Fire up the incense and break out the love beads! A 1968 poster for a Doors concert by legendary artist Gary Grimshaw provided the inspiration for this wild, far-out and funky romp through the alphabet. Use it liberally to add a little trippy hippie charm to your next project. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Green Fairy is a chromatic font family highly ornamented for display purposes. Green Fairy’s characters have been specifically designed to accommodate its loops and ornaments following a modern typeface structure. Green Fairy has four chromatic weights: 1. Green Fairy Outline 2. Green Fairy Dots 3. Green Fairy Stencil 4. Green Fairy Full The outline weight has been created as the base or structure for the other weights. You can combine these weights as well as add colours to obtain multiple effects and type styles. Green Fairy has also three combined weights (combos) to simplify your work flow, for these occasions when you only want to use one single colour in your font: 5. Green Fairy Dots Combo 6. Green Fairy Stencil Combo 7. Green Fairy Full Combo GREEN FAIRY ORIGINS The origin of this typeface is the lettering I designed in October 2015 as part of my illustrated cocktail artwork called “Absinthe. La Fée Verte (The Green Fairy)”. Originally, this lettering only featured eight letters “AB·SINTHE” vector drawn in Illustrator. Right after creating the full-colour artwork, I designed a fountain-letterpress print version of it, in collaboration with Ladies of Letters, A.K.A. Carla Hackett and Amy Constable from Saint Gertrude Fine Printing. At the beginning of 2016 –and thanks to the project @36daysoftype– I found the motivation, and most importantly the deadline, to draw the rest of the twenty-six letters of the uppercase alphabet using Illustrator. I started 2017 having my first two calligraphy courses sold out, so I took this amazing opportunity to devote myself to Green Fairy for a few months. In February 2017, I purchased the font software Glyphs and I started to re-draw all twenty-six letters of the uppercase alphabet again. PRODUCTION PROCESS Green Fairy started being one weight, but quickly turned into a layered/chromatic font. Things were going more or less fine till I arrived to the Dots weight: 1) I started drawing squares following a grid; 2) Then, the squares turned into diamonds following the same grid; 3) Then, the grid wasn’t working so well on the round letters so I tried randomising the position of the diamonds but it didn’t work; 4) So I went back to the grid, and this time scaled down the size of the diamonds creating a visual half-tone effect. I spent over four weeks working on the Dots weight and I felt like I was in the middle of a very long tunnel and I couldn’t see the light at the end. I encountered many other problems along the way but by June 2017, I felt I was back on track again. I kept working, tweaking, re-drawing and re-adjusting, and then the diacritics came on board… And then more re-drawing, re-tweaking, re-adjusting and then numbers… And then spacing, symbols, and currencies… And then more spacing, kerning, contextual kerning for triplets… In September 2017 I told myself “that’s it, I’m going to finish it now!” But guess what? More re-tweaking, testing, hinting, testing, rendering, testing… For those of you not familiarized with typeface design, it is extremely time consuming and it requires a lot of hard work, focus and determination. This project could not have been possible without the help of these generous professionals: Jose Manuel Urós, typeface designer based in Barcelona and my teacher twice in the past; Jamie Clarke, freelance letterer and typeface designer who has released a couple of chromatic fonts recently; Troy Leinster, Australian full-time typeface designer living and working in New York City; Noe Blanco, full-time typeface designer and hinting specialist based in Catalonia; And Nicole Phillips, typographer currently relocating from Australia to New Zealand. To all of you: THANK YOU VERY MUCH!

Milescut is a display typeface inspired by some seminal covers the graphic designer and photographer Reid Miles created for the Blue Note Records between the 1950s and 1960s. Miles made almost 500 covers for Blue Note in this period, including some using the hand-cut technique that consists basically in doing vertical cuts in capital letters and numerals to create a unique style within the universe he created for Blue Note. Milescut is a tribute to this small “cut” 😬 in his trajectory within the greatest record label of all time. This idea came about while I was working on what will become soon a revival of a wood type that I fell in love with when flipping through a Specimen of the MACHINE CUT WOOD TYPE manufactured by The WM. H. Page Wood Type Co. Milescut has two extra sets of alternates that work cyclically when activated in your OpenType menu and lots of ligatures, pretty cool :)

ntroducing Spooky Hollow by Forberas, yet playful but still serious. You can use this as decorative material for your upcoming project.

Tanqueray is a modern new and sleek modular font. It is contemporary in its design; but also playful and dramatic. Intoxicating.

Metzada is a vivid choice when you want to effortlessly make your designs stand out with a remarkable sharp crafted typography.

Pimpit is a funny rounded font, but above all it is the less athletic and amphetamine-breathing style of Pimpit's family.

Moonlight Shadow is a weird, but surprisingly versatile font. It is curly, messy - yet elegant and comes with all the accents.

Introducing Pumpkin Hunter by Forberas, yet playful but still serious. You can use this as decorative material for your upcoming project.

A condensed American blackletter designed for ATF in 1932 by Morris Fuller Benton; the face grows out of nineteenth century roots.

A display style, with protuding bulb round ends at the serifs and mid-points, very bold, lower case originally not designed.

Lagniappe is a thin decorative font. Kerning is not the best on this one. You may want to adjust as needed.

Dandygal is wild and unpredictable, but she still does the works with rich text or just headlines - without overdoing the sillyness!

There is something fun about western type. And there is something fun about hand drawn type. Put them together and.... Tada.

Inspired by old Haggada manuscripts, the geometric forms with rounded edges stand out in signage or book jackets - you name it.

Hazilim is a vivid choice when you want to effortlessly make your designs stand out with a remarkable wild crafted handwriting.

It isn’t very beautiful, very badly written, but it’s cheap. C'est pas bien beau, très mal écrit, mais c'est pas cher.

Glob is a multilanguage bubble-letter font. ?Includes Italic, outline & a rough version, Check out also Modern Love Slanted - Turquoise - Nautica

Molor Font is a sans serif font with an amazing feel. It will turn any design idea into a stand out.