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

TT Nooks useful links: Specimen | Graphic presentation | Customization options TT Nooks is an experimental font family that includes a high contrast serif, TT Nooks, and an upright italic, TT Nooks Script. Despite the difference in style, both subfamilies get along well, which is partially thanks to their similar proportions. Each of the subfamilies includes 4 weights: Light, Regular, Bold and Black. The main subfamily is TT Nooks—a stylish high-contrast serif with a light touch of self-centeredness. If TT Nooks were a person, it would be an elegant lady with an independent and firm personality. In the original sketches of TT Nooks there were traces of a broad pen, but in the course of further evolution the typeface moved away from this style, retaining only the high contrast of strokes. In addition, in the process of design searches TT Nooks has obtained a touch of geometricity. The serifs in TT Nooks stand out especially visibly thanks to their geometric shape that resembles slippers. In addition to their peculiarity, such serifs add stability to the font and allow better compensation of the black and white ratio within the letters. TT Nooks has small capitals for Latin and Cyrillic alphabets, as well as a set of stylistic alternates (including some figures) that makes the typeface a bit more geometric. In addition, we have drawn more than 25 ligatures, including ligatures for capital letters, slashed zero and many other useful OpenType features. TT Nooks Script is a complementary family designed to harmoniously extend the main family and expand its scope. The forms of the characters in bold and light fonts of TT Nooks Script are quite different. For example, Black & Bold have high contrast strokes and an open aperture, and in Regular & Light the aperture of the characters is closed. TT Nooks also has small capitals for Latin and Cyrillic alphabets, ligatures, oldstyle figures and other OpenType features. In light faces, TT Nooks Script is more humanist and has artifacts inherent to the continuous movement of a flat pen. In bold faces, TT Nooks Script has a very dense and dynamic typing rhythm, and the shape of the letters begins to geometrize. We had had the difficult task of preserving the continuity of forms between bold and light faces, and we have managed to solve it thanks to the found rhythm, which united different fonts, and proximate stylistic solutions.

Among the countless typefaces available today, the Modern Face style is relatively underrepresented. During the 19th century and then later with the competition from the mechanized hot metal types and film setting, a number of attractive headline types appeared in this style. For text, however, the available types were limited to those based on tried and true classics like Walbaum, Didot and Bodoni, which were created between 1780 and 1830, as well as a few variations from the end of the 19th and beginning of the 20th centuries. The demand for new Modern text types remained nonexistant until the 1960s. Such was the situation when the Haas'sche Schriftgiesserei (Haas Type Foundry) commissioned me to come up with a concept and sketches of a new hot metal type. I was able to convince the director of the foundry that there was a niche to be filled with contemporary Modern typography. Another reason for the production of a new type was of a technical nature: the introduction of a new setting technique should not be limited to existing typefaces, but instead should lead to innovative text types suited to the demands of the new applications. André Gürtler, Basilia's designer: I began to work on the concept and initial designs of the new text type in 1968. I wanted to give the type a classical look, expressed above all in the strong stroke contrast between the robust verticals and fine horizontal strokes and serifs. This is one of the main characteristics of Modern typography.""This new typeface, Basilia, is distinguished by its soft, open appearance as well as a number of details which together mark a departure from historical models. For example, it has nothing of Bodoni's round letters and their angular, narrow spacing, and displays instead round forms with a much softer stroke in the curves. It was very important to me to avoid the Modern characteristic of stiff, vertical, grid-like strokes and to create instead a lighter, more transparent type. I retained the Modern style by using straight horizontal serifs at right angles to the strokes to still give the type its sense of rigidity." Three sketches for Basilia (normal, italic, and bold) were finished in 1973. Only the 9-point size was produced at first. In the following years, basic weights were made and adapted to filmsetting."

Aire is what Sproviero would call a < big display family >. We recommend seeing its user’s guide. After his success with Reina, Sproviero comes out with this big family of 7 members: Each of them loaded with lots of sophisticated ligatures, alternates and the entire cyrillic alphabet. The overall impression that the font gives is lightness and delicateness; that’s the reason the designer chose to call it Aire, or Air, in English. "Aire was somehow having a rest from my fat face Reina [...] It started as a really thin style of Reina, but it rapidly migrated from it and grew up alone. And how it grew..." The inspiration came from his own past creations: “The heavy strokes of Reina were shouting for a more delicate thing. Something more feminine. More fragile. Something which had a lot of elegance and fresh air inside”. Aire responds to this: Sproviero found that many of the typefaces of nowadays which are used for headlines (best known as display fonts) have almost always just one, maybe two weight styles. This was his opportunity to try something new. Aire makes it easier for the user to generate different levels/layers of communication thanks to its variety of styles. With this font you can solve entire decorative pieces of design with just one font, and that was the aim of it. Aire was designed to be playful yet formal: While none of its alternates are activated it can be useful for short to medium length texts; and when the user chooses to make use of its open-type decorative glyphs, it can be useful for headlines with dazzling results. On March of 2012, Aire was chosen to be part of the most important exhibition of typography in Latinoamerica: Tipos Latinos 2012. TECHNICAL Aire is a family with many members. In total, the user can choose between almost 6,000 (!) glyphs (1,000 per style). Each member has variants inside, which are open-type programmed: The user decides which glyph to alternate, equalizing the amount of decoration wanted. Every decorative glyph has its weight adjusted to the style it belongs to. Exclusively for decoration, Aire Fleurons Pro is an open-type programmed set of ornaments. And last but not least, remember Aire is delicate. What’s my point? It is not recommended to activate all the alternates at the same time. It is typo-scientifically proved: A maximum of 3 or 4 alternates per word would be more than enough.

Mindful that Hiragino Sans (Kaku Gothic) would be used in conjunction with Hiragino Serif (Mincho), SCREEN developed a font that anticipated today’s world where most people do their reading on displays and yet still has an orthodox letterform that does not blur when printed on paper. In short, our goal with this font was to create a new concept that responds to the demands of today’s times. This font offers weight variations from W0 to W9 and is extremely versatile. This makes it well-suited to all visual expression media including paper, metallic textures, resins, cloth, television, movies, broadcasting, websites, and electronic displays. One of the design’s strongpoints is that it elides serif on the right side of each stroke, thus delivering more spacious counters and a comfortable appearance. Thanks to this, the typeface not only delivers a contemporary, lively impression same as Latin sans serif typefaces, but also heightens the natural continuity and readability of text whether it is set vertically or horizontally. As a result, it makes it possible to bring a strong appealing power to text. Without a doubt, this is typeface that above else embodies the role of Sans Serif.

Meows Display Font is a fun and playful font that is perfect for a variety of design projects. This font features a unique paw print in place of a traditional dot over the letter "i" giving it a playful and whimsical feel. The Meows Display Font is a bold and attention-grabbing font that is sure to make a statement in any design. The paw print feature gives the font a touch of personality and quirkiness, making it ideal for use in children's books, animal-themed designs, and other creative projects. The Meows Display Font is designed to be used as a display font, meaning it is best used in larger sizes such as headlines, titles, and logos. The font includes a full set of upper and lowercase letters, as well as numbers and punctuation, making it a versatile and practical choice for designers. Overall, Meows Display Font is a fun and unique font that brings a touch of playfulness and quirkiness to any design project. Whether you're creating a children's book, designing a pet-themed product, or working on a logo, this font is sure to make your project stand out.

Samman is a Kufic simple Arabic typeface. It can be used to decorate public signs in streets, airports, hospitals, schools, malls, hotels, mosques, and other public places. My family's surname is "Samman" which stands for the person who sells fat especially the one produced by cows ("Samn" in Arabic). Consequently, "Samman" Typeface was designed for eternizing the memory of my family. The main characteristic of "Samman" Typeface is the leaf-shaped style for some of its Arabic characters such as "Dad", "Sad", "Faa", "Meem" and others. The distinguishing artistic design of its "Haa" character adds a unique feature to this typeface especially when connected with other characters. The shape of the characters' "dot", "dots", and "point" is innovative; a triangle with a semi-circle shape. "Samman" Typeface is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. Its characters' modern Kufic styles give the typeface more distinction when it is used also in posters, greeting cards, covers, exhibitions' signboards and external or internal walls of malls or metro's exits and entrances. It can also be used in titles for Arabic news and advertisements appeared in different Arabic and foreign satellite channels.

This font is a clean, modern sans serif bold. Named after “De Rotterdam”* this huge and super cool building (read the story below). Great for headlines, Posters, Flyers but also well legible at small size in large texts. Contains All European language accents and characters. --- The Story --- *This complex is located in the Kop Van Zuid district of Rotterdam, on Wilhelminapier. I was lucky to see this building from the beginning (2009) growing up (2013) That time when I was working and living here. I was always amazed by the design and how huge it is every time I took a look at it while driving or walking on the Erasmus Bridge. When I was going to work or just hiking around the city. It has a special meaning and message for me: I started creating fonts in my free time in 2010 when I came to this city to work. I was factory worker, dishwasher etc. I grew together with this amazing construction from brick to brick, step by step. By the time its construction finished, I was able to quit my day job and become a full time freelance designer.