Milan-based Leftloft studio has produced a third leg to its hit Etica font family: LFT Etica Mono. Meant to be a coder’s go-to font for everyday use as much as a designer’s way to invoke a certain genre, it is part of a broader and more versatile family that already contains almost 80 sans and serif fonts. LFT Etica Mono’s ten weights carry the same modern, recognisable DNA of the Etica family while hewing to the defined requirements of a coding typeface: space, density, distinct forms, and clarity. It uses the same instroke on the ‘c’ and open form of the ‘a’ for which the Etica family is famous, but adds something new in the form of an additional italic style. Monospaced fonts usually incorporate slanted letters as italics, as does LFT Etica Mono, but its default italics have warmer, cursive shapes while the alternate italics are simply slanted. The default ‘a’ is a simplified bowl and stem instead of a two storey shape; the ‘d, f, i, l, t, y’ and others gain an outstroke tail; the ‘e’ is one smooth stroke; and the default ‘k’ is looped. These characters have basic, slanted alternates if the cursive look isn’t desired, and includes a set of arrows and geometric shapes. The monospaced design, by nature, makes the typeface useful in coding and in low readability situations. And how does LFT Etica Mono work from the designer’s perspective? The starting point was the need for a monospaced Etica companion intended for technical applications: captions in graphic layouts, small text, confined or predefined space, and overall tone. Flat terminals and counters maintain the colour and versatility of the original typeface, but choosing between the organic cursive or blunt slanted alphabet will give every layout its own character. Of particular aesthetic interest may be the & and % symbols. Designed to be applied to the common visual environment, the new LFT Etica Mono font family completes a more complex system. One benefit is to give an expressive tone — less serious and more friendly — to something inherently technical, to bytes and bots, to encode the beautiful life.

The Bree font family is a spry sans serif by Veronika Burian and José Scaglione that delivers a spirited look and feel for branding and headline usage. As an upright italic, Bree shows a pleasant mix of rather unobtrusive capitals with more vivid lowercase letters, giving text a lively appearance. Bree is clearly influenced by handwriting. As such, some of its most characteristic features are the single-story ‘a’, the cursive ‘e’, the outstroke curves of ‘v’ and ‘w’, the flourished ‘Q’, and the fluid shapes of ‘g’, ‘y’, and ‘z’. Alternates of these letters are available when a more neutral look is desired. Bree has a touch of cheekiness, a wide stance for each character, and an extra-large x-height. All this adds up to a big personality, so even when set in small text there is no skimming past the words Bree voices. In 2019, the Bree font family got a huge update. A few shapes were updated or added (the ‘k’ and German capital ‘ß’), two entirely new weights were added (Book and Book Italic), and spacing was perfected. More than that, Vietnamese support was added to Bree Latin, and the Bree Greek and Bree Cyrillic scripts were designed from scratch to parallel the Latin’s tone. Additionally, Bree was designed in variable font format for those who want complete control over the font’s appearance while simultaneously saving digital weight in the form of kilobytes and megabytes. Bree is in the perfect position for the next digital revolution. The complete Bree font family, along with our entire catalogue, has been optimised for today’s varied screen uses. Bree has been chosen for such wide-ranging uses as Breast Cancer Awareness Month in the US, the branding for the country of Peru, and numerous layouts including mobile apps, magazines, newspapers, and books. Awards – Tipos Latinos exhibition 2008 – Several best-of-the-year typeface lists of 2008 MyFonts Top 10 Fonts of 2008 Smashing Magazine: 60 Brilliant Typefaces For Corporate Design https://www.smashingmagazine.com/2008/03/60-brilliant-typefaces-for-corporate-design/ Die besten Schriften 2008 http://www.fontwerk.com/619/die-besten-schriften-2008/ – Selected for Typographica’s Best Typefaces of 2008 – Won Bronze for Original Typeface in the 2009 European Design Awards

Inspired by the basic letter concept of Walter Huxley's 1935 gem Huxley Vertical, Dining Room JNL is a completely re-drawn typeface, adding even more of an Art Deco feel to an already classic Deco-era letter form consisting of condensed, rounded letters. Thick vertical lines balance against lighter weight ones, giving a dramatic contrast so typical of the Streamline Era of design concepts. This font marks another milestone in the Jeff Levine library of retro-inspired type faces. Beginning in 2006 with only ten designs, the collection has grown steadily with Dining Room JNL being the 750th font in the library.

Aila is a surprising slab serif built on the structure of a realistic Roman, but with unique organic features that make this typeface an exercise in tension between structure and rhythm. This expressive tension is displayed in heavier styles (Aila Bold and Aila Black), and is strongly evident in the italic forms. Aila's italics offer an interesting re-interpretation of the cursive ductus of classic italic forms, to offer rhythmic and swift variants, which are the ideal counterpoint to the regular set in body text. Each style of the Aila family offers an extended character set specially designed for editorial design projects.

This family was inspired from the set of font faces used in Amsterdam by Daniel Elzevir to print the famous “Tractatus de corde...” the study on earth anatomy by Richard Lower, in 1669. The punch cutter was the famous Dutch Kristoffel Van Dijk. In our two styles (Normal & Italic), font faces, kernings and spaces are scrupulously the same as in the original. This Pro font covers Western, Eastern and Central European languages (including Celtic), Baltic and Turkish, with standard and “long s” ligatures in each of the two styles. The Roman (Normal) style contains a U stylistic alternate, and the Italique style A.

Circulaire is a set of initial caps designed by Sjoerd Hendrik de Roos in 1926, and digitized in 2009 by Hans van Maanen. Unusual serifs, spurs and swashes make for interesting continuity points in the familiarly angled shapes, while adding a unique calligrapher's touch to the beheld forms. As far as initials go, this set contains the extra touch of personality needed to lead into a paragraph, which is preferable to the usual swashed italics that are widely used. Circulaire is available in all popular font formats and includes extended support for a wide variety of Latin-based languages.

Controlled casualness is the watchword in this new handwriting script from the prolific young French designer Éric de Berranger, who also designed the sans serif type family ITC Octone. ITC Berranger Hand has its roots in chancery calligraphy, yet its surface looks like contemporary informal lettering that was written quickly with a felt-tip pen on slightly absorbent paper. The counters of some letters appear to almost fill in from ink spread, yet Berranger Hand is admirably readable at small sizes. The capital letters are restrained, without swashes, so they can be used together in all-caps combinations.

Lempicka is a ligature-rich typeface duo with support for Latin and Greek. Lempicka Display and Small Caps are a pair of light, clean fonts with strong Art Deco character. Lempicka Display has over 150 ligatures and alternates (in Greek, too!), so it's extremely customizable and versatile. Lempicka Small Caps is Display's little sister: the perfect complement for creating hierarchy in a layout.⁠⠀ This is a beautiful typeface for wedding invitations and personal stationery, as well as unique logo design and branding projects. The name of this type family is an homage to Art Deco painter Tamara de Lempicka.

An indomitable woman who traveled a lot, Emily Austin (Bryan) Perry was one of the children of Moses Austin, of Austinville, Virginia. Like her famous brother, Stephen F. Austin, she settled in Texas as one of that region's earliest colonists. While traveling about seeking treatment for a sickly daughter, she wrote many letters home -- letters that show a distinctively compact, legible hand. The challenge for me in designing the face: resisting the temptation to read and re-read her bossy directives and urgent appeals, all packed tightly together on a page. Emily Austin has a complete character set, and then some.

Medina Gothic is a three-weight sans serif inspired by Latin American moderne. It was designed in response to the 2002, Altos de Chavon design conference in The Dominican Republic, which celebrated utilitarian driven gestures in graphic design. "There’s a rigor to Medina Gothic that takes care of all sorts of tenets of a hard-working, highly legible, objective font. But at the same time, it’s human. All the curved terminals and open counter forms make for a sort of kindness. For all the discipline, it doesn’t sacrifice its friendliness." – William Morrisey, Professor of Typography, Parsons The New School for Design.

It had to happen: we reached into the future and returned with the ultimate hyper-wide hyper-condensed hyper-thin hyper-bold font: HYPERSPACE RACE! It boldly goes where no sci-fi font has gone before, with WARP SPEED MODE (149 custom connecting letter pairs), alternate letters without connections, Variable Font for unlimited adjustment of Weight, Width & Slant, and character support for 211 European and Asian languages, including Russian, Serbian/Macedonian, Ukranian & Vietnamese. See the Variable and Opentype features in action as I re-create 15 familiar sci-fi logos in under two minutes with the Variable Font!

French Art Deco lettering found within the pages of the 1934 publication L'Art du Tracé Rationnel de la Lettre (roughly translated to “The Rational Path Art of the Letter”) have provided a number of designs well-suited for digital revival. A hand lettered sans with varying character widths was the basis for Colmar JNL, which is available in both regular and oblique versions. As the source of the lettering design was a French publication, the typeface is named for the city of Colmar, which (according to Wikipedia) is the third-largest commune of the Alsace region in north-eastern France.

Unlike previous dingbat fonts released from Lanston Type Co., Archive Ornaments derives from a unique collection of brass ornament plates that were originally used in creating the matrices for casting metal type. Using the plates as a reference point allowed for a more precise rendering of the ornaments. Letterpress prints were made directly from the brass plates, which were then re-drawn and digitized. Each character has been optimized for the combination of decorative borders and patterns as well as individual accentuation. The completed digitized font contains over 100 glyphs, ranging in style from geometric to organic designs.

Suti is a non-connected sign painters casual script with upper and lower cases. Suti was originally designed in 2010 but it was completely re-drawn in 2016. Casual lettering is a style sign painters use. Every sign painter has more or less their own style to make these letters. The casual alphabets are painted with speed and they don’t need to line perfectly but letters are still clean and easy to read. Suti has smooth and round forms. Friendly and casual looks. It is suitable for logos, titles, package design or where ever you need a fun and sympathetic display font.

One of the most enduring type styles of the Art Deco era is Huxley Vertical. Its clean lines and stylish appeal have transcended changing times and tastes. Many typefaces have been inspired by the original, including the model used to create this font. The design was found in the book "Lettering and Alphabets", first published in 1946 by J. Albert Cavanagh. By re-drawing it from scratch, the missing numerals, punctuation, special characters and accents were added. Hagemann JNL and its oblique version are named in honor of one of Jeff Levine's friends within the type design community -- Michael Hagemann of Font Mesa.

The type family in four basic styles was designed in ParaType (ParaGraph) in 1992 by Tagir Safayev. Based on Frutiger, of Mergenthaler Linotype, 1976 by Adrian Frutiger. Frutiger font was originally designed for use on signs at the new Charles de Gaulle Airport at Roissy. The straightforward sans serif shapes are suited well for both text and display setting. Six additional styles were added in 1998-2000. Multilingual versions of 6 styles (Light, Demi and Extrabold) include Armenian alphabet designed by Manvel Shmavonyan in 1997. Two condensed Cyrillic styles (Demi Condensed and Bold Condensed) designed by Manvel Shmavonyan in 2005.

Bookkeeper JNL is based on the lighter weight version of R. Hunter Middleton's 'Karnak', produced in 1936 for Ludlow. "Karnak" itself was based on the geometric slab-serif "Memphis", designed in 1929 by Dr. Rudolf Wolf and released originally by the Stempel Type Foundry of Germany. According to Wikipedia, "Karnak" "was named after the Karnak Temple Complex in Egypt, in reference to the fact that early slab serifs were often called "Egyptians" as an exoticism by nineteenth-century type founders." Available in both regular and oblique versions, Bookkeeper JNL serves well as both a headline and text type face.

Skaryna 2017 Title is a revival of the original typeface designed and cut by Francisk Skaryna in 1517–1519. Skaryna 2017 Title is designed to celebrate the 500th anniversary of the original work by Francisk Skaryna (lat. Franciscus Scorina de Poloczko) — scientist and educator from Polotsk (current Belarus). The original designs contain only Cyrillic characters. So Latin and additional characters were added to make the legacy of Francisk available for the World. The revival was designed to stay close to the original and remain a little bit inaccurate as early Renaissance printing technologies were. This project was sponsored by Anton Bryl.

Hi Designers. Everyone will try these soft and sweet typography at least once. All the angles and sharpness are transformed with soft and smooth. Each of these 18 styles has a unique personality and can be combined to showcase the designer's emotion more smoothly. Here is the advantage of being able to stay new without being bored. Of course, it can also be used in typography design for kids. And these soft styles include the following Ligatures. - La, Le, Lo, da, de, do, fi, fl, me, mo, mu, ne, no, nu, ta, te, th, to, tt

Weiss Modern Gothic is the first digital re-creation with a lot of improvements of a late seventies well-known edited typeface by Bauer. At the time known as Weiss Initials Extra Bold or Weiß Modern Gothik, the design was inspired by the famous Weiß Initialen N°2 drawn by Emil Rudolf Weiß (1875-1942); also father of the non-less famous "Neuland" typeface. Strangely, this beauty seemed abandoned while sister-flared faces like Friz Quadrata, Flange, Serif Gothic or Romic are in a new wave of revival. Hoping this one will not again disappear... Happy new life.

Pacaembu is a sans serif typeface that finds its roots in Brazilian football. This seven weight family began as a study of the stone lettering found in the Paulo Machado de Carvalho Municipal Stadium, affectionately known as the Estádio Pacaembu, a real gem of the Art-Deco style inaugurated in 1940. These art-deco letters, like football itself, were brought to Brazil by Europeans and out there in the tropics found a totally unique personality. Pacaembu is a celebration of Brazilian Football, it’s unique flavours, moves, sights and colors which have been delighting fans for generations.

Stone and steel FS Benjamin is a flared serif typeface designed by Stuart de Rozario. Consisting of 12 styles ranging from Light, Book, Regular, Medium, SemiBold and Bold with Italics it has clear, delicate letterforms, punctuated with brutal chiselled angles. With a pure and crafted feel to the forms the typeface has traditional roots but has been designed to work in a contemporary setting. Archetypal proportions in terms of x-height to cap height and ascender to descender ratio, allow the typeface to feel familiar and be legible in all platforms. Delicate brutalism Inspired by the contrasts of London and named after Big Ben, FS Benjamin was designed by Stuart de Rozario and founder, Jason Smith. Walking around London Jason was inspired by the juxtaposition of the old and the new. Glass and steel architecture can often be found amongst traditional signage and coats of arms seen around the City. These surroundings sparked an idea to create a modern design based on an alphabet that would traditionally be carved from stone. “Much of the typography we see today is so similar. I thought what if we created a typeface with traditional roots but modernised it to sit amongst the punk and noise of the streets of London? Old with new. Business with busyness. This is what London is all about.” Jason Smith

Berenjena is a captivating font family designed by type designer Javier Quintana Godoy in Santiago de Chile. Berenjena has the right combination of comfort in reading and a lyric spirit. This helps keep readers in the delicate atmosphere in which novels and tales can display all their charm. Most typefaces created for books cannot reach this. Either they are too expressive so they tire the eyes of the reader, or they are dull and reading becomes a tedious task. Berenjena was designed for text use bearing in mind this concept of subtle balance. Berenjena (Spanish for aubergine or eggplant) gives your text that spicy environment in which words shapes are easy to read while letterforms maintain their capricious feeling. It comes in roman and cursive declined in four weights: Blanca, Fina, Gris, Negra. All Berenjena character sets include extensive diacritics coverage for more than 200 languages plus the usual contextual features. The Berenjena Pro fonts (available at PampaType.com) include smalls caps, elegant ligatures, cute swashes, every kind of figures, and all contextual sorts. Berenjena will give your design a very individual character. It wears captivating details of calligraphic poetry which link subtlety to vernacular sign painting from Santiago de Chile. See a pdf of Berenjena here http://origin.myfonts.net/s/aw/original/306/0/156716.pdf or visit PampaType.com for more information.

- Unique Modernist Look - 590+ characters per font - Standard & Discretionary Ligatures - Multiple Stylistic Sets - Old Style Figures - Case-Sensitive Punctuation - Multilingual - Cyrillic Included - Uppercase + Lowercase Porte is an elegant sans serif font inspired by stone carving and modernist typefaces of early 20th century. While at its core Porte is a display font, it can also be used for larger bodies of text and in a variety of projects. Thanks to its unique proportions and feel Porte is reminiscent of early 20th century type, wherein aesthetic qualities often overweighed matters of practicality and applicability. Porte is at once delicate and sturdy, subtle and unyielding. Porte is very OpenType friendly, boasting an awesome selection of useful OpenType features, precise and exhaustive kerning (around 1000 pairs) and lots of discretionary ligatures to make your designs look amazing. A selection of wider and narrower alternate glyphs allow the designer to modify the rhythm of the typeface, extending its application and impact. With 590+ characters on board, Porte supports all major Latin based languages as well as a number of Cyrillic languages. Porte received its first major update in fall 2022. Not only was the character set expanded considerably, but also some glyphs were re-drawn to fix visual inconsistencies, and a large number of stylistic alternates was added. The kerning, too, was re-done to accommodate new letterforms. Trials available upon request.

The engraver Jean Jannon ranks among the significant representatives of French typography of the first half of the 17th century. From 1610 he worked in the printing office of the Calvinist Academy in Sedan, where he was awarded the title "Imprimeur de son Excellence et de l'Academie Sédanoise". He began working on his own alphabet in 1615, so that he would not have to order type for his printing office from Paris, Holland and Germany, which at that time was rather difficult. The other reason was that not only the existing type faces, but also the respective punches were rapidly wearing out. Their restoration was extremely painstaking, not to mention the fact that the result would have been just a poor shadow of the original elegance. Thus a new type face came into existence, standing on a traditional basis, but with a life-giving sparkle from its creator. In 1621 Jannon published a Roman type face and italics, derived from the shapes of Garamond's type faces. As late as the start of the 20th century Jannon's type face was mistakenly called Garamond, because it looked like that type face at first sight. Jannon's Early Baroque Roman type face, however, differs from Garamond in contrast and in having grander forms. Jannon's italics rank among the most successful italics of all time – they are brilliantly cut and elegant.

While researching the history of Onitsuka Tiger's branding and graphic design, I came across an odd, yet highly appealing piece of custom lettering on the company's ONICK ski boots from the 1970s. Reminiscent of aspects of the typeface Black-Out by Eli Carrico (released by my type foundry Wordshape), yet vertically compressed with razor-sliced counters and odd stencil element that makes up one of the legs of the "K", the ONICK lettering is a potential source for an intriguing modular font. I immediately thought of Ryoichi Tsunekawa as a potential collaborator to bring this piece of lettering to full-fledged life in the contemporary context. Based in Nagoya, Tsunekawa runs an independent type foundry called Dharma Type, including three specialized foundry sub-labels: Flat-It, devoted to display lettering; Prop-A-Ganda, a series of fonts inspired by and based on retro propaganda posters, movie posters, retail sign lettering & advertisements in the early 20th century; and Holiday Type, a series of decorative and retro scripts for holiday use. The past year has seen a flurry of notice of his work abroad, having been featured in both MyFonts' "Creative Characters" and YouWorkForThem's newsletter. As the work of most Japanese type designers is almost wholly unnoticed abroad, for Tsunekawa to be interviewed by two of the most popular type distribution companies in the world is definitely something beyond the norm. Perhaps it is because he works independently, or perhaps it is due to the charm and friendliness with which his typefaces are infused. Either way, this attention is both welcome and appreciated. Beyond mere charm, Tsunekawa's work is nuanced, detailed, and accessible due to its high level of finish. His fonts stand apart from his contemporaries in Latin typeface design in Japan due to his fascination with pop, vernacular and historical lettering from "non-pure" sources- whereas type designers like Kunihiko Okano and Akira Kobayashi have spent years analyzing the essence of Western letterform construction and unlocking the essence of Latin forms, Tsunekawa views surface and the awkward nature of his sources as being of value, as well. His irreverence for the formal doctrines of history imbue his typeface designs with a rugged inventiveness that would be missed by most- glyphs without source designs are guessed at and approximated, often in a manner wildly divergent from what Western eyes would assume. It is in these moments that I find sheer delight in Tsunekawa’s work and what make me most pleased to invite him aboard Neojaponisme and Onitsuka Tiger’s type development project. His assorted typefaces show an eclecticism in finish and as holistic systems- Tsunekawa's return email to me about the proposed type project showed a digital sketch of how a completed typeface family from the source lettering might look, rendered with an effortlessness and dedication to detail that belies a skilled craftsperson. Further development showed Tsunekawa’s rigor- the typeface in development rapidly featured glyphs ignored by many: a full set of fractions, Eastern European diacritics and accents, superior and inferior numerals, alternate characters, and custom ligatures - all designed with regulated, detailed spacing. ONICK is a typeface Tsunekawa should be proud of- an homage to a moment in history rendered in the absolute best fashion. We are proud to present it to the world! --Ian Lynam

Dulcinea is the title of Ramiro Espinoza’s in-depth look at Spanish Baroque calligraphy’s most extreme tendencies, and especially at some of those produced by the writing masters Pedro Díaz Morante and Juan Claudio Aznar de Polanco. These 17th and 18th centuries alphabets with their plentiful calligraphic flourishes represented a marked break with the harmonic and angular Renaissance Cancellaresca style. It was Morante who first introduced and popularized the use of the pointed quill in Spain, and although his famous text entitled “Arte Nueva de escribir” – first volume published in 1616 – contains alphabets that have much in common with traditional broad nib Cancellaresca calligraphy, most of the examples therein are outgrowths of the new models put forward by the Italian master Gianfrancesco Cresci. The writing’s swashes are complex and intricate, but at the same time they feature a profusion of defects. Many of them sometimes come close to ugliness. However, these pages contain an artistic essence that bears a relationship to the ironic and sometimes somber character of Spanish Baroque. That’s why the name of the font pays homage to “Dulcinea del Toboso”, the fictional beauty from Miguel de Cervantes’s ‘Don Quixote’, a work that reveals many of the period’s conflicts, such as the contrast between utopian ideals and reality, uncertainty and madness. But Dulcinea is far from being just a revival. Its forms are not careful tracings of the outlines of Morante and Polanco’s letters, nor are they attempts to reproduce them digitally. In fact, the author of the letters says that had the font been created that way it would have been too archaic to serve as acceptable contemporary typography. However, he believes that there are myriad interesting details that can be rescued and preserved, along with the playful spirit of the original. The work of designing Dulcinea consisted of combining original historical elements with the creativity and calligraphy of the font’s author in order to produce a modern typography that isn’t based on the same traditional sources as many recently created scripts fonts. Dulcinea offers attractive options for the setting of texts and headlines: abundant ligatures and swashes along with intricate alternate characters. It sophisticated forms make it an ideal option for women’s magazines, recipe books, lingerie products or perfume packaging.

The Arabetic Sans Serif type family follows the guidelines of the Mutamathil type style but also illustrates the effects of adding and removing Latin-like serifs on Arabetic scripts legibility. It has only one glyph for every basic Arabic Unicode character or letter as defined in Unicode Standards version 5.1. Arabetic Sans Serif employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph’s isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Arabetic Sans Serif family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. Fonts are available in regular, italic, bold, and bold italic styles.

Das Grotesk was inspired by earlier nineteenth-century grotesques, but it is much more related to American gothic designs such as those by M.F. Benton. Due to their pure geometric structure, most grotesque typefaces tend to have a rather monotonous and lifeless appearance, thus failing to express the ideals of the modern creed. Das Grotesk on the other hand is a lively design with several distinguishable characteristics which attract attention when set at large sizes, whilst they become subtle and blend evenly at small sizes, fostering a neutral identity. This is a very legible and space-saving typeface with a narrow structure. It was designed with slanted curved ends and sheared terminals applied on several straight strokes. It has two-storey ‘a’ and ‘g’ but includes single-storey alternates. The family consists of 14 weights ranging from Extra Thin to Black (including true-italics). It provides simultaneous support for Latin, Cyrillic and Greek and is loaded with several advanced typographic features such as small caps. Download its complehensive PDF Specimen Manual for further details.

Kastella Script is essentially an artist's dream tool. It feels as if you're not just typing but crafting a visual narrative, almost like putting the finishing touches on a piece of design art. It's not about the text; it's about the story it tells. The font is equipped with heavy letterforms and a range of stylistic swashes, providing a versatile toolset for modern design projects, from branding to editorial layouts. Use underscore _ to make an underline. Example: Bea_uty Use multiple underscore for different swashes. Example: Super____human Kastella Script is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, and includes all the characters and symbols you'll ever need. Behind this exquisite creation is Mans Greback. Known for pushing the boundaries of type design, Greback has ventured into the intricacies of aesthetic diversity with Kastella Script. His portfolio is a testament to his versatility and daring, turning simple alphabets into powerful visual narratives.

Empresario Stephen F. Austin (1793-1836) is considered by many the “Father of Texas” for leading the first Anglo-American colony into the then-Mexican territory back in the 1820s. A few years later, while on a diplomatic mission to Mexico City, Austin was arrested on suspicion of plotting Texas independence and imprisoned for virtually all of 1834. During this time he kept a secret diary of his thoughts and musings—much of it written in Spanish. Austin Pen is my interpretation of Austin’s scribblings in this miniature prison journal (now in the collection of the wonderful Dolph Briscoe Center for American History, in the Texas city that bears his name). The little leather-bound book is filled with notes in ink and pencil—some of the faded penciled pages traced in ink years later by Austin’s nephew Moses Bryan. A genuine replication of 19th century cursive, Austin Pen has two styles: a fine regular weight, along with a bold style that replicates passages written with an over-inked pen. Each is legible and evocative of commonplace American penmanship of two centuries ago.