Swingers is a curly, fun, cartoonish display font. I wanted it to look light, but loud, so it can yodel from Posters and Headlines. It has over 300 glyphs, several variations on the standard alphabet and all those extra pesky foreign features. OpenType coded, It has various letter pairings that interlock automatically to create a more randomized, bespoke feel to your copy. It also has tons of extra characters and other combinations available directly through your glyphs palette. Play around with it, break it, like it, buy it.

With all ego aside, Romp was designed and influenced by my daughter, Angel. For some time now, she has wanted me to design a font based on her handwriting. But each time I sit down to do it, I run into more that she needs to do and redo. On a recent attempt, I ran into the same situation again. Instead of moving on to something else, I decided to whip out a sumi brush and start making letters...for me, type design is something a little ‘serious’ and never a time to just have fun. This typeface proved that notion wrong—it really was fun. As a result, each letter encouraged another and the design grew...and grew! The happy result spawned 3 separate sets of letters & numerals (small caps and some ligatures too!). Using the beauty of OpenType, these 3 sets have been fused into one, randomly generating font set. If you are using any type of OpenType enabled application, then the Romp Pro typeface is the way to go. They include everything found in the 3 separate variants for each style as well as entirely expanding offering of additional small cap and ligature sets.

To describe what inspired Magneta would be to add a little Dwiggins, throw in some Benton with a hint of Austin, wrap it up in a crisp, contemporary package and serve. The skeleton of the family is a Garalde (like my earlier Epic) but with a desire to produce something much more transitional and contemporary, I sought to simplify, simplify, simplify. Cap and ascenders share the same height, the x-height is slightly larger than expected which should make a functional typeface for editorial, headlines or where more visually complex systems are needed. The modulation is much more intentional than historical and creates some interesting interactions between the various weights. There are both Normal and Condensed widths available with 6 different weights and matching italics, small caps, oldstyle figures, swashes, stylistic and discretionary ligatures (that includes some fun majuscule ligatures in the roman styles), there is no lack of typographic goodness for the designer. To add some spice, a set of Decorative Ornaments have been created that include geometric, floral, curvilinear patterns and much more.

To describe what inspired Magneta would be to add a little Dwiggins, throw in some Benton with a hint of Austin, wrap it up in a crisp, contemporary package and serve. The skeleton of the family is a Garalde (like my earlier Epic) but with a desire to produce something much more transitional and contemporary, I sought to simplify, simplify, simplify. Cap and ascenders share the same height, the x-height is slightly larger than expected which should make a functional typeface for editorial, headlines or where more visually complex systems are needed. The modulation is much more intentional than historical and creates some interesting interactions between the various weights. There are both Normal and Condensed widths available with 6 different weights and matching italics, small caps, oldstyle figures, swashes, stylistic and discretionary ligatures (that includes some fun majuscule ligatures in the roman styles), there is no lack of typographic goodness for the designer. To add some spice, a set of Decorative Ornaments have been created that include geometric, floral, curvilinear patterns and much more.

Orbi Sans was designed as an extension of the font system Orbi released on the end of 2010. It’s a low contrast humanist sans serif of open design with the elements of dynamic nature that inherited from Orbi its elegance and clearness. The faces were coordinated with Orbi on metrics, proportions, weights, and design features. Orbi Sans consists of 4 roman weights with corresponding true italics. It can be used together with Orbi and separately. Due to wide variety of styles the family is very good for books, periodicals, and business papers. The fonts were designed by Natalia Vasilyeva. Released by ParaType in 2011.

What comes to your mind if I say Architype, Geometric, Gaelic, and Uncial? An impossible combination of features? An unrealistic setup of tastes as weird as your music list? Or some part of a joke told by your favourite comedian? Just chill and stick to the idea that is possible. Gallos combines the conceptual historical elegance of the Uncials with the practical rationalism of the Geometric style. Moreover, this typeface is composed by two sub families: Gallos Uncial and Gallos Architype. The letters “M”, “N”, “W”, “a”, “m”, “n”, “r”, and “w” differ between these two models. The first one is related to both: The Uncial script aspect displaying the leaned “a” with a closed bowl, and the classical geometric style depicting more conventional uppercase and lowercase letters “m” and “n”. The Architype one is inspired by Paul Renner’s Architype model, thus the leaned “a” has an open counter, the “r” is composed by a stem and a dot, and the rest of the mentioned letters were built using square rational features. Both models are connected by classical Uncial features such as the curved stroke “e” and curved shaft “t”, and with Gaelic vibes which can be seen in uppercase and lowercase letters “K” and “X”. Also, the curved descender “g” and “y”, alongside the curved stem “z” connect really well with the rest of the system and provide more uniqueness to the Gallos type family. Without further ado, we say to you: let’s make Uncials popular again!

Cinecav X is a family of typefaces based on Cinecav™ which is a system of fonts designed for closed caption television (CCTV) applications. Cinecav X cannot be used in closed caption systems that require specialized character sets. Closed caption fonts for television makers can be found at ccfonts.com. Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, M?ori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The building of the Northern Bank of St. Petersburg's Baku branch was built in 1903-1905. It was the first Art Nouveau-style building in Baku, Azerbaijan. Later the bank was transformed into the Russian-Asian Bank. After the oil boom in Baku in the 19th century, branches of many banks and new banks were opened in the city. The branch of the Northern Bank of St. Petersburg was among the first banks that was opened in Baku. N.Bayev was the architect of the building for the branch of the Northern Bank of St. Petersburg located at Gorchakovskaya 3 in 1903-1905. The building currently houses the Central Branch of the International Bank of Azerbaijan. My purpose in writing this is not to copy and paste the information from Wikipedia. What attracted me to the building was the word "Банкъ" (Bank) written in Cyrillic letters, which was also used in Azerbaijan during the Soviet era. The exact date of the writing is not known. Every time I pass by this building, I always thought of creating a font of this writing someday. I had taken a photo of the building and saved it on my phone. I did a lot of research on the font and asked a lot of people. However, some did not provide information at all and some said they did not have any information. I was interested in the history of this font but I do not know if this font really existed or it was created by the architect out of nowhere. If there was such a history of this font, I wanted to recreate this font and make it available. If not, I had to create it from scratch in the same way, using only existing letters on the building. Finally, I made up my mind and decided to develop the font with all letters I have got. It was difficult to create a font based on the word, Банкъ. Because in the appearance of the letters, the midline of the letters on A, H, K was very distinct, both in the form of inclination and in more precise degrees. The serif part of the letters, the height of the upper and lower sides, differed from each other. I don't know whether it was done this way when the building was constructed or it happened over time. I prepared and kept the initial version of the font. I took a break for a while. I started digging on the story of the font again. Meanwhile, I was researching and got inspired by similar fonts. Unfortunately, my research on the font's history did not yield any results. I decided to continue finishing up the font. After developing the demo, I created the font by keeping certain parts of these differences in the letters. In addition, I had to consider the development of letters in the Cyrillic, as well as the Latin alphabet, over the past period. Thus, I began to look at the appearance of slab-serif or serif fonts of that time. In general, as I gain more experience in developing fonts, I try to focus on the precision of the design for each font. In recent years, I specifically paid attention to this matter. YouTube channel and articles by Alexandra K.'s of ParaType, as well as, information and samples from TypeType and Fontfabric studios on the Cyrillic alphabet were quite useful. I gathered data regarding the Latin alphabet from various credible sources. I do not know if I could accomplish what I aimed at but I know one thing that I could develop the font. Maybe someday I'll have to revise this font. For now, I share it with you. I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

TA Bankslab graphic presentation at Behance The building of the Northern Bank of St. Petersburg's Baku branch was built in 1903-1905. It was the first Art Nouveau-style building in Baku, Azerbaijan. Later the bank was transformed into the Russian-Asian Bank. After the oil boom in Baku in the 19th century, branches of many banks and new banks were opened in the city. The branch of the Northern Bank of St. Petersburg was among the first banks that was opened in Baku. N.Bayev was the architect of the building for the branch of the Northern Bank of St. Petersburg located at Gorchakovskaya 3 in 1903-1905. The building currently houses the Central Branch of the International Bank of Azerbaijan. My purpose in writing this is not to copy and paste the information from Wikipedia. What attracted me to the building was the word "Банкъ" (Bank) written in Cyrillic letters, which was also used in Azerbaijan during the Soviet era. The exact date of the writing is not known. Every time I pass by this building, I always thought of creating a font of this writing someday. I had taken a photo of the building and saved it on my phone. I did a lot of research on the font and asked a lot of people. However, some did not provide information at all and some said they did not have any information. I was interested in the history of this font but I do not know if this font really existed or it was created by the architect out of nowhere. If there was such a history of this font, I wanted to recreate this font and make it available. If not, I had to create it from scratch in the same way, using only existing letters on the building. Finally, I made up my mind and decided to develop the font with all letters I have got. It was difficult to create a font based on the word, Банкъ. Because in the appearance of the letters, the midline of the letters on A, H, K was very distinct, both in the form of inclination and in more precise degrees. The serif part of the letters, the height of the upper and lower sides, differed from each other. I don't know whether it was done this way when the building was constructed or it happened over time. I prepared and kept the initial version of the font. I took a break for a while. I started digging on the story of the font again. Meanwhile, I was researching and got inspired by similar fonts. Unfortunately, my research on the font's history did not yield any results. I decided to continue finishing up the font. After developing the demo, I created the font by keeping certain parts of these differences in the letters. In addition, I had to consider the development of letters in the Cyrillic, as well as the Latin alphabet, over the past period. Thus, I began to look at the appearance of slab-serif or serif fonts of that time. In general, as I gain more experience in developing fonts, I try to focus on the precision of the design for each font. In recent years, I specifically paid attention to this matter. YouTube channel and articles by Alexandra K.'s of ParaType, as well as, information and samples from TypeType and Fontfabric studios on the Cyrillic alphabet were quite useful. I gathered data regarding the Latin alphabet from various credible sources. I do not know if I could accomplish what I aimed at but I know one thing that I could develop the font. Maybe someday I'll have to revise this font. For now, I share it with you. I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

In searching for a Roman to use, I found there were bits of Bembo, Times, Garamond, etc., that I liked and bits that I did not. So I set out to take the best bits of all my favorite Romans and tried to create the ultimate Roman Typeface.

On a sans-serif basis it contains trapezoid ascenders, balls & rounded ears, which may resemble the serif feel in smaller sizes, thus long reading is surprisingly easy. Amphibia is suitable for everything from contemporary poetry to branding and informational systems.

This is a must read!!! BulletNumbers come in very handy for all kinds of lists that don't exceed 100 categories. I have long since been using my own BulletNumbers in positive and negative and four styles, serif, sans, engravers and script, a fitting one for every occasion. Now I perfected them for all of you. Here is how to use them: (Important! Set letterspacing to '0', otherwise the two digit numbers will overlap!!!) The numbers 1-0 reside on the standard keys. Two digit numbers 01-99 can be composed out of left and right half circles by using (lowercase) 'abcdefghij' for the first digit (left half circle) and 'lmnopqrstu' for the second digit (right half circle). The critical pairs (all combinations with 1) can be found in various places. Type '!' for 10, '#' for 11, '$' 12, '%' for 13, '&' for 14, '(' for 15, ')' for 16, '*' for 17, '+' for 18, ',' for 19, '-' for 21, '.' for 31, '/' for 41, ':' for 51, ';' for 61, '?' for 81, '_' for 91. The two arrows are on the < and > keys. '100' can be found with shift+option+1. Last but not least, the capital letter bullets A-Z can be found on the shift+letter A-Z. Yours very practical Gert Wiescher

This is an unusual family of 3D designs that will add impact to your design. Due to the modular nature of this design there may be a very slight lack of smoothness to the curves at extremely large point sizes (around 100 pt and above).

Can noise be a beautiful sound? Well, I guess...because the other day when I was playing the good old Bleach album by Nirvana (which I consider lovely grunge music!) my wife yelled "Could you stop that noise?!" - and I answered "What noise?!" - ha-ha-ha! Anyway, I finished this font while listening to that particular lovely noise, and I knew that this crunchy, grungy, handmade and full of contextual alternates and multilingual font had to be named something with the word "noise" in it!

Puchiflit is a typeface disguised as a pen script. I didn't create this typeface by importing the letters on paper and tracing them into a computer with a draw application. So I think it's a pseudo-pen script typeface. By the way, I used a famous Japanese maker's felt-tip pen as a reference for line widths. I thought, "Isn't this what it would look like if I wrote with this pen? I drew a line in the draw application while fantasizing about this.

Chokey Pro is a richly featured, multi-language, joined handwriting script with a host of uses. Derived from La Carte, Chokey Pro works well wherever a sense of informality and spontaneity is required. Use it for menus and wine lists, newsletters, recipes - even poetry. The idea was to create a stylish but legible script that would handle fairly sizeable chunks of copy. With 500 alternative letters (including over 100 combinations), a full range of small caps, superior characters and number variants, Chokey Pro will meet the demands of even the most sophisticated texts.

Kondolarge is a slab serif typeface developed from our successful Kondolar in 2011. Based on a simple skeleton, straight sides, gently curved horizontals and sturdy serifs, Kondolarge is a bit more geometric than the prior. It is suitable for both text and display. With a well-built character set including small caps and several numeral styles. The font comes in 9 styles, ranging from a delicate Thin to Black, with matching italics, resulting in a total of 18 weights. Kondolarge contains a set of 800 characters that support over 200 Latin-based languages.

Savaneta is an all caps stylish serif font, designed for display and headline. Inspired by the classic metal movable type (circa the 1440s), with the medium serif thickness. Savaneta is a versatile serif combined with calligraphic sense by adding about 300+ alternates characters so you can create a calligraphic design with ease! This font looks strong and feminine at the same time, that possible to be applied for many purposes. Savaneta is perfect for logos, logotype, letterhead, branding, cards, wedding invitations, label design, posters, apparel, quotes, and short body text. It contains over 500 glyphs and is complete with basic Latin characters. P.S: To access the alternates characters, you need a program with OpenType panel like Adobe Illustrator, Adobe Photoshop, or you can simply copy-paste the alternates characters by accessing Font Book (Mac) and Characters Map (Win) Features included: Uppercase Small case Numbers Symbol Standard Latin accents. Stylistic alternates Stylistic set 01-10 Thank you for visiting, and have a nice day!

Introducing Filia, a vintage-inspired display font with smooth curves and plenty of OpenType features. Filia is perfect for your next editorial, advertising, branding, book, or invitation project. OpenType Features Filia includes 900+ glyphs. Specific OpenType features include stylistic alternates, several stylistic sets with features like swashes, initial forms, multilingual support (including multiple currency symbols - for kicks I even included a Bitcoin symbol in there), and three ampersand styles. It also includes 120+ standard and discretionary ligatures that add character and interest to your typography. The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access most of these awesome features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word's font menu. If you have questions about this, ask me!) Please note: there is only one file this font. That's the magic of OpenType - all of the alternates, ligatures, etc. are built right into the main .otf file! Mail support : julie@upupcreative.com Find inspiration (and sneak peeks at my next font-in-progress) on Instagram: http://instagram.com/julieatupupcreative Facebook : https://www.facebook.com/upupcreative Pinterest: https://www.pinterest.com/upupcreative My website: http://upupcreative.com PLEASE ENJOY! I can't wait to see what you make with Filia! Feel free to use the #upupcreative and #filiafont tags to show me what you've been up to!

Introducing Meritocracy, a full-featured handwritten font with tons of alternate characters and OpenType features. My goal with this font was to make you a typeface that will look as much like hand lettering as possible. Using the built-in OpenType pseudo-random contextual alternates and over 300 individually drawn ligatures, you can infuse your typography with personality and variety.** OpenType Features Meritocracy comes with more than 900 glyphs! Specific OpenType features include contextual alternates, stylistic alternates, a second stylistic set for variety, multiple alternate glyphs for many letters (accessed through the glyphs panel), multilingual support (including multiple currency symbols), standard numbers, and seven ampersand styles. It also includes 325+ standard and discretionary ligatures, all of them individually hand-drawn to be different from all other glyphs in the font. These ligatures allow you to give a super-realistic hand-lettered look to your typography. You can write the same word in so many different ways if you combine the default set, stylistic set 01, and standard and discretionary ligatures in different ways. SPECIAL OPENTYPE FEATURE: If you are using OpenType-capable software like Adobe Illustrator, Photoshop, InDesign, or CorelDraw and you have contextual alternates turned on, you can see the letters randomize themselves as you type, mixing from the default character set and stylistic set 01. (You can always turn on contextual alternates after you have already typed your passage and it will randomize all at once, or you can choose to turn off contextual alternates and substitute specific glyphs yourself - I find that if I'm typing a word or two, I prefer to control the individual glyphs myself; if I'm typing a paragraph, I like to use the built-in randomness of the contextual alternates feature). Note that this pseudo-randomization (aka contextual alternate feature) is ON by default in Apple's Pages app and OFF by default in Microsoft Word, but it can be turned on. The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access most of these awesome features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word's font menu. If you have questions about this, ask me!) Files included: Meritocracy-Regular.otf Please note: there is only one file for this font. That's the magic of OpenType - all of the alternates, ligatures, etc. are built right into the .otf file! Mail support : julie@upupcreative.com --- Find inspiration (and sneak peeks at my next font-in-progress) on - Instagram: http://instagram.com/julieatupupcreative - Facebook : https://www.facebook.com/upupcreative - Pinterest: https://www.pinterest.com/upupcreative - My website: http://upupcreative.com --- **PLEASE ENJOY! I can't wait to see what you make with Meritocracy! Feel free to use the #upupcreative and #meritocracyfont tags to show me what you've been up to!**

My wife name is Yasemin. After building this typeface, I wanted to honor with my wife’s name. I think I fully reflects the character I created in my mind. I created ornaments and connected glyphs. Yasemin is an OpenType font that contains 1045 glyphs. Ligatures, alternates, starting, endings, a wide range of latin languages and a set of ornaments. And words specially designed to use in advertising slogan, stationery for weddings, birthdays, etc. TIPS: Try using Yasemin at a 20º angle so that the slanted strokes, ornament become perfectly vertical. Having the decorative ligatures feature (dlig) activated is a good option to see letters dance. TECHNICAL: It is absolutely recommended to use this font with the standard ligatures feature (liga) activated. It makes letters ligate perfectly and also improves the space between words. UPDATES: - 3 December 2015 Opentype Feature (fractions) update. - 20 March 2019 Opentype Feature (fractions) update. Some bug fixes.

Type designers are crazy people. Not crazy in the sense that they think we are Napoleon, but in the sense that the sky can be falling, wars tearing the world apart, disasters splitting the very ground we walk on, plagues circling continents to pick victims randomly, yet we will still perform our ever optimistic task of making some little spot of the world more appealing to the human eye. We ought to be proud of ourselves, I believe. Optimism is hard to come by these days. Regardless of our own personal reasons for doing what we do, the very thing we do is in itself an act of optimism and belief in the inherent beauty that exists within humanity. As recently as ten years ago, I wouldn't have been able to choose the amazing obscure profession I now have, wouldn't have been able to be humbled by the history that falls into my hands and slides in front of my eyes every day, wouldn't have been able to live and work across previously impenetrable cultural lines as I do now, and wouldn't have been able to raise my glass of Malbeck wine to toast every type designer who was before me, is with me, and will be after me. As recently as ten years ago, I wouldn't have been able to mean these words as I wrote them: It’s a small world. Yes, it is a small world, and a wonderfully complex one too. With so much information drowning our senses by the minute, it has become difficult to find clear meaning in almost anything. Something throughout the day is bound to make us feel even smaller in this small world. Most of us find comfort in a routine. Some of us find extended families. But in the end we are all Eleanor Rigbys, lonely on the inside and waiting for a miracle to come. If a miracle can make the world small, another one can perhaps give us meaning. And sometimes a miracle happens for a split second, then gets buried until a crazy type designer finds it. I was on my honeymoon in New York City when I first stumbled upon the letters that eventually started this Affair. A simple, content tourist walking down the streets formerly unknown to me except through pop music and film references. Browsing the shops of the city that made Bob Dylan, Lou Reed, and a thousand other artists. Trying to chase away the tourist mentality, wondering what it would be like to actually live in the city of a billion tiny lights. Tourists don't go to libraries in foreign cities. So I walked into one. Two hours later I wasn't in New York anymore. I wasn't anywhere substantial. I was the crazy type designer at the apex of insanity. La La Land, alphabet heaven, curves and twirls and loops and swashes, ribbons and bows and naked letters. I'm probably not the very first person on this planet to be seduced into starting an Affair while on his honeymoon, but it is something to tease my better half about once in a while. To this day I can't decide if I actually found the worn book, or if the book itself called for me. Its spine was nothing special, sitting on a shelf, tightly flanked by similar spines on either side. Yet it was the only one I picked off that shelf. And I looked at only one page in it before walking to the photocopier and cheating it with an Argentine coin, since I didn't have the American quarter it wanted. That was the beginning. I am now writing this after the Affair is over. And it was an Affair to remember, to pull a phrase. Right now, long after I have drawn and digitized and tested this alphabet, and long after I saw what some of this generation’s type designers saw in it, I have the luxury to speculate on what Affair really is, what made me begin and finish it, what cultural expressions it has, and so on. But in all honesty it wasn't like that. Much like in my Ministry Script experience, I was a driven man, a lover walking the ledge, an infatuated student following the instructions of his teacher while seeing her as a perfect angel. I am not exaggerating when I say that the letters themselves told me how to extend them. I was exploited by an alphabet, and it felt great. Unlike my experience with Ministry Script, where the objective was to push the technology to its limits, this Affair felt like the most natural and casual sequence of processions in the world – my hand following the grid, the grid following what my hand had already done – a circle of creation contained in one square computer cell, then doing it all over again. By contrast, it was the lousiest feeling in the world when I finally reached the conclusion that the Affair was done. What would I do now? Would any commitment I make from now on constitute a betrayal of these past precious months? I'm largely over all that now, of course. I like to think I'm a better man now because of the experience. Affair is an enormous, intricately calligraphic OpenType font based on a 9x9 photocopy of a page from a 1950s lettering book. In any calligraphic font, the global parameters for developing the characters are usually quite volatile and hard to pin down, but in this case it was particularly difficult because the photocopy was too gray and the letters were of different sizes, very intertwined and scan-impossible. So finishing the first few characters in order to establish the global rhythm was quite a long process, after which the work became a unique soothing, numbing routine by which I will always remember this Affair. The result of all the work, at least to the eyes of this crazy designer, is 1950s American lettering with a very Argentine wrapper. My Affair is infused with the spirit of filete, dulce de leche, yerba mate, and Carlos Gardel. Upon finishing the font I was fortunate enough that a few of my colleagues, great type designers and probably much saner than I am, agreed to show me how they envision my Affair in action. The beauty they showed me makes me feel small and yearn for the world to be even smaller now – at least small enough so that my international colleagues and I can meet and exchange stories over a good parrilla. These people, whose kindness is very deserving of my gratitude, and whose beautiful art is very deserving of your appreciation, are in no particular order: Corey Holms, Mariano Lopez Hiriart, Xavier Dupré, Alejandro Ros, Rebecca Alaccari, Laura Meseguer, Neil Summerour, Eduardo Manso, and the Doma group. You can see how they envisioned using Affair in the section of this booklet entitled A Foreign Affair. The rest of this booklet contains all the obligatory technical details that should come with a font this massive. I hope this Affair can bring you as much peace and satisfaction as it brought me, and I hope it can help your imagination soar like mine did when I was doing my duty for beauty.

Chemre is a serif font filled with a modern and classy atmosphere. This font is complementedwith a mix of all caps. which is the same height and allows for unlimited combinations to give a unique style to your typography. The high contrast between thick and thin strokes gives Chemre a luxurious look. This font comes in two styles, Regular and Italic Version. Chemre is suitable for posters, packaging, branding, logotypes, headlines, titles and editorial designs. Features: 48 Ligatures - Standard Multi-Language Support Alternative Characters A, C, S, T, V, W, Y Unicode PUA Encoded This type of family has become a work of true love, making it as easy and enjoyable as possible. I really hope you enjoy it! I can't wait to see what you do with CHEMRE! Feel free to use the #Dora Typefoundry tag and the # Logo CHEMRE font to show what you've been up to!

"Istanbul Type" has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. "Istanbul City" has the modernity of the west and the orientalist texture of the east as the city that unites the Asian and European continents. "Istanbul Type" also includes these features. It is a unique character that reflects the spirit of "Istanbul City". Many letter alternatives prepared with care have been created for all letters. You can make dozens of combinations from a word using these alternative letters. "Istanbul Type" is an effective set for creating identities for branding, posters, book covers, headlines, logotypes, restaurants, menu cards, wedding invitations and so on. "Istanbul Type" 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 “Istanbul Type 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Istanbul Type" 5 weights and italics total 10 types. The family contains a set of 2.200+ characters. Case-Sensitive Forms, Classes and Features, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Attention! "Typography Line" is not suitable for use. When using it for special effects, it may be necessary to "Convert / Create Outlines" it first and then "Pathfinder Unite" it. You might have a crush on this typeface :) Do not hesitate to consult me for information about fonts before, during and after purchasing. You can contact me at "buyuksel@hotmail.com". Enjoy using it.

"Istanbul Type Variable" has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. "Istanbul City" has the modernity of the west and the orientalist texture of the east as the city that unites the Asian and European continents. "Istanbul Type Variable" also includes these features. It is a unique character that reflects the spirit of "Istanbul City". Many letter alternatives prepared with care have been created for all letters. You can make dozens of combinations from a word using these alternative letters. "Istanbul Type Variable" is an effective set for creating identities for branding, posters, book covers, headlines, logotypes, restaurants, menu cards, wedding invitations and so on. "Istanbul Type Variable" 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 “Istanbul Type Variable 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Istanbul Type Variable" 5 weights and italics total 10 types. The family contains a set of 2.200+ characters. Case-Sensitive Forms, Classes and Features, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Attention! "Typography Line" is not suitable for use. When using it for special effects, it may be necessary to "Convert / Create Outlines" it first and then "Pathfinder Unite" it. You might have a crush on this typeface :) Do not hesitate to consult me for information about fonts before, during and after purchasing. You can contact me at "buyuksel@hotmail.com". Enjoy using it.

Lifeform is a modern display font created as a result of my experiments on the forms of letters. While working on the font, I had ambivalent feelings, on the one hand I liked the individual curved lines, on the other hand they seemed very strange, alien and illogical. It was like looking into a microscope and seeing something strange. I wanted to develop and study these forms as something new, because I had never seen anything similar before. The result is a contrasting font that has both curves and sharp, and smooth lines that resemble some kind of organic matter. The font is well suited for large headlines, posters and covers. Its strange design catches the eye and will not leave the viewer indifferent.

As as a computer programmer, it is my job to stare at screens of text all day. For my first font, I completed a simple monospaced font, Debug, based on my own handwriting. Mickey Mono is much more ambitious: I wanted a humanist design - something with organic curves. It had to be clean and fresh. It had to have the advantages of Debug, like distinctive numerals (to distinguish between 8 and 3) and huge punctuation characters (so I could read complicated Perl one liners). Mickey Mono would be a good friend to me as I struggled through difficult coding tasks. It has a wide range of Latin Extended characters and diacritics, so it can speak French, Portuguese, and Ruby. Enjoy!

The story of Humana begins with an exclusive volume about some manuscripts in Biblioteca Palatina in Parma, Italy. The title page uses the characters upon which I designed Humana. I suppose they were drawn for that volume. Examining the reproductions in the book I found that the characters on the title page immitate the lettering in a manuscript from the 15th century with Petrarca's Rime volgari". Not bad as origin! But I cannot free myself from the thought that there may be a typeface with that looks, not just a few characters drawn for that volume. My reference books could not give me any answer about that. The name Humana refers to the humanistic era from which the characters originate. Humana was released in 1994.

There's something satisfying about tweaking to perfection a typeface based on the particular style of lettering applied to a particular kind of paper by a particular human hand. One day, in pursuit of this curious sense of satisfaction, I sat down with a porous pad of lined note paper and printed out the alphabet with a ballpoint pen. I found particularly interesting the bulbous ends of the strokes where the ink soaked in. I couldn't help myself: I drew out the rest of the character set, scanned, hand-traced, and -- as with all 3IP font designs -- manipulated every glyph to an obsessive degree. Named it Cedar Street, after a favorite address of mine. Full release has a single medium weight with a thorough character set.

This is a deco-style text OpenType Pro font loosely based on Koch's Locarno as seen in KochAltschrift a recent free German tribute to Koch's work. I was familiar with Meek's Letraset presstype version called Locarno, but I never liked the proportions used by either Meeks or Koch. So I radically revised ascender, descender, and x-height to make them more usable and brought the shapes within my sense of design. Mine is probably closer to Meeks than Koch, but hopefully it is a tribute to both. Astaire looks much more modern and it is much more usable. I added oldstyle figures, small cap figures, small caps, several ligatures, and more. There are an italic, bold, and bold italic also in this family

About 7 years ago, I released a beautiful (imho) Art Deco inspired font called Weltschmerz. Weltschmerz was an all-caps font and I always wanted to do a lower case version as well. But as things so often go in life, I never found the time and forgot about it. Some time ago, I ‘rediscovered’ my good old Weltschmerz font and remembered that I wanted to create a lower case version. Without further ado: here is Neuer Weltschmerz (‘New Weltschmerz’). I redid the whole font, better kerning, better spacing, better looks… and with a proper lower case! I did keep the original handwritten look intact - because, well, it IS hand made!

I really like Wales; I like the culture, the people and the language. I also like the Welsh legends, especially the ones about King Arthur and Merlin. I am reading a book about Arthur right now, so when I was working on this font, I wanted to give it a Welsh name. Caerphilly is a town in Southern Wales and is home to an immense 13th century castle (Castell Caerffili). Caerphilly font is based on a 16th century manuscript. I kept the glyphs rough, to give it ‘ye olde’ look. Comes with a hoard of diacritics, a bunch of double letter ligatures and some alternate glyphs as well.

My family and I recently moved to a ‘fixer upper’ farm from the 1930’s. It came with a slightly run down barn, 4000 square metres of land and a LOT of redcurrant bushes. I can’t really say that I am overly fond of them. I find them a bit too tart. As a kid, I used to smother them in sugar, but I can’t do that any longer, since I am a responsible dad… ;-) Redcurrant is a slightly wonky, slightly crazy handmade font. It can be used for book covers or post cards, but feel free to use it for whatever. Comes with cute little swashes as well.

I traveled a lot: in the beginning on my own, later as a tour guide. I always used the English word ‘abroad’ to describe a trip to a foreign country, but I noticed that the English, Australians and New Zealanders preferred the word ‘overseas’. I then realised that they all lived on an island, so most of the foreign countries for them were across the sea. I had to think of that when I made this font! Overseas is a brush font with a certain rough elegance to it. I made it using poster paint and a brush. Use if for posters, product packaging and book covers.

SpaceMace is a pixel-font designed for print work... or not! It features 950 glyphs, from Basic Latin to Greek and Cyrillic, with ligatures, swashes and much, much more!

The starter point of the Wienerin typeface is based on the work of Austrian designer and artist Carl Otto Czeschka who was part of The Wiener Werkstätte, an early twentieth century association of designers, architects, craftsmen, ceramists, jewelers and other graphic arts in his country. This collective of artists was influential for both Bauhaus, art deco and Scandinavian design. Wienerin is a revision and expansion of the Olympia typeface designed almost 100 years ago by Czeschka but adapted for contemporary use with the inclusion of numerous alternative signs and ligatures. Variable font technology allows a greater variety of weights to be achieved. One of the features of the original design was the inclusion of "eifassungen" or modules to create frames. Wienerin presents a repertoire of 500 in 3 weights. With an upward elongated design we have decided to also create a version of the typeface with a larger x-box that allows for a wider use of the typeface family. Because of its contrast it is ideal for use in delicate design pieces such as editorial design, elegant labels, stationery and fashion. All styles of the Wienerin typeface family cover most Latin languages.

I was watching a nice series the other day, which I quite enjoyed, but then I realised that the episode I was watching was in fact the last one. That kinda upset me, as I was just getting into the story. Last Episode is a handmade, all caps font - great for titling, book covers and posters. It comes with a set of alternates and some really interesting discretional ligatures.