Latin, its extensive character set supports Central European, Baltic, and Turkish languages.

Mushym Arabic Typeface is an elegant and sophisticated font product that is designed to add a religious and Islamic touch to your designs, making it an excellent choice for Ramadan promotions and other Islamic design projects. The font's carefully crafted design is sure to impress your audience and enhance the visual appeal of your designs. One of the standout features of Mushym Arabic Typeface is its support for PUA Unicode, which ensures that users can easily access all of the font's characters without any issues. The font also supports multilingual characters, making it perfect for use in various languages other than Arabic. With 845 glyphs characters, Mushym Arabic Typeface offers a vast range of options, allowing users to create unique and eye-catching designs. The font's characters are well-crafted and easily readable, making it an excellent choice for any design that requires an Arabic font. As a bonus, Mushym Arabic Typeface comes with a Mushym Dingbats font that includes a collection of 304 Islamic symbols and ornaments. These extra glyphs can be used to add a Islamic touch to your designs and enhance their visual appeal, especially during the holy month of Ramadan. In summary, Mushym Arabic Typeface is a versatile and elegant font product that is perfect for Ramadan promotions and other Islamic design projects. With PUA Unicode support, multilingual characters, 845 glyphs characters, and a bonus Mushym Dingbats font with 304 characters, this product offers everything you need to create stunning designs that resonate with your audience.

Night Light is a specially created collection of seven neon inspired fonts giving designers the power to replicate traditionally hand-made lettering from the comfort of their own computer. Choose from the selection of script, sans serif and outline fonts to set your text. Then apply our custom graphic styles for a life giving jolt of electricity! The appeal of neon lettering lives in its power to display a message in a functional, eye-catching and timelessly cool way. How many times have you stopped in the street to admire a bar sign or shop front blazing with neon colors? It's aesthetic works equally well for a Hot Dog stand or high-end fashion brand, providing a tried and tested technique for grabbing customer attention. I've designed these fonts to make the power of neon accessible to all, investing time to research real neon signs and how they are made, paying attention to their human imperfections and inherent limitations (all of which makes them). This research has been distilled into these essential styles; Script, Outline, Inline, Square and Compressed. These seven core fonts give designers a new opportunity to take advantage of realistic neon lettering in their print and online projects, perfect for music promotion, film titles, YouTube tutorials and gig posters. Ready to be moulded to any requirement, the power of neon is in your hands. Neon Graphic Style Presets Available Here The link above provides access to the graphic styles seen in the visuals with support for Adobe Photoshop, Adobe Illustrator, Adobe After Effects. Simply download and follow the instructions provided.

HD Colton is a 90-style super-sans from London Design Studio HyperDeluxe®. Using a combination of horizontal & vertical terminals along with squarish ovals, it is built with a confident structure that feels so much more than a neutral sans, it feels iconic. Engineered in 5 widths, compressed to extra wide, and in nine weights, HD Colton features a huge 90 styles that will offer your brand ultimate flexibility and variation in one font family. The black weights will help bring prominence to your brand while the light to mid weights will help you tell your story at a smaller size. HD Colton includes 1200+ glyphs per style, providing you with a workhorse sans that supports 200+ languages including extended Latin, extended Cyrillic and basic Greek. Also included are 5 stylistic sets, 2 arrow sets & numerous OpenType features (see last poster for complete list). The HD Colton complete family package comes with a single, 3-axis variable font so you'll have an infinite amount of combinations and uses for you to experiment with and add that touch of finesse to your visuals. Variable fonts are tech friendly providing smaller sizes for developers to work with, while also being responsive and used for motion design on the web. HD Colton key features: 3-Axis Variable Font. 90 Styles. 1200+ Glyphs Per Style. 5 Widths (Compressed, Condensed, Regular, Wide, Extra Wide). 200+ Languages Supported. Extended Latin, Extended Cyrillic, Greek Support. Stylistic Alternates for some key glyphs (J, Q, G, l, &, Arrows). Extensive OpenType features.

Helonik Extended is a modern sans serif with a geometric touch that support for 87 languages. It comes in 11 weights, 22 uprights and its matching obliques, outlines, so you can use them to your heart’s content, in each of which there are more than 797+ glyphs. Helonik Extended comprises 22 fonts, consisting of three distinct optical sizes: Display. Each one has been carefully tailored to the demands of its size. The larger Display versions are drawn to show off the subtlety of Helonik and spaced with headlines in mind, while the Text sizes focus on legibility, using robust strokes and comfortably loose spaces. In the typeface, each weight includes extended language support, icons, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for branding, web, signage, corporate as well as for editorial design. documents and folders, mobile interface. Support for 87 languages. Afrikaans Albanian Asu Basque Bemba Bena Breton Catalan Chiga Colognian Cornish Croatian Czech Danish Dutch English Estonian Faroese Filipino Finnish French Friulian Galician Ganda German Gusii Hungarian Inari Sami Indonesian Irish Italian Jola-Fonyi Kabuverdianu Kalenjin Kinyarwanda Latvian Lithuanian Lower Sorbian Luo Luxembourgish Luyia Machame Makhuwa-Meetto Makonde Malagasy Maltese Manx Morisyen Northern Sami North Ndebele Norwegian Bokmål Norwegian Nynorsk Nyankole Oromo Polish Portuguese Quechua Romanian Romansh Rombo Rundi Rwa Samburu Sango Sangu Scottish Gaelic Sena Serbian Shambala Shona Slovak Soga Somali Spanish Swahili Swedish Swiss German Taita Teso Turkish Upper Sorbian Uzbek (Latin) Volapük Vunjo Welsh Western Frisian Zulu

MyCRFT was designed as a custom heading typeface for Drew Maughan's IhNohMinecraft project. ABOUT THE PROJECT Beginning life in 2015 under the name Mascoteers, the project was an ensemble of small-scale characters built from LEGO elements. The challenge was in creating the different figures with the restrictions of existing LEGO elements, while being recognisable as individual characters. The project was initially well received within the LEGO community and with the general public, but was eventually ignored and even ridiculed in favour of LEGO's own BrickHeadz theme, launched in late 2016. It was rebranded IhNohMinecraft as a response to the deliberate cries of "Ih dih Minecraft?" since BrickHeadz' launch. The project has no relation to the popular game. ABOUT THE TYPEFACE The motivation to create MyCRFT was as part of establishing IhNohMinecraft as its own project, by giving it a new visual identity. The typeface could be described as a cross between the ones used for Gears Of War and Overwatch. I liked the boldness of the former, and the italicized straight edges of the latter. MyCRFT was intended to be used in its Black Italic form from the beginning, and was designed around the letters from the word MINECRAFT. Where I couldn't decide on specific characters, I've included the designs as alternative glyphs. I've also included the old "square" Mascoteers logo and the newer "head" IhNohMinecraft logo. MyCRFT is paired with Kanit on the official IhNohMinecraft web site. Let me know if you discover a better pairing! PROJECT LINKS View the IhNohMinecraft "reveal" playlist on YouTube. The official Mascoteers/IhNohMinecraft web site.

Introducing the September Spirit Font Duo! A hyper-realistic handwritten font duo, which utilises a large range of ligatures (uniquely designed letter combinations), and alternate characters—all taken from real handwritten words—to achieve an incredibly natural handwritten style. As well as the fast-flowing handwriting font, September Spirit also include an all-caps version, great for combining with the regular font for adding emphasis to words, or even as it's own standalone font. Not only that, a bonus font of extra circles, underlines & arrows is included to add even more emphasis and an additional hand-crafted aesthetic. The September Spirit family includes; September Spirit • A fast-flowing handwritten font containing upper & lowercase characters, numerals, and a large range of punctuation. September Spirit Alt • This is a second version of September Spirit, with a completely new set of both upper and lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. September Spirit All Caps • An uppercase-only font, perfect for pairing with the regular September Spirit fonts to add emphasis to words or phrases. September Spirit Extras • A bonus font containing 19 hand-drawn arrows, cirlces and underlines. Ideal for adding to your September Spirit text for extra emphasis. Language Support • September Spirit supports the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

Alfie™ is lively, friendly, inviting and easy on the eyes. What more could you want in a script? How about four flavors of the same design? Alfie Script is a delightful connecting script with a touch of comfortable elegance. Use it for everything from social announcements to headlines and packaging. Alfie Casual is a little more laid-back with letters standing on their own. It works great in short blocks of text copy, subheads and navigational links. Alfie Informal has spirited serifs and its own demeanor, while Alfie Small Caps does a fine job of supporting its other siblings. There’s an immediacy to words and messages set in these lighthearted confections. Jim Ford was practicing drawing with a new brush pen when the inspiration for Alfie came to him. He had filled several pages in a notebook with letters and, at one point, realized that there might be a typeface among them. As it turned out, there were four. The process, however, wasn’t choosing one design and modifying it. The makings of all the designs were on the pages. It was just a matter of culling out the right collection of characters to build the foundations for the four flavors of Alfie. Because they share the same family roots, each design in the Alfie family can be paired and intermixed. Ford admits that there’s a hint of Emil Klumpp’s 1950s Murray Hill typeface (https://www.myfonts.com/fonts/bitstream/murray-hill/) in the Alfie family. Just enough to give the design a 50s vibe. (Some fashions never go out of style.)

A playful caricature of a midcentury grotesque, Guzzo is a fresh addition to the Monotype Library. Somewhat eccentric and full of surprises, its unmistakable quirk can be found on closer inspection, stemming from details proudly borrowed from brush lettering and calligraphy. The wide range of weights and style can take you through any design space, from the condensed weights squeezing in larger headlines or dense blocks of text with the condensed range, to experimenting with small point sizes, labels or packaging with the extended cut. However, Guzzo’s real charm is probably best expressed through its wonderfully playful shapes, its unusual 'laid-back italics' feature cursive forms and a backslant. The different stylistic sets allow you to decide what you make of Guzzo, with several sets of alternate glyphs steering it in any direction you want. Guzzo is a happy-go-lucky character, and has a warm, humble and painterly quality that - at a glance - may be unrecognizable as a typeface. It can almost pass for hand-lettering. Guzzo pairs exceptionally well with scripts and slab typefaces, and feels most at home in situ with toys, packaging, menus, broadcasting, cartoons and merchandising! Guzzo encourages you to turn up the silliness and is for designers who want to emulate hand-painted and casual motifs. Taking its name from American artist Jeremy Pinc, aka the painter Guzzo Pinc, the typeface channels the quirky, funny and poignant qualities of his paintings - with wacky characters, loosely painted geometric forms and bright colors. For this mid century, authentic, nostalgic typeface - the story is really what you make of it.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Loraine was born in London. She was an ordinary, hardworking family person, with nothing to worry about beyond paying the rent at the end of the month or keeping the fridge full. Until in 2009 she came to Barcelona on holiday. Soon after she arrived her passport was stolen from her and she had a series of problems with the British embassy. Somebody had made illegal use of her passport. So Loraine found herself in a strange place, unable to get home. She didn’t know anyone there and her circumstances meant she couldn’t ask for help from England, either. She had to sell all her possessions and, in time, learn to speak Spanish. “Living in the street is a wonderful adventure,” she says. In the street she discovered a new city, a new country and a new culture. “There are lots of people who prefer to sleep under the stars.” She also made lots of friends who helped her in a completely unfamiliar world.

Well suited for headlines, packaging and display applications, AE Prosperity will be a robust and versatile addition to your script library. It’s purposefully designed to infer the visual connections of letters for a hand-lettered feel. Some characters will connect, and others will guide your eye to the next letter from, making it highly legible. In 1779, the schooner Prosperity sailed the high seas. Commissioned by a young continental congress, with 6 guns & at twenty tons, she sailed under a Letter of Marque for patriotism and profit. Look lively, because with contextual and alternate glyph sets (contextual glyphs, alternate lower case glyphs and an extended set of alternate capitals), this robust typeface is as inspiring as her namesake and adapts to whatever winds may blow. Prosperity is designed as a free-flowing script, for a spontaneous and historic aesthetic. Contextual glyphs include variations on tt (short and longbar), t longbar, ll, cc and other characters. Contextual features change ascender heights and descender styles. Alternate glyphs (set 1) include variations on b,d,f,g,h,l,o,p,r,s,t,y. Alternate capitals (set 2) include a complete set of alternate upper case letters. Most useful with Adobe® InDesign®, multiple variations of letter combinations can be achieved by selecting Contextual glyphs, and/or set 1 and set 2 from the Character Palette: OpenType: Stylistic Sets menu. Alternate glyphs and contextual characters will be available based on the OpenType support of your application. AE Prosperity™ is available exclusively in OpenType format.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

This is Floral Decay, your seasonal autumn font with jaded, weathered, and earthy contours of rustic lettering. As they blend into words, the characters evoke floral arrangements of a decaying beauty. It is versatile, playful, and perfect for Graphic Design decorations! This font is unique because, in order to create it, I had to answer some tricky questions: What makes autumn… autumn? Capturing the essence of the other seasons into your letters comes easier. For instance, in order to suggest summer, you only need to draw a few flowers. How about autumn? You could garnish your letters with a few grapes, you might think, but it would only result in a grape-themed font. The notion that is more directly associated with autumn is the image of falling and withering leaves, which brought me to the second question. How exactly are you going to create something beautiful out of a somewhat morbid premise, like wilted leaves? Well, I soon realized that by creating a handwritten font and preserving the right imperfections, you can actually portray collateral beauty. In this context, asymmetry is important because it suggests decay. Further on, the design concept required the letters to come very close together, so that every typed word can be regarded as a floral arrangement. How close together, though? As much as possible without confusing one with the other, risking a lack of legibility. Therefore, in contrast with the demo version of this font, this actual version provides the ideal kerning.

From pastiche to sophistication‭, ‬Garçon Grotesque improves on a classic for today's designer‭. ‬Designed in a multitude of weights‭, ‬extended latin character set‭, ‬small capitals and a working lowercase‭, ‬Garçon is built for any situation that calls for sophistication‭, ‬elegance and culture‭.‬ Built in five weights‭, ‬Garçon Grotesque allows for great flexibility‭. ‬Use the Bold weight for beefy headlines‭. ‬Use the the medium and regular weights for subheads and decks‭. ‬Use the Light and Thin weights for a softer‭, ‬more delicate tone‭. ‬All weights have the same size spurs‭, ‬so you can mix and match‭! ‬ Right out of the box‭, ‬Garçon Grotesque offers full language support to most eastern european speaking territories‭. ‬Most foundries release these accent characters as a‭ "‬pro‭" ‬release at an additional fee‭. ‬Just because you speak Turkish or Croatian‭, ‬shouldn't mean you have to pay more than a designer who speaks English‭. ‬Please see the Specimen PDF for more information about languages supported‭. ‬ Accessible as an OpenType Feature‭, ‬Garçon Grotesque offers alternate forms of the uppercase‭ "‬J‭", ‬and the lowercase‭ "‬a‭" ‬and‭ "‬g‭". ‬Use Stylistic Set 01‭ ‬for the alternate form capital J‭. ‬Use Stylistic Set 02‭ ‬for the alternate form of the lowercase a‭. ‬Use Stylistic Set 03‭ ‬for the alternate form of the lowercase g‭. ‬ Also accessible as an OpenType Feature‭, ‬Garçon Grotesque offers tabular figures in all five weights‭. ‬Perfect for menus‭, ‬tabular figures allow for number listings to align easily and without shifting if a different font weight is selected for emphasis‭. ‬

Hanna has its roots in the Plato and Cilantro fonts published earlier by Wilton Foundry. It is an informal roman and very legible at any size - a rare combination for many applications. Hanna was specifically designed to generate additional income for an orphanage in Ethiopia. Hanna Teshome runs an orphanage of roughly 140 children in Addis Ababa, Ethiopia. She is an amazing lady with a deep passion for orphan kids as well as innocent kids that find themselves in jail because their mothers have been imprisoned - they are treated as prisoners and are typically sexually abused - it is not uncommon for them to commit suicide when they are released from jail at age 18. Most of the orphans end up with Hanna because one or both of their parents have died from AIDS. Hanna relies entirely on donations to keep her orphanage running and this font is a small but tangible way for you to help make a difference in the lives of the orphan kids. I am committed to helping Hanna after visiting the orphanage several times and seeing the jails from where the kids have been rescued. Hanna is my hero because she stepped out of her comfort zone, with no financial support, to take care of the kids. My hope is that you will use this font as a messenger of good. All of Wilton Foundry royalties for this font will go to the support of Hanna’s orphanage in Ethiopia. Thank you in advance for your support on behalf of Hanna and the kids!

The “Daily Routines” Handwritten Display Font is a delightful and charismatic typeface that effortlessly captures the essence of casual elegance. With its carefully crafted strokes and artful imperfections, this font exudes a sense of handmade authenticity that is both inviting and versatile. Designed with meticulous attention to detail, “Daily Routines” showcases a harmonious blend of playful curves and well-balanced letterforms, making it a perfect choice for projects that seek to strike a harmonious balance between approachability and sophistication. Its smooth and flowing lines lend a sense of fluidity and ease, evoking a feeling of effortlessness and natural rhythm. The irregularities in each letter lend a unique charm, reminiscent of handwritten notes penned with care. The “Daily Routines” Handwritten Display Font is specifically tailored for projects that demand a warm and friendly touch, such as invitations, greeting cards, product packaging, and branding materials. It easily conveys a sense of personal connection, making it ideal for conveying heartfelt messages or highlighting the human element in design. Whether utilized for digital or print media, this font ensures legibility and readability, even in smaller sizes. Its captivating appearance adds a touch of personality to any text, making it stand out while retaining a sense of tasteful subtlety. Embrace the captivating allure of the “Daily Routines” Handwritten Display Font to infuse your designs with a genuine and endearing character, elevating them to new levels of aesthetic appeal and resonating with your audience on a profound level. If you have any questions please don’t hesitate to contact me follow my Instagram: fkryall Thank you

The Okojo Pro Complete family is a reworking of Wordshape’s immensely popular Okojo family of typefaces. It includes Okojo Pro, a semi-geometric sans serif, Okojo Slab Pro, a semi-geometric slab serif, Okojo Pro Display, a round-cornered sans serif variation, and Okojo Slab Pro Display, a round-cornered slab serif. The entire Okojo Pro family looks great at small or large sizes. The Okojo Pro family is designed for readability in long texts while simultaneously functioning as effective display type. Features of Okojo Pro Display: - all lowercase characters have an enlarged x-height, creating less optical dazzle than typefaces like Futura, Neutra or Avant Garde - more humanist numerals and punctuation for enhanced readability - complete Western, Central and Eastern European characters sets - radically improved spacing guaranteeing beautiful results in print and on screen for the Czech, English, Hungarian, Croatian, Esperanto, Maltese, Romanian, Turkish, Albanian, French, Portuguese, Spanish, Basque, Bulgarian, Finnish, Swedish, Norwegian languages The Okojo Pro Display family is influenced by the type designs of Paul Renner and Herb Lubalin, but smoothed over with more than a bit of Americana. Both work well on-screen as webfonts and in print as book type. Each is hinted with accuracy and kerned with precision.The lighter weights are slightly slimmer than the regular and bold weights to give the typeface more of a vertical feel, inviting readers' to rapidly read typeset text with a maximum of contrast and a minimum of optical distortion. Okojo: it’s a little bit country and a little bit rock’n’roll.

Caslon Antique is a decorative American typeface that was designed in 1894 by Berne Nadall. It was originally called "Fifteenth Century", but was renamed "Caslon Antique" by Nadall's foundry, Barnhart Bros. & Spindler, in the mid-1920s. The design of the typeface is meant to evoke the Colonial era. Early printers would reuse metal type over and over again, and the faces would become chipped and damaged from use. Caslon Antique emulates this look. Despite the name, it is not a member of the Caslon family of typefaces. The renaming is believed to have been a marketing maneuver to boost the popularity of a previously unpopular typeface by associating it with the highly popular Caslon types. Caslon Antique is popular today when a "old-fashioned" or "gothic" look is desired. It is used by the musical group The Sisters of Mercy on their albums, for the logo of the musical Les Misérables, and for the covers of the books in A Series of Unfortunate Events. It is also frequently used on historical displays. It was used for the previous edition of the Warhammer Fantasy Role-Play. Most recently, it has been used on promotional material for the smash musical Monty Python's Spamalot on Broadway, the West End, and its tour of the United States. British 80's band The The also used the font in several of their music videos, usually displaying several lyrics from the song in the opening scenes. It used on the cover of Regina Spektor's album, Begin to Hope. This description was sourced (in part) from Wikipedia, the free encyclopedia.

Haboro Squared is a formidable typeface, created for a variety of uses. Clean and consistent, it evokes the 1950s and 1960s. Haboro Squared conveys accuracy and utility with its clean, consistent strokes. In the 1950s and 1960s, designers and the general public began to reject the austerity of the war years in favor of a new sense of American optimism. This era is reflected in Haboro Squared’s gently rounded letters, playful alternates, and multi-purpose use. Whether you are creating a logo, crafting a website, or designing a magazine article, Haboro balances modernity with a hint of nostalgia. Haboro Squared achieves a balance between fashion and practicality. Even though it has an angular, modern design, it radiates friendliness and warmth. Haboro Squared works well for headings and brief texts. This collection of fonts consists of eight weights, from Thin to Black, each with a corresponding italic. Your design will seem robust and fashionable with so many options. Haboro plenty of alternate glyphs from which you can select an alternative or adjust the appearance of each letter. You’ve found a secret weapon. The Haboro Hyperfamily features a whole array of options, from Haboro Sans, Serif, to Haboro Didone. Take a look at the entire family. Even the most serious texts have a touch of whimsy thanks to the quirky alternate terminals in this multipurpose text face. Impress clients with your next branding package, web site, or magazine spread. Let the nostalgia of America’s post WWII heyday fill you with inspiration! Supercharge your next branding package, web site, or magazine spread with Haboro Squared!

Thrace (/θreɪs/; Greek: Θράκη, Thráki; Bulgarian: Тракия, Trakiya; Turkish: Trakya) is a geographical and historical region in Southeast Europe, now split among Bulgaria, Greece, and Turkey, which is bounded by the Balkan Mountains to the north, the Aegean Sea to the south, and the Black Sea to the east. It comprises southeastern Bulgaria (Northern Thrace), northeastern Greece (Western Thrace), and the European part of Turkey (East Thrace). Trakya Slab is a modern slab serif with a geometric touch. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Ideally suited for advertising and packaging, editorial and publishing, logos, branding and creative industries, posters and billboards, small text, way-finding and signage as well as web and screen design. Trakya Slab provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Trakya Slab 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Trakya Slab" comes with 5 weights and italics; "Trakya Slab Alt" also comes with 5 weights and matching italics, giving a total of 20 styles. The family contains a set of 630+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just with one touch, easy to access in all graphic programs. Trakya Slab is the perfect font for web use. Enjoy using it.

Description Austen Aesthetic comes with an aesthetic style with a modern and elegant serif-type tagline appearance. This font comes with 8 thickness levels, from thin to black to suit your needs. Austen Aesthetic is also equipped with modern professional characteristics that can present an elegant and attractive identity for your company or project for business purposes. It pairs well with modern serifs and scripts pictured or stands firm as a title and brand representative for an elegant look. Austen Aesthetic also comes with multiple languages, making it easy to use for any country and language use. It also comes with alternative Ligatures and stylistics to make your designs more appealing. Austen Aesthetic is suitable for branding projects and various design purposes such as business cards, name tags, uniforms as a brand enhancement. Advertising, posters, invitations, branding, logos, magazines, merchandise, presentations, etc. Supports languages: Afrikaans, Albanian, Asturian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Igbo, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Turkmen, Upper Sorbian, Vietnamese, Vunjo, Walser, Welsh, Western Frisian, Yoruba, Zulu

Classical Calligraphy Script With Ornament Is a calligraphy Vintage script font that comes with beautiful alternate characters. copper plate mix calligraphy with handlettering style. to show its performance. Classical Calligraphy is attractive as a typeface that is smooth, clean, feminine, sensual, glamorous, simple and very easy to read. Classical Calligraphy Script comes with a Clean and Aged version, beautifully binding upper and lower case, binding and loved by many finishes. It has Multilingual support (Western European characters) and works with the following languages: English, Danish, Dutch, Estonian, Finnish, French, German, Hungarian, Icelandic, Norwegian, Polish, Portuguese, Spanish, Swedish. In my example I show how this script can be used. It's perfect for logos, wedding invitations, alcohol labels, romantic cards, and more. Products include: Classical Calligraphy Script, Classical Calligraphy Extras Ornament Alternate Upper & Lower Case Style Binding, as well as a touch of ornament make this font look elegant. Recommended for use in Adobe Illustrator or Photoshop. Special features don't work in Microsoft Word. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use font style set in Microsoft Word 2010 or later version: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access the alternative/swash, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need any help or suggestions please contact me via email: creativescaleup@gmail.com

In the typedesign industry the terms ‘nova’, ‘neue’, ‘next’, ‘new’ are often used to refer to a typeface that has been modified in different ways: redesign, technical readjustments, greater number of characters, etc. At Latinotype we are now starting to use the word ‘niu’ to refer to these kinds of typefaces. Niu is an adaptation of the original word ‘new’, i.e., we have adapted this English word to the phonology and spelling of our own language but keeping the original meaning. Race mixing, diversity, change and adaptation are part of the essence of Latin American culture and, at Latinotype, we are all constantly expressing these elements in everything we do. Latin Power! Hernández Niu was designed by César Araya and Daniel Hernández. The font is based on the design of Hernández Bold: the thickest weight has been adapted to fit small text better. Five new styles have been added, ranging from neutral to more expressive fonts. Hernández Niu is a display slab serif font of thickened serifs, functional expressive ink-traps and true italics. Detailed forms and counterforms allow this typeface to be used in very large sizes. Hernández Niu is well-suited for publishing, small text and headlines. A wide variety of weights make the font a perfect choice for hierarchical type-setting, branding, logotypes, magazines, etc. This font consists of 6 weights, ranging from Extra Light to Heavy, each with matching true italics. Hernández Niu comes with a set of 397 characters, making it possible to use the font in 212 different languages.

«Quotes» is the second typeface calligraphed by Yani Arabena, designed along with Guille Vizzari and Ale Paul, for Sudtipos. Being thrilled by the use of the pointed brush, spontaneous messages, gesture and freshness to represent inspirational phrases and quotes written by hand, «Quotes» comes in two handwriting styles: Script and Caps. «Quotes Script» and «Quotes Caps» are thought together and complement each other filling with rhythm and infinite sensations to the spoken words. A more free and spontaneous version –Script–, joined by an uppercase system –Caps–, that offers a huge amount of alternate glyphs, ligatures and connectors, to enrich different messages brought to life with this type family. «Quotes Script» counts on a great variety of alternate signs in its lowercase as well as its uppercase letters. It hands a combination of ligatures and capital alternates that allows to shape the beginnings and endings of words and phrases intended to be inspiring and to inspire others that read them. «Quotes» also stands for the fashion universe, Gourmet, Natural, the D.I.Y. passionates, and for all those who seek for the Handcrafted spirit and agrees that it adds an added value to its products and in their communication possibilities. Nowadays, new trends in the calligraphic and drawn letters fields, have lead to the use of the brush pen as a daily practice, bringing to life phrases that motivates people to share their thoughts. «Quotes» is a typeface that invites to write, share and influence others to make their own. Sometimes a feeling can’t be explained, but «Quotes» is a font that can.

LaFarge is a typeface primarily inspired by the historic mosaic titling capitals found in the New York City Subway, designed by architect Squire J. Vickers and his staff between 1915-1927. These elegant but industrial signs are characteristic of early-20th century American architectural lettering, and show an evolution of the classical Roman capitals to lower contrast, bolder serifs, and more regular character widths. The majority of this lettering still remains in subway stations today, and though elements of the style vary from sign to sign, many carry the unique features that are reflected in LaFarge: high-waisted crossbars with angled serifs, elegantly curved “R” leg, and distinctive trapezoidal serifs. LaFarge expands this style into a lower case, taking cues from contemporary typefaces like Bookman, Cheltenham, and Della Robbia. A number of typographic features are included, such as small caps, ordinal indicators / superscript letters, arrows, and a set of borders inspired by early subway tile. The result is a fashionable, architecturally-minded typeface that is just as at home on the façade of a grand public building as it is on packaging, magazines, or the web. LaFarge works well in both text and display settings, remaining readable at small sizes but showing off its elegant details in larger uses. LaFarge has received the Communication Arts Typography Award, the ADC Annual Merit Award, is included in the 2020 STA 100, and was part of designer Greg Shutters’ winning portfolio in the 2019 Type Directors Club Ascender Awards. You can download a PDF specimen of LaFarge, and also view a video of LaFarge in action.

Since the beginning, Palsam was intended to be a super multilingual family, with a real cursive Arabic companion, and a display cut. The typeface was designed to be used for setting text and titles of contemporary Arabic content, specially magazines, and websites. The Arabic and Latin scripts were designed at the same time, to make a true authentic bilingual typeface. Both scripts have affected each other in several ways through the entire design process, which happened within ten years. Palsam has an inviting, approachable, fashionable and humanist look. Thanks to its low contrast, open apertures, detailed calligraphic strokes, and smooth counters, which also make it easy to read at smaller sizes. The main highlight for Palsam was the Cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. Since the Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh. Moreover this script was used in margins, and to highlight specific content inside a paragraph in older manuscripts. With true cursive companions in five weights, and many opentype features, Palsam grants all the tools needed to set complex information and editorial designs applications. More than 1000 characters are included per weight, including small caps, fractions, old style and lining numbers, ligatures, contextual ligatures, and discretionary ligatures. It supports over 40 languages that use the Latin extended, as well as Arabic, Farsi, and Urdu Languages. The latin script was designed in collaboration with the Slovenian type designer Alja Herlah.

“A picture is worth a thousand words” and here, that’s more than true. Take a look at Erotica’s Booklet; Erotica’s Poster Design and Erotica’s User’s Guide before reading below. THE STYLES The difference between Pro and Std styles is the quantity of glyphs. Therefore, Pro styles include all the decorative alternates and ligatures while Std styles are a reduced version of Pro ones. Big and Small styles were thought for better printing results. While Big is recommended to be printed in big sizes, Small may be printed in tiny sizes and will still show its hairlines well. INTRODUCTION I have always wondered if the circle could ever be considered as an imperfect shape. Thousands of years have passed and we still consider circles as synonyms of infinite beauty. Some believe that there is something intrinsically “divine” that could be found in them. Sensuality is many times related to perfectly shaped strong curves, exuberant forms and a big contrasts. Erotica is a font created with this in mind. THE PROCESS This story begins one fine day of March in 2012. I was looking for something new. Something which would express the deep love I feel regarding calligraphy in a new way. At that time, I was practicing a lot of roundhand, testing and feeling different kinds of nibs; hearing the sometimes sharp, sometimes soft, sound of them sliding on the paper. This kind of calligraphy has some really strict rules: An even pattern of repetition is required, so you have to be absolutely aware of the pressure of the flexible pen; and of the distance between characters. Also, learning copperplate can be really useful to understand about proportion in letters and how a minimum change of it can drastically affect the look of the word and text. Many times I would forget about type-design and I would let myself go(1): Nothing like making the pen dance when adding some accolades above and below the written word. Once something is mastered, you are able to break some rules. At least, that’s my philosophy. (2) After some research, I found that the world was in need of a really sexy yet formal copperplate. (3) I started Erotica with the idea of taking some rules of this style to the extreme. Some characters were drawn with a pencil first because what I had in mind was impossible to be made with a pen. (4) Finding a graceful way to combine really thick thicks with really thin hairlines with satisfactory results demanded months of tough work: The embryo of Erotica was a lot more bolder than now and had a shorter x-height. Changing proportions of Erotica was crucial for its final look. The taller it became the sexier it looked. Like women again? The result is a font filled with tons of alternates which can make the user think he/she is the actual designer of the word/phrase due to the huge amount of possibilities when choosing glyphs. To make Erotica work well in small sizes too, I designed Erotica Small which can be printed in tiny sizes without any problems. For a more elegant purpose, I designed Erotica Inline, with exactly the same features you can find in the other styles. After finishing these styles, I needed a partner for Erotica. Inspired again in some old calligraphic books I found that Bickham used to accompany his wonderful scripts with some ornated roman caps. Erotica Capitals follows the essentials of those capitals and can be used with or without its alternates to accompany Erotica. In 2013, Erotica received a Certificate of Excellence in Type Design in the 59th TDC Type Directors Club Typeface Design Competition. Meet Erotica, beauty and elegance guaranteed. Notes (1) It is supossed that I'm a typographer rather than a calligrapher, but the truth is that I'm in the middle. Being a graphic designer makes me a little stubborn sometimes. But, I found that the more you don't think of type rules, the more graceful and lively pieces of calligraphy can be done. (2) “Know the forms well before you attempt to make them” used to say E. A. Lupfer, a master of this kind of script a century ago. And I would add “And once you know them, it’s time to fly...” (3) Some script fonts by my compatriots Sabrina Lopez, Ramiro Espinoza and Alejandro Paul deserve a mention here because of their undeniable beauty. The fact that many great copperplate fonts come from Argentina makes me feel really proud. Take a look at: Parfumerie, Medusa, Burgues, Poem and Bellisima. (4) Some calligraphers, graphic and type designer experimented in this field in the mid-to-late 20th century and made a really playful style out of it: Letters show a lot of personality and sometimes they seem drawn rather than written. I want to express my sincere admiration to the fantastic Herb Lubalin, and his friends Tony DiSpigna, Tom Carnase, and of course my fellow countryman Ricardo Rousselot. All of them, amazing.

ITC Johnston is the result of the combined talents of Dave Farey and Richard Dawson, based on the work of Edward Johnston. In developing ITC Johnston, says London type designer Dave Farey, he did “lots of research on not only the face but the man.” Edward Johnston was something of an eccentric, “famous for sitting in a deck chair and carrying toast in his pockets.” (The deck chair was his preferred furniture in his own living room; the toast was so that he’d always have sustenance near at hand.) Johnston was also almost single-handedly responsible, early in this century, for the revival in Britain of the Renaissance calligraphic tradition of the chancery italic. His book Writing & Illuminating, & Lettering (with its peculiar extraneous comma in the title) is a classic on its subject, and his influence on his contemporaries was tremendous. He is perhaps best remembered, however, for the alphabet that he designed in 1916 for the London Underground Railway (now London Transport), which was based on his original “block letter” model. Johnston’s letters were constructed very carefully, based on his study of historical writing techniques at the British Museum. His capital letters took their form from the best classical Roman inscriptions. “He had serious rules for his sans serif style,” says Farey, “particularly the height-to-weight ratio of 1:7 for the construction of line weight, and therefore horizontals and verticals were to be the same thickness. Johnston’s O’s and C’s and G’s and even his S’s were constructions of perfect circles. This was a bit of a problem as far as text sizes were concerned, or in reality sizes smaller than half an inch. It also precluded any other weight but medium ‘ any weight lighter or heavier than his 1:7 relationship.” Johnston was famously slow at any project he undertook, says Farey. “He did eventually, under protest, create a bolder weight, in capitals only ‘ which took twenty years to complete.” Farey and his colleague Richard Dawson have based ITC Johnston on Edward Johnston’s original block letters, expanding them into a three-weight type family. Johnston himself never called his Underground lettering a typeface, according to Farey. It was an alphabet meant for signage and other display purposes, designed to be legible at a glance rather than readable in passages of text. Farey and Dawson’s adaptation retains the sparkling starkness of Johnston’s letters while combining comfortably into text. Johnston’s block letter bears an obvious resemblance to Gill Sans, the highly successful type family developed by Monotype in the 1920s. The young Eric Gill had studied under Johnston at the London College of Printing, worked on the Underground project with him, and followed many of the same principles in developing his own sans serif typeface. The Johnston letters gave a characteristic look to London’s transport system after the First World War, but it was Gill Sans that became the emblematic letter form of British graphic design for decades. (Johnston’s sans serif continued in use in the Underground until the early ‘80s, when a revised and modernized version, with a tighter fit and a larger x-height, was designed by the London design firm Banks and Miles.) Farey and Dawson, working from their studio in London’s Clerkenwell, wanted to create a type family that was neither a museum piece nor a bastardization, and that would “provide an alternative of the same school” to the omnipresent Gill Sans. “These alphabets,” says Farey, referring to the Johnston letters, “have never been developed as contemporary styles.” He and Dawson not only devised three weights of ITC Johnston but gave it a full set of small capitals in each weight ‘ something that neither the original Johnston face nor the Gill faces have ‘ as well as old-style figures and several alternate characters.

I spend a lot of time following two obsessions: packaging and hand lettering. Alongside a few other minor obsessions, those two have been my major ones for so many years now, I've finally reached the point where I can actually claim them as “obsessions” without getting a dramatic reaction from the little voice in the back of my head. When you spend so much time researching and studying a subject, you become very focused, directionally and objectively. But of course some of the research material you run into turns out to be tangential to whatever your focus happens to be at the time, so you absorb what you can from it, then shelf it — like the celebrity bobblehead that amused you for a while, but is now an almost invisible ornament eating dust and feathers somewhere in your environment. And just like the bobblehead may fall off the shelf one day to remind you of its existence, some of my lettering research material unveiled itself in my head one day for no particular reason. Hand lettering is now mostly perceived as an American art. Someone with my historical knowledge about lettering may be snooty enough to go as far as pointing out the British origins of almost everything American, including lettering — but for the most part, the contemporary perspective associates great lettering with America. The same perspective also associates blackletter, gothics and sans serifs with Germany. So you can imagine my simultaneous surprise and impatience when, in my research for one of my American lettering-based fonts, I ran into a German lettering book from 1953, by an artist called Bentele. It was no use for me because it didn't propel my focus at that particular time, but a few months ago I was marveling at what we take for granted — the sky is blue, blackletter is German, lettering is American — and found myself flipping through the pages of that book again. The lettering in that book is upbeat and casual sign making stuff, but it has a slightly strange and youthful experimentation at its heart. I suppose I find it strange because it deviates a lot from the American stuff I'm used to working with for so long now. To make a long story short, what’s inside that German book served as the semilla, which is Spanish for seed, for the typeface you see all over these pages. With Semilla, my normal routine went out the window. My life for a while was all Bezier all the time. No special analog or digital brushes or pens were used in drawing these forms. They're the product of a true Bezier process, all starting with a point creating a curve to another point, which draws a curve to another point, and so on. It’s a very time-consuming process, but at the end I am satisfied that it can get to pretty much the same results easier and more traditional methods accomplish. And as usual with my fonts, the OpenType is plenty and a lot of fun. Experimenting with substitution and automation is still a great pleasure for me. It is the OpenType that always saves me from the seemingly endless work hours every type designer must inevitably have to face at one point in his career. The artful photos used in this booklet are by French photographer and designer Stéphane Giner. He is very deserving of your patronage, so please keep an eye out for his marvelous work. I hope you like Semilla and enjoy using it. I have a feeling that it marks a transition to a more curious and flexible period in my career, but only time will tell.

While it is obvious that this is an ornamental style font, it is more than that: it is a Celtic Knotwork design tool! Irish, Scottish, Welsh, even Norse and Viking cultures have used knotwork designs for millenia. These ancient traditional interwoven designs are experiencing a revival as Celtic culture gains exposure in the modern world. Intricate Celtic knots are featured everywhere from jewelry to tattoos. While many enjoy them simply for their beauty and fascinating twists, they can also be used to add an air of myth, magic and mystery to any project. The interlaced lines make them perfect for wedding invitations, borders, dividers and rules, web graphics, and logos. I began using Celtic knotwork designs in my own work as part of my knifemaking and jewelry making hobbies. I read all of the books I could find about Celtic knots and at first I drew them by hand with pencil and paper. Then as I realized how nice it would be to have "undos" I switched over to using Corel Draw. Draw proved to be a natural for this type of artwork with tools like contour and the trim function. But even with these great tools, it was still tedious to create these designs. I noticed that I was able to reuse a lot of parts in repetitive sections. I developed a small library of reusable bits and chunks of Celtic designs. I found them so useful and fun to work with that I began thinking about ways to market my Celtic design kit. I thought about CDR and EPS formats, but then I thought of creating this toolset as a True Type Font. That way anyone with ANY program that uses fonts could easily create Celtic knotwork designs. Word processors, embroidery programs, engraving programs, jewelry design programs, CAD/CAM programs...almost every program can use fonts. I was also interested in CNC work and thought that this font would work well for applications such as laser etching, vinyl signs, and machining. With that in mind, I designed each character of the font with extremes of accuracy. If one character from the font is used at one inch tall, every control point will be placed to an accuracy of better than 0.0001 inch. I wanted every piece to meet exactly with the next, with no possibility for misalignment. The different styles are all very carefully created to fit accurately with each other. So the Filled Style fits exactly into the Outline Style, and the Inverse Style fits precisely around the Outline Style so as to make up the background behind the knotwork. Combining the styles allows you to have complete creative control. By assembling the nearly 200 pieces it is quite easy to produce very complex designs. It is actually a bit like playing with a puzzle and many people really enjoy putting the pieces together to make designs. In fact, I have had many customers tell me of how they love playing with this font and making knots into the wee hours of morning. If you like puzzles then you will absolutely love this font! And creating the patterns is just the beginning of the fun! If you apply your favorite Photoshop tricks on them you can make anything from dazzling chrome knotwork to carved stone. Photoshop plug-ins like SuperBladePro are great for converting knotwork text into corroded bronze or rusted iron. Use your knotwork to add texture to a virtual landscape, or add them as surface embelishments on architecture and furniture. You can also make round knotwork by using this font with "WordArt" (WordArt is included with every copy of Microsoft Word. See http://clanbadge.com/round_knots.htm for a tutorial on how to make round knotwork). For Crafters there are limitless uses for this font. It has been used for embroidery, jewelry, leatherwork, stencils, stained glass, quilting, painting, pyrography, woodcarving and lots more. We have even sold copies to monks for use in decorating handmade books!

Mr Eaves is the often requested and finally finished sans-serif companion to Mrs Eaves, one of Emigre’s classic typeface designs. Created by Zuzana Licko, this 2009 addition to the Emigre Type Library expands the versatility of the original Mrs Eaves with two complimentary families: Mr Eaves Sans and Mr Eaves Modern. Mr Eaves was based on the proportions of Mrs Eaves, but Licko took some liberty with its design. One of the main concerns was to avoid creating a typeface that looked like it simply had its serifs cut off. And while it matches Mrs Eaves in weight, color, and armature, Mr Eaves stands as its own typeface with many unique characteristics. The Sans version relates most directly to the original serif version, noticeably in the roman lower case letters a, e, and g, as well as in subtle details such as the angled lead in strokes, the counter forms of the b, d, p, and q, and the flared leg of the capital R, the tail of the Q. The distinctly loose-fitting letter spacing of Mrs Eaves was applied also to the Sans version. This, together with generous built-in line spacing due to a small x-height and extended ascenders and descenders, renders the same kind of lightness and airiness when setting text that is so characteristic of Mrs Eaves. Deviations from the original Mrs Eaves are evident in the overall decrease of contrast, as well as in details such as the flag and tail of the f and j, and the finial of the t, which were shortened to maintain a cleaner, sans serif look. And the lower case c had to be balanced out differently after it lost its top ball terminal. And with the loss of serifs, Mr Eaves set width is slightly narrower. Mr Eaves Italic also carries over many forms from its Mrs Eaves model, most notably the v, w, and z, which are unusually flamboyant for a sans italic design. It also utilizes lead in and terminal tails that are reminiscent of the serif italic. The biggest departure here is the width of the characters. The extra narrow gauge and delicate features seemed more appropriate for the Serif than the Sans. To allow for a comfortable fit, Mr Eaves Italic has a more robust design and wider character width. Meanwhile, the Modern family provides an overall less humanistic look, with simpler and more geometric-looking shapes, most noticeably in the squared-off terminals and symmetric lower case counters. This family has moved furthest from its roots, yet still contains some of Mrs Eaves’ DNA. The Modern Italic is free of tails, and overall the Modern exhibits more repetition of forms, projecting a cleaner look. This provides stronger differentiation from the serif version whenever a more contrasting look is desired. Each version (Sans and Modern) contains its own set of alternates providing unique options for applications such as headlines, word logos, letterheads, pull quotes, and other short text settings. Both the Sans and Modern come in six weights. The simpler forms of a sans-serif provide the opportunity of more weights than do serif letter forms, which are more complex in structure, making it difficult to accommodate additional weight without distortions. Regular and Bold match the original Mrs Eaves weights, while the Heavy provides an additional weight for extra emphasis.

Proud to introduce: The all hand-drawn Mila Script Pro Family Mila Script is a handmade brush script with round and soft letterforms, a low x-height and jumping baseline. Smart OpenType features care about all letterforms and choose between connected and non-connected styles. AutomaticSwashControl adjusts the swashy letters to the available white space. It’s installed within Mila’s main features OpenType Contextual-Alternates, Swashes and Titling-Alternates. Switch one on and let Mila do the rest. · Please read over the manual. It describes the family in detail. · Of course there’s a little more know about Mila Script Pro: 2600+ characters offer four different initial styles, capital swash and titling alternates, connected words, 17 different initial and terminal swashes and much more. All of course with full ISO latin 1 & 2 language support. · Mila Script Basic (900+ characters) offers all single features contained in OpenType Contextual-Alternates: subtle contextual swash alternates, positional forms, ligatures, connecting and non-connecting characters … · Mila Script Sans: Mila Script Sans is a hand-drawn/handwritten “all caps” in three different weights. Mila Script and Mila Script Sans go well together: combine them and equal the line weights by choosing Light, Regular or Bold. Always keep it way smaller than Mila Script. Mila Script Sans also works well as a standalone. It offers negative typesetting, bicolor typesetting by layering two styles and even alternates without counters. Please see the manual for instructions. · Mila Script Ornaments: Change the size and keep the line weight: activate Contextual Alternates, type a letter and add + to enlarge all swashes according to your likings. Mila Script Ornaments contains 69 different swashes and symbols, all of them available in seven different sizes, which makes a total of 483 characters. All ornaments are within easy reach and there’s no need to access certain symbols manually via your glyph palette. · Have fun! · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for Mila Script / 195 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Aymara, Bashkir, Basque, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cimbrian, Cofan, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Lule, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

Mr Eaves is the sans-serif companion to Mrs Eaves, one of Emigre’s classic typeface designs. Created by Zuzana Licko, this 2009 addition to the Emigre Type Library expands the versatility of the original Mrs Eaves with two complementary families: Mr Eaves Sans and Mr Eaves Modern. Mr Eaves was based on the proportions of Mrs Eaves, but Licko took some liberty with its design. One of the main concerns was to avoid creating a typeface that looked like it simply had its serifs cut off. And while it matches Mrs Eaves in weight, color, and armature, Mr Eaves stands as its own typeface with many unique characteristics. The Sans version relates most directly to the original serif version, noticeably in the roman lower case letters a, e, and g, as well as in subtle details such as the angled lead in strokes, the counter forms of the b, d, p, and q, and the flared leg of the capital R, the tail of the Q. The distinctly loose-fitting letter spacing of Mrs Eaves was applied also to the Sans version. This, together with generous built-in line spacing due to a small x-height and extended ascenders and descenders, renders the same kind of lightness and airiness when setting text that is so characteristic of Mrs Eaves. Deviations from the original Mrs Eaves are evident in the overall decrease of contrast, as well as in details such as the flag and tail of the f and j, and the finial of the t, which were shortened to maintain a cleaner, sans serif look. And the lower case c had to be balanced out differently after it lost its top ball terminal. And with the loss of serifs, Mr Eaves set width is slightly narrower. Mr Eaves Italic also carries over many forms from its Mrs Eaves model, most notably the v, w, and z, which are unusually flamboyant for a sans italic design. It also utilizes lead in and terminal tails that are reminiscent of the serif italic. The biggest departure here is the width of the characters. The extra narrow gauge and delicate features seemed more appropriate for the Serif than the Sans. To allow for a comfortable fit, Mr Eaves Italic has a more robust design and wider character width. Meanwhile, the Modern family provides an overall less humanistic look, with simpler and more geometric-looking shapes, most noticeably in the squared-off terminals and symmetric lower case counters. This family has moved furthest from its roots, yet still contains some of Mrs Eaves' DNA. The Modern Italic is free of tails, and overall the Modern exhibits more repetition of forms, projecting a cleaner look. This provides stronger differentiation from the serif version whenever a more contrasting look is desired. Each version (Sans and Modern) contains its own set of alternates providing unique options for applications such as headlines, word logos, letterheads, pull quotes, and other short text settings. Both the Sans and Modern come in three weights. The simpler forms of a sans-serif provide the opportunity of more weights than do serif letter forms, which are more complex in structure, making it difficult to accommodate additional weight without distortions. Regular and Bold match the original Mrs Eaves weights, while the Heavy provides an additional weight for extra emphasis.

Originally designed in 1996, Mrs Eaves was Zuzana Licko’s first attempt at the design of a traditional typeface. It was styled after Baskerville, the famous transitional serif typeface designed in 1757 by John Baskerville in Birmingham, England. Mrs Eaves was named after Baskerville’s live in housekeeper, Sarah Eaves, whom he later married. One of Baskerville’s intents was to develop typefaces that pushed the contrast between thick and thin strokes, partially to show off the new printing and paper making techniques of his time. As a result his types were often criticized for being too perfect, stark, and difficult to read. Licko noticed that subsequent interpretations and revivals of Baskerville had continued along the same path of perfection, using as a model the qualities of the lead type itself, not the printed specimens. Upon studying books printed by Baskerville at the Bancroft Library in Berkeley, Licko decided to base her design on the printed samples which were heavier and had more character due to the imprint of lead type into paper and the resulting ink spread. She reduced the contrast while retaining the overall openness and lightness of Baskerville by giving the lower case characters a wider proportion. She then reduced the x-height relative to the cap height to avoid increasing the set width. There is something unique about Mrs Eaves and it’s difficult to define. Its individual characters are at times awkward looking—the W being narrow, the L uncommonly wide, the flare of the strokes leading into the serifs unusually pronounced. Taken individually, at first sight some of the characters don’t seem to fit together. The spacing is generally too loose for large bodies of text, it sort of rambles along. Yet when used in the right circumstance it imparts a very particular feel that sets it clearly apart from many likeminded types. It has an undefined quality that resonates with people. This paradox (imperfect yet pleasing) is perhaps best illustrated by design critic and historian Robin Kinross who has pointed out the limitation of the “loose” spacing that Licko employed, among other things, yet simultaneously designated the Mrs Eaves type specimen with an honorable mention in the 1999 American Center for Design competition. Proof, perhaps, that type is best judged in the context of its usage. Even with all its shortcomings, Mrs Eaves has outsold all Emigre fonts by twofold. On MyFonts, one of the largest on-line type sellers, Mrs Eaves has been among the 20 best selling types for years, listed among such classics as Helvetica, Univers, Bodoni and Franklin Gothic. Due to its commercial and popular success it has come to define the Emigre type foundry. While Licko initially set out to design a traditional text face, we never specified how Mrs Eaves could be best used. Typefaces will find their own way. But if there’s one particular common usage that stands out, it must be literary—Mrs Eaves loves to adorn book covers and relishes short blurbs on the flaps and backs of dust covers. Trips to bookstores are always a treat for us as we find our Mrs Eaves staring out at us from dozens of book covers in the most elegant compositions, each time surprising us with her many talents. And Mrs Eaves feels just as comfortable in a wide variety of other locales such as CD covers (Radiohead’s Hail to the Thief being our favorite), restaurant menus, logos, and poetry books, where it gives elegant presence to short texts. One area where Mrs Eaves seems less comfortable is in the setting of long texts, particularly in environments such as the interiors of books, magazines, and newspapers. It seems to handle long texts well only if there is ample space. A good example is the book /CD/DVD release The Band: A Musical History published by Capitol Records. Here, Mrs Eaves was given appropriate set width and generous line spacing. In such cases its wide proportions provide a luxurious feel which invites reading. Economy of space was not one of the goals behind the original Mrs Eaves design. With the introduction of Mrs Eaves XL, Licko addresses this issue. Since Mrs Eaves is one of our most popular typefaces, it’s not surprising that over the years we've received many suggestions for additions to the family. The predominant top three wishes are: greater space economy; the addition of a bold italic style; and the desire to pair it with a sans design. The XL series answers these requests with a comprehensive set of new fonts including a narrow, and a companion series of Mrs Eaves Sans styles to be released soon. The main distinguishing features of Mrs Eaves XL are its larger x-height with shorter ascenders and descenders and overall tighter spacing. These additional fonts expand the Mrs Eaves family for a larger variety of uses, specifically those requiring space economy. The larger x-height also allows a smaller point size to be used while maintaining readability. Mrs Eaves XL also has a narrow counterpart to the regular, with a set width of about 92 percent which fulfills even more compact uses. At first, this may not seem particularly narrow, but the goal was to provide an alternative to the regular that would work well as a compact text face while maintaining the full characteristics of the regular, rather than an extreme narrow which would be more suitable for headline use. Four years in the making, we're excited to finally let Mrs Eaves XL find its way into the world and see where and how it will pop up next.