In most cities during the 1950s and 1960s the corner pharmacy or soda shop was a mainstay of teenage life. It was a place to hang out with friends, hear the latest hits on the jukebox and indulge in everything sugary from malted milkshakes to banana splits. During this time, a popular form of window advertising was supplied by the Coca-Cola Company to promote its product being served by these locations. Specialty window decals designed to emulate drawn (raised) Venetian blinds "bookmarked" by the soda's logo were adhered to the shop's windows, with a space provided to add in customized lettering. The store's name or its specialties were applied to each window pane, and this formed a consistent border at the top of all of the shop's windows. Although few visual images exist of this specific bit of advertising nostalgia, an old record album by a late-1950s singer named Chip Fisher called "Chipper at the Sugar Bowl" provided a somewhat usable sample for what is now Soda Fountain JNL.

The Dalecarlian runes, or dalrunes, was a late version of the runic script that was in use in the Swedish province of Dalarna until the 20th century.The province has consequently been called the "last stronghold of the Germanic script. When Carl Linnaeus visited Älvdalen in Dalarna in 1734, he made the following note in his diary: The peasants in the community here, apart from using rune staves, still today write their names and ownership marks with runic letters, as is seen on walls, corner stones, bowls, etc. Which one does not know to be still continued anywhere else in Sweden. The Dalecarlian runes were derived from the medieval runes, but the runic letters were combined with Latin ones, and Latin letters would progressively replace the runes. At the end of the 16th century, the Dalecarlian runic inventory was almost exclusively runic, but during the following centuries more and more individual runes were replaced with Latin characters. In its last stage almost every rune had been replaced with a Latin letter, or with special versions that were influenced by Latin characters.

Zierde is a take on early advertising, small-copy grotesks of the late 19th/early 20th century, and is largely inspired by Miller & Richard’s own range of Grotesques. More importantly, Zierde is accompanied by a large set of ornaments (+200) which hark back to the look-and-feel of the early-modernist arts and crafts movement. The ornaments in, and presentation of, Zierde owe much credit to J.G Schelter & Giesecke’s 1913 type specimen book ‘Die Zierde’. The strong functional uppercase sans-serifs alongside luscious, beautiful patterns in ‘Die Zierde’ make for beautiful combinations. This early-modernist use of grotesk alongside ornament looks bizarre in the eyes of us used to seeing sans-serifs in more formal, sterile settings. The face itself retains some historical flourishes such as the eccentric leaning angle of the italics, the long cross-bar on the ‘G’, the gammy-leg of the ‘R’, a strange ampersand and some irregular terminals across the weights. Zierde is display face meant for headlines, titles, short-copy, labels and logos. It comes in caps and small caps, Latin and Cyrillic.

Labyrindo is inspired on the classic Labyrinth. The oldest known labyrinth is 3200 years old and is to be found in Greece. The mythological king Minos held the monstrous son of his wife ‘Minotaurus’ prison in a labyrinth. Much later the labyrinth made his appearance in the medieval churches, this time as a pattern on the church floor. During the Italian renaissance the multiple gate labyrinth came in fashion. Paths led trough green hedges in beautiful palace gardens. These hedges where perfectly cut in rectangular shapes. Mainly meant as an aesthetic statement. Besides the origin of the physic labyrinth, it has always been a great source of story-telling and myths. I mention a few personal favourites (film) like, Pan’s Labyrinth (a journey to the underworld), Labyrinth (with David Bowie) and the Shining with Jack Nicholson (where a horrific scene takes place in a labyrinth). Not the most cheerful stories but fascinating and intriguing. A Labyrinth is mind boggling and mysterious but wonderful. I made graphic translation in this typeface.

Some years ago, a good friend and typophile, Gonzalo García Barcha, approached me with the idea of designing a typeface for his editorial project Blacamán Ediciones. He had just came across an hitherto unknown manuscript by Luis Lagarto, a colonial illuminator and scribe, working in Mexico City and Puebla in the late 1500s. The manuscript calligraphy was incredible and stunningly original. It featured three different hands by the scribe, intermingled in the text: a kind of baroque «Roman» roundhand; a very ornate, lively «Italic»; and some sort of irregular, playful, even funny «small caps». All imbued with an eccentric, convoluted zest and vivacious rhythm. Lagarto is the final result of translating these extraordinary hands into a digital type family. Since the manuscript had no numerals, math signs and many other characters now in use, part of the fun of the job was to infer them from the stylistic peculiarities of Luis Lagarto's calligraphy. Lagarto received an Award of Excellence at the Type Directors Club of New York annual competition.

“Loyolliams” is my first designed Latin typeface which has special meanings and unforgettable memories for me. The font's name, Loyolliams, consists of two mixed syllables stand for two different names. The first syllable is derived from the name “Loyola” and the second syllable is derived from the last five letters of the name “Williams.” These two names are related to “Concordia University”—located in Montreal in Canada—where I studied at a short academic term and spent in a very special period of my life in the late 2005. This renowned Canadian academic institution was created following the 1974 merger of “Loyola College” (1896) and “Sir George Williams University” (1926). This conglomeration formed “Concordia University” and the name Concordia itself was taken from the motto of the city of Montreal, Concordia salus (meaning ‘well-being through harmony’). This font comes in two different weights; light and regular. “Loyolliams” is a square, geometric, techno, and modern font. It is suitable for T-shirts, books' covers, websites’ addresses, advertisement light boards, and titles in technical, artistic, and other types of magazines and signboards. “Loyolliams” can be used also in posters, surfaces of electrical and electronic tools, digital devices and chips, geometrical machines, trucks, tractors, calculators, mobile phones, watches, laptops, personal computers, power equipments, digital cameras, technical magazines, and other digital and electronic tools. This fonts can be effectively used in titles especially when its uppercase and lowercase letters are mixed together and when it is used in its italic mode. "Loyolliams" is suitable for writing and printing small textual paragraphs in cards, magazines advertisements, and also posters. The main characteristic of "Loyolliams" Typeface is its non-curve style in most of its alphanumeric letters. The characters are deliberately designed to have only angular and square shapes.

Amherst is a family of blackletter-inspired typefaces. This family, created by British designer Richard Yeend in 2002, is unique in that it mains the feel of blackletter/medieval type without relying directly on historical forms. Amherst is split into two different sub-families, Amherst and Amherst Gothic. Amherst is very geometric interpretation of Fraktur. Fraktur was a style of German type very popular in central Europe from 1517 until the early 20th Century. Its letters appear "broken" at certain angles and joints. Still, we recommend using it primarily for display purposes. Amherst is available in three weights: Regular, Bold, and Heavy. Amherst Gothic is very loosely inspired by late medieval letterforms, often called Texturas or Gothics. However, the letterforms of Amherst Gothic seem just as inspired by the Art Deco movements of the 1920s and by contemporary sans serif type design as anything else. Nevertheless, certain letters in this typeface do appear more "gothic" than others, especially A, D, M, Y, d, r, and x. Amherst Gothic is made up of three fonts, Amherst Gothic Split, Amherst Gothic Split Alternate, and Amherst Gothic Italic. Amherst Gothic Split has in-lined characters, and appears very ornamented. The alternate characters in Amherst Gothic Split Alternate are quite medieval in their appearance. Amherst Gothic Italic is the least medieval-looking of the set; its characters are very round, and more geometric. All six styles of the Amherst Family are OpenType format fonts, and include old style figures.

Quill-formed roman/gothic with an olde-worlde flavor. Some background in the designer's own words: "A series of fonts came to mind which would be rooted in the medieval era -for me, a period of intense interest. Prior to Gutenberg's development of commercial printing with type on paper in the mid-1400s, books were still being written out by hand, on vellum. At that time, a Bible cost more than a common workman could hope to earn in his entire lifetime. Men like William Tyndale devoted their energies to translating the Scriptures for the benefit of ordinary people in their own language, and were burned to death at the stake for doing so. Those in authority correctly recognized a terminal threat to the fabric of feudal society, which revolved around the church. "This religious metamorphosis was reflected in letterforms: which, like buildings, reflect the mood of the period in which they take shape. The medieval era produced the Gothic cathedrals; their strong vertical emphasis was expressive of the vertical relationship then existing between man and God. The rich tracery to be seen in the interstices and vaulted ceilings typified the complex social dynamics of feudalism. Parallels could be clearly seen in Gothic type, with its vertical strokes and decorated capitals. Taken as a whole, Gothicism represented a mystical approach to life, filled with symbolism and imagery. To the common man, letters and words were like other sacred icons: too high for his own understanding, but belonging to God, and worthy of respect. "Roman type, soon adopted in preference to Gothic by contemporary printer-publishers (whose primary market was the scholarly class) represented a more democratic, urbane approach to life, where the words were merely the vehicle for the idea, and letters merely a necessary convenience for making words. The common man could read, consider and debate what was printed, without having the least reverence for the image. In fact, the less the medium interfered with the message, the better. The most successful typefaces were like the Roman legions of old; machine-like in their ordered functionality and anonymity. Meanwhile, Gutenberg's Gothic letterform, in which the greatest technological revolution of history had first been clothed, soon became relegated to a Germanic anachronism, limited to a declining sphere of influence. "An interesting Bible in my possession dating from 1610 perfectly illustrates this duality of function and form. The text is set in Gothic black-letter type, while the side-notes appear in Roman. Thus the complex pattern of the text retains the mystical, sacred quality of the hand-scripted manuscript (often rendered in Latin, which a cleric would read aloud to others), while the clear, open side-notes are designed to supplement a personal Bible study. "Tyndale is one of a series of fonts in process which explore the transition between Gothic and Roman forms. The hybrid letters have more of the idiosyncrasies of the pen (and thus, the human hand) about them, rather than the anonymity imbued by the engraving machine. They are an attempt to achieve the mystery and wonder of the Gothic era while retaining the legibility and clarity best revealed in the Roman form. "Reformers such as Tyndale were consumed with a passion to make the gospel available and understood to the masses of pilgrims who, in search of a religious experience, thronged into the soaring, gilded cathedrals. Centuries later, our need for communion with God remains the same, in spite of all our technology and sophistication. How can our finite minds, our human logic, comprehend the transcendent mystery of God's great sacrifice, his love beyond understanding? Tyndale suffered martyrdom that the Bible, through the medium of printing, might be brought to our hands, our hearts and our minds. It is a privilege for me to dedicate my typeface in his memory."

Introducing "Black Hearts," a cutting-edge freestyle graffiti font that brings an urban edge to your design projects. This font is a testament to the rebellious spirit and creative expression found in street art. With its bold strokes and dynamic letterforms, "Black Hearts" captures the essence of graffiti culture, delivering a raw and authentic feel to your designs. Freestyle Graffiti Design: "Black Hearts" is crafted with a freestyle approach, emulating the spontaneous and expressive nature of graffiti art. The characters showcase a mix of intricate details and bold lines, creating a visually striking and edgy aesthetic. Regular and Extruded Versions: Take your designs to the next level with the 3D flair of "Black Hearts." The font comes with both regular and extruded versions, providing you the flexibility to experiment with depth and dimensionality in your typographic compositions. Graffiti Swashes: Add an extra layer of creativity to your designs with the included graffiti swashes. These unique elements complement the font's style, allowing you to embellish your text with expressive strokes and energetic curves. Ornamental Elements: Elevate your design projects with the diverse range of ornamental elements included in "Black Hearts." From spray-paint-inspired accents to urban motifs, these ornaments provide additional creative options for making your designs truly distinctive. "Black Hearts" is perfect for projects that demand an authentic urban vibe. Whether you're working on street art posters, album covers, clothing designs, or any project that requires a rebellious and contemporary feel, this font is your go-to choice. Versatile Applications: Streetwear Branding Music Album Artwork Graffiti Art Exhibitions Skateboard Deck Designs Edgy Advertising Campaigns Contemporary Logo Design "Black Hearts" is more than just a font; it's a statement. Embrace the rebellious energy of the streets and infuse your designs with the raw, unapologetic style of urban graffiti culture. Unleash your creativity and make a bold impact with "Black Hearts." ——— Black Hearts features: A full set of uppercase and lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Layered Style +425 Total Glyphs +200 Graffiti Swashes and Ornaments included!

Introducing "Arrow Hero" - A Typeface of Elegance and Adventure Unleash the power of elegance and adventure with our latest font creation, "Arrow Hero." This unique serif font seamlessly blends the mystique of archers, the allure of elves, and the boldness of superheroes. Crafted with precision, this font is more than just letters; it's a journey into a world where every curve and angle tells a story of heroic feats and enchanted realms. Key Features: Elegant Serif Design: The Arrow Hero font boasts a sophisticated serif style that adds a touch of refinement to your projects. Each letter is meticulously crafted to exude an aura of strength and grace, perfectly suited for a variety of design applications. Illustrated Elements: Dive into the fantastical with Arrow Hero's unique illustrations. Arrows gracefully adorn each character, symbolizing precision and direction. Delicate elf ears and majestic wings enhance the overall aesthetic, creating a harmonious balance between the worlds of archers, elves, and superheroes. Versatile Usage: Whether you're working on branding, book covers, invitations, or digital designs, Arrow Hero is a versatile font that adapts to various contexts. Elevate your projects with a touch of magic and heroism that this font effortlessly provides. Tailored for Storytelling: Arrow Hero is not just a font; it's a storyteller. Use it to bring narratives to life, creating visual experiences that resonate with the mythical and the extraordinary. Let the characters on your screen or page become heroes in their own right, guided by the elegance of Arrow Hero. Multiple Styles: The font comes in various styles and weights, allowing you to express different moods and atmospheres within your designs. Whether you're aiming for a bold statement or a subtle enchantment, Arrow Hero has the right style for you. Elevate your design projects to new heights with Arrow Hero, where the elegance of serif meets the magic of arrows, wings, and elf ears. Download this font today and embark on a design journey that transcends the ordinary, celebrating the hero within every letter.

Jackalope is a new original script font from LetterPerfect Fonts. The design is a hybrid of pressure-pen calligraphy infused with whimsy and curlicue terminals. Letterforms are free-spirited and edges are rough, simulating spontaneous writing on rough paper. In addition to the full ANSI western character set, Jackalope includes a full set of small capitals, both lining and old-style numbers, and swash lowercase alternate characters that can be used as terminal letters at the ends of words for additional flourish. The genesis and realization of Jackalope was also a hybrid process. In 1996, LetterPerfect commissioned type designer Kathy Schinhofen to provide pen-written source material based on her commercial handwriting style and specifically on a logo she had designed for its "Viva la Fonts" line of script fonts. This work was digitized by LetterPerfect’s Garrett Boge and later fonticized by former Hallmark Cards type maven Myron McVay who unified the design and contributed additional characters. The design sat unfinished for over 12 years until Garrett Boge revived the project in 2010 filling out the extended character set. Jackalope is released in two versions: Jackalope LP Regular, which is the base font for continuous text setting; and Jackalope LP Expert, which includes swash variants, small capitals, and old-style numerals which can be swapped into text for extra flourish and effect.

New Lincoln Gothic is an elegant sanserif, generous in width and x-height. There are twelve weights ranging from Hairline to UltraBold and an italic for each weight. At the stroke ends are gentle flares, and some of the round characters possess an interesting and distinctive asymmetry. The character set supports Central Europe, and there are three figure sets, extended fractions, superior and inferior numbers, and a few alternates, all accessible via OpenType features. Back in 1965, Thomas Lincoln had an idea for a new sanserif typeface, a homage of sorts, to ancient Roman artisans. The Trajan Column in Rome, erected in 113 AD, has an inscription that is considered to be the basis for western European lettering. Lincoln admired these beautiful letterforms and so, being inspired, he set out to design a new sanserif typeface based on the proportions and subtleties of the letters found in the Trajan Inscription. Lincoln accomplished what he set out to do by creating Lincoln Gothic. The typeface consisted only of capital letters. Lincoln intentionally omitted a lowercase to keep true his reference to the Trajan Inscription, which contains only magiscule specimens. The design won him the first Visual Graphics Corporation (VGC) National Typeface Competition in 1965. The legendary Herb Lubalin even used it to design a promotional poster! All this was back in the day when typositor film strips and photo type were all the rage in setting headlines. Fast forward now to the next millennium. Thomas Lincoln has had a long, illustrious career as a graphic designer. Still, he has one project that feels incomplete; Lincoln Gothic does not have a lowercase. It is the need to finish the design that drives Lincoln to resurrect his prize winning design and create its digital incarnation. Thus, New Lincoln Gothic was born. Lacking the original drawings, Lincoln had to locate some old typositor strips in order to get started. He had them scanned and imported the data into Freehand where he refined the shapes and sketched out a lowercase. He then imported that data into Fontographer, where he worked the glyphs again and refined the spacing, and started generating additional weights and italics. His enthusiasm went unchecked and he created 14 weights! It was about that time that Lincoln contacted Bitstream about publishing the family. Lincoln worked with Bitstream to narrow down the family (only to twelve weights), interpolate the various weights using three masters, and extend the character set to support CE and some alternate figure sets. Bitstream handled the hinting and all production details and built the final CFF OpenType fonts using FontLab Studio 5.

Introducing Toughton Handwritten Font Unveil the beauty of handwritten elegance with Toughton, a font that breathes life into your creative projects. Designed to capture the essence of human touch, Toughton transforms words into a poetic dance of strokes and curves. The Art of Personalization Toughton isn't just a font; it's a journey through the art of personalization. Whether you're crafting wedding invitations, designing branding materials, or adding a human touch to your digital creations, Toughton's unique character will infuse your work with warmth and authenticity. Timeless Appeal With a timeless appeal that transcends trends, Toughton embraces the charm of handwritten script. Its fluid strokes and carefully crafted ligatures ensure that every word flows effortlessly, making it the perfect choice for projects that demand elegance and readability. Versatile Application From logos to social media graphics, packaging to editorial designs, Toughton adapts seamlessly to a variety of design contexts. Let your imagination run wild as you explore the versatility of this handwritten gem. Features and Functionality OpenType Features: Toughton comes with a set of OpenType features, including ligatures and alternates, to add depth and character to your text. Multilingual Support: Express yourself in various languages with Toughton's extensive multilingual support. Web and Print Ready: Whether it's for web design or print publications, Toughton is optimized for both digital and physical mediums. Elevate Your Creations Elevate your design game with Toughton Handwritten Font. It's not just a font; it's an artistic tool that allows you to tell your story with flair, grace, and a touch of humanity. Unlock the potential of your creative projects and make your message resonate with the world. Experience the magic of handwritten authenticity. Get Toughton today and let your words dance with elegance.

Originally released in 2008, Stern is the only typeface to be produced and marketed simultaneously in digital and metal. In the twenty-first century, no less. It is also the last typeface Jim Rimmer ever completed. The process he used for its design and manufacture is the stuff of legend, and can be seen in the Richard Kegler documentary, Making Faces: Metal Type in the 21st Century. The design is a delicate upright italic named in memory of Chris Stern, the late artist and printer from Washington State. In 2013, Canada Type remastered and expanded the design's offerings to a glyphset of over 1200 characters, updated programming. Now Stern Pro includes the following features: - Small caps. - Caps-to-small-caps functionality, useful for setting mid-height caps alongside lowercase. - Tall caps. - Historical forms. - A wide variety of alternates for both uppercase and lowercase letters. - Plenty of ligatures. - Seven types of numerals, enclosers, cojoiners and currency symbols. - Automatic fractions. - A complete set of lowercase ordinals, from a to z. - Case-sensitive forms. - Language support for Greek and over 50 Latin languages. 20% of this font's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

Connected Neon is a mesmerizing display font that encapsulates the vibrant glow of neon lights, fusing it with a unique twist of connected letterforms. With its bold and uppercases design, this typeface commands attention, drawing the viewer into a captivating visual experience. The defining feature of Connected Neon lies in its elegant lines that seamlessly connect each letter, creating a unified and harmonious composition. These delicate lines flow effortlessly from one character to the next, accentuating the connectivity between them. As a result, the letters appear to dance with an electric energy, forming an enchanting tapestry of illuminated artistry. The neon-inspired style of Connected Neon is a nod to the retro-futuristic aesthetics of the 80s, reminiscent of the vibrant signage that adorned the bustling city streets. The font's luminous glow radiates with an otherworldly aura, casting a vivid hue that is both nostalgic and contemporary, evoking a sense of vibrant energy and modernity. Each character in Connected Neon has been meticulously crafted to strike the perfect balance between legibility and decorative flair. The bold letterforms boast a sleek, sans-serif design, ensuring clarity even in the midst of the dynamic interplay of lines. The seamless connections between letters create a sense of continuity and fluidity, enhancing the visual appeal without compromising readability. Enjoy the various features available in this font. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Connected Neon is ideal for a range of creative projects that demand a touch of charismatic flair. From eye-catching headlines on posters and advertisements to striking branding elements, this font adds a touch of electrifying allure to any design. Whether you're designing a captivating logo, crafting an attention-grabbing title, or bringing a digital artwork to life, Connected Neon will effortlessly infuse your creations with a radiant glow and a sense of interconnectedness. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

This vintage, iconic typeface of original Czech letter-founding has been faithfully revised, extended and newly rendered in 2012. The majority of Vojtěch Preissig’s type faces have been, from their very creation, subject to controversial evaluations which might perhaps fill more pages than have been set in these type faces so far. The considerable technological backwardness of Czech typography between the world wars intensified the author’s creative effort even more. He had been devoting thought to his Antikva type face from 1912 onwards and dozens of hardly perceptible nuances of the same design have been preserved in his drawings. It was his only book type face, but it shows no signs of any hard struggle in creating it. Its extraordinary vividness and elegance are really surprising. It may be still indebted to the forms of Art Nouveau, which was withering away at that time, but its proportions, colour and expression inspire other Czech type designers. Preissig’s Antikva, Menhart’s Figural (and also Růžička’s Fairfield) and Týfa’s Antikva represent a clear line of development, very far away from the soft aesthetics of Tusar, Dyrynk or Brunner. The co-author of the modification for computer composition is Otakar Karlas. Without his experience the work would remain only a shadow of Preissig’s design. Our aim was to produce a large family of type faces for the setting of both books and jobbing works. The digital transcription of Preissig’s Antikva came into existence from summer till winter 1998. The direct model for this type face is the most successful, two-cicero (24 pt.) design dating from 1925. The designs of other sizes (12 pt., 14 pt., 16 pt. and then 36 pt. and 49 pt.) lack vividness and are the source of the widespread mistaken belief that Preissig’s Antikva consists of straight lines. That is, unfortunately, how even Muzika and Menhart describe it. Neither is it a Cubist type face as many of the semi-educated think today. Special attention had to be paid to italics. It is apparent that their design is not as perfect as that of Preissig’s Antikva. In contradistinction to the original we have deleted almost all lower serifs in the lower-case letters, enlarged the angle of inclination and completely redesigned the letters a, e, g, s, k, x, ... All crotches have been lightened by marked incisions. In other words, none of the italic letters corresponds to Preissig’s model. The signs which were missing have been supplemented with regard to the overall character of the alphabet. Preissig did not deal with bold designs, but the crystal-clear logic of his “chopping-off” of the round strokes enabled us to complete the type face family without any greater doubts. An excessively fragile type face, however, cannot be used for setting in smaller sizes; that is why we have prepared a separate family of text designs which has shortened ascenders, normal accents, slightly thickened strokes, and is, in general, optically more quiet and robust. We recommend it for sizes under 12 points. By contrast, the elegance of the basic design will be appreciated most in the sizes used for headlines and posters. Preissig’s Antikva is suitable not only for art books and festive prints, but also for poetry and shorter texts.

8bit darling is digital taste font. I think digital fonts are bitmap fonts generally, but dared to make digital fonts that are not bitmap fonts and made it. The name "8bit darling" borrowed a name from my favorite song. I made it consciously that it is a digital style but not so much inorganic. It contains hiragana, katakana, alphanumeric characters, some symbols. Horizontal writing only, vertical writing is not possible. Although it is slightly unique, I think choose a scene to use too much. I would be pleased if it could help you. ＜「エイトビットダーリン」紹介文＞ カクカクしたデジタル風のフォントです。 デジタル風のフォントといえばビットマップフォントかと一般的には思うのですが、敢えてビットマップフォントではないデジタル風のフォントを作りたいと思って作りました。 「エイトビットダーリン」という名前は私の好きな曲から名前を拝借しました。 デジタル風ではあるけれどもあまり無機質にならないように、と意識して作りました。 収録文字はひらがな、カタカナ、英数字、一部記号です。横書き専用、縦書きはできません。 ちょっと個性的ですがあまり使う場面を選ばないかと思います。 みなさまのお役に立てれば幸いです。 ＜スタイルカテゴリー＞ 角ゴシック

Aramus is a new serif font in my continuing objective of designing book fonts that I can really use. In many ways, Aramus is a very different direction for me. It comes from a scan of an old display face that has been radically modified to a much smaller x-height than I have been using lately, plus taller ascenders. Many of the characters needed a lot of correction to bring them into my taste. In general, I have decided that many of my fonts create a type color that is too dense. Aramus is an attempt to get away from that look. Although Amitale has been a very successful book family and excellent to work with, I find I still need something more open with a lighter color. Aramus is the first look at the new direction. The original hand-cut serifs vary a lot, different for almost every character. This gives a little looseness and helps the lightness I am looking for. It will be interesting to see where this all goes. This is a normal serif for me in that it has caps, lowercase, small caps with the appropriate figures for each case. This font has all the OpenType features in the set for 2009. I didn't bother with the CE accents (though I can add them upon request. They will be in the final new book family). There are several ligatures for your fun and enjoyment: bb gg ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, small caps, proportional lining figures, proportional oldstyle figures, & small cap figures, plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

TT Backwards useful links: Specimen | Graphic presentation | Customization options About TT Backwards: TT Backwards is an experimental font project inspired by the USSR typography and fonts of the late 70s and early 80s. Shop signs, posters, and book design—this is where we drew the inspiration for our project. TT Backwards consists of two complementary font subfamilies, a Script and a Grotesque, each of them includes 5 typefaces in 5 different weights (Thin, Light, Regular, Bold, Black). TT Backwards Script is a noncontrast almost monolinear solid script inspired by shop signs, poster and book design of the USSR. TT Backwards Script features a large number of Latin and Cyrillic ligatures (more than 70 items), which allows to make the script versatile and sophisticated to the max. And thanks to the implementation of a huge number of context alternates, all lowercase letters are joined softly and without breaks, and they meet the uppercase letters beautifully and correctly. TT Backwards Script supports the following OpenType features: liga, case, ordn, frac, sups, sinf, numr, dnom, tnum, onum, pnum. TT Backwards Sans is a narrow grotesque, which takes us back to the book design of late 70s and early 80s with its ductile characters. It is created considering its use in the small text size. TT Backwards Sans has a number of pronounced peculiarities: high x-height, exaggerated extenders, and big visual compensators and ink traps. Apart from the basic visual solution, TT Backwards Sans contains two experimental stylistic sets, which markedly change the overall visual perception of the text. SS01 alters high-frequency symbols of the Cyrillic alphabet, and SS02 significantly changes the high-frequency symbols of the Latin alphabet. FOLLOW US: Instagram | Facebook | Website TT Backwards OpenType features: case, ordn, frac, sups, sinf, numr, dnom, tnum, pnum, liga, zero, salt, ss01, ss02. TT Backwards language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Liebfraumilch is a vivid handwriting script that relies on the OpenType features Contextual Alternates, Discretionary Ligatures and Stylistic Alternates, which are available only in OpenType-aware applications such as the Adobe Creative Suite or Quark Xpress. Liebfraumilch or Liebfrau(en)milch is a style of semi-sweet white German wine which may be produced in the regions Rheinhessen, Palatinate, Rheingau and Nahe. The name is a German word literally meaning "Beloved lady's milk". The original German spelling of the word is Liebfrauenmilch, given to the wine produced from the vineyards of the Liebfrauenkirche or Church of Our Lady in the Rhineland-Palatinate city of Worms since the 18th century. The spelling Liebfraumilch is more common on labels of exported wine. (Wikipedia)

Quella Amber is a remarkable signature handwriting font that brings a touch of elegance and sophistication to your design projects. With its unique and authentic style, this font captures the essence of handwritten script with graceful curves and smooth strokes, making it the perfect choice for adding a personal and intimate feel to your creations. Crafted with meticulous attention to detail, Quella Amber showcases a seamless blend of uppercase and lowercase characters, allowing for versatile typography options. Whether you're designing a logo, creating invitations, or working on brand identity materials, this font will elevate your work and leave a lasting impression on your audience. One of the standout features of Quella Amber is its extensive language support. With multilingual capabilities, this font ensures that you can express your creativity in various languages and cater to a global audience. From English to Spanish, French to German, Quella Amber enables seamless communication and allows you to deliver your message effectively. In addition to its aesthetic appeal, Quella Amber is also equipped with practical features that enhance its usability. With a wide range of numbers and punctuations, you can easily incorporate numerical information into your designs. The font also supports PUA (Private Use Area) encoding, which provides access to special characters, ligatures, and alternate letterforms, allowing you to customize and tailor your typography to suit your specific needs. Quella Amber is a downloadable font that empowers you to unleash your creativity and bring your vision to life. By incorporating this exquisite signature handwriting font into your projects, you can infuse a sense of personality and warmth into your designs, making them truly unique and captivating. With Quella Amber, you can create stunning visuals that resonate with your audience, leaving a lasting impression and setting yourself apart from the competition. Experience the beauty and versatility of Quella Amber by downloading it today and embark on a journey of creativity and self-expression with this exceptional signature handwriting font.

Archive Garamond is a typeface roughly based on the designs of Claude Garamond (ca. 1480 – 1561), a French publisher and a leading typeface designer of that period. Garamond’s influence on type design is reflected in many typefaces that are today known under different commercial names. While the majority of contemporary digital interpretations of the “Garamond types” are cleaner and more polished versions of that genre, Archive Garamond tries to keep the rough nature which was typical in the early days of printing. Archive Garamond has a rather unique, distinctive temperament which is even more emphasised with the preserved non-uniformity, such as irregular glyph shapes or a variable baseline. Although Archive Garamond was clearly made to be used for display sizes it works surprisingly well in text. Archive Garamond is availale in three versions, each containing approximately 600 glyphs (in Pro versions). Archive Garamond Pro A Professional version of the typeface contains all glyphs, including the advanced typographic forms, such as different sets of figures, small caps, swashes, historical forms, etc. The font also enables full use of the OpenType features. It fully supports the languages listed in the language list. Archive Garamond Std A Standard version of the typeface is meant to be used for the basic typographic work. It typically contains the most common glyphs. The standard figures are proportional lining. Besides kerning this version does not contain any advanced OpenType features. A Standard file type fully supports the languages listed in the Language list. Archive Garamond Exp An Expert version contains glyphs that are supposed to be used in advanced typographic works. This type of file contains uppercase and small cap glyphs with the proportional oldstyle figures as the default set. Besides kerning this version does not contain any advanced OpenType features (all OTF features have to be replaced manually). An Expert file type fully supports the languages listed in the Language list.

Slab-like sibling Why stop at sans? Rather than leave FS Silas Sans as an only child, the team wanted to extend the family, and create a complete system for brands and editorial. Unsure what the result would be, the team started experimenting with a slab serif version. ‘We didn’t know how it would turn out, but we really liked it and wanted to take it further. A fresh angle ‘We stuck with the angular theme of the sans by drawing angled slab serifs,’ says Phil Garnham, ‘as opposed to the square serifs that slab fonts usually have. That created an inner dynamism in words and sentences on the page, and a very distinctive, crafted character, like a Victorian soul in a contemporary body.’ These crafted touches include details such as the angled ascenders on the ‘i’ and ‘l’, while characters such as the ‘y’, with its abruptly-ending descender, add a mark of distinction. A perfect pair Silas Slab, like its sibling, offers a clear-cut range of five weights, from the elegant Thin to the monumental ExtraBold. Put it together with Silas Sans and you have the full complement, capable of performing the full range of tasks, above the line and below, in headlines, body copy and logotypes, B2B and B2C. Keep them together; they don’t like it when they’re apart.

Originally released in 1987, Charter incorporates three important features: compact set width to give economical copyfit; generous x-height to give readability at small point sizes; and sturdy open letterforms to give reliable reproduction at both typesetter and laser printer resolutions. The design brings a clarity and freshness to everyday documents, such as newsletters, textbooks, directories and technical manuals, where the reader’s concentration must not be interrupted by unfamiliar letterforms but where typographic dullness can itself impair comprehension. The Italic has cursive letterforms - so is instantly distinguishable, while being readable enough in its own right for continuous text. The Charter BT Pro Pack features 6 fonts: roman, italic, bold, bold italic, black, and black italic. The fonts include characters originally developed for expert sets, such as ligatures, ornaments, old style figures, small caps, and superiors. The Pro Pack fonts support Western, Central European, and Eastern European languages. OpenType fonts are a cross-platform font format. The same OpenType font can be installed on Mac OS X, Windows, Linux, and Unix systems. Mac OS X and Windows 2000, XP, and Vista have built-in support for OpenType. OpenType fonts also work on Linux, Unix, and earlier versions of Windows, where they are recognized as TrueType fonts. OpenType includes many more features than the standard TrueType and PostScript formats, including the ability to install the same font on different platforms, crucial for document portability. OpenType fonts boost productivity because graphic designers and business professionals do not have to wrestle with many different fonts. With OpenType, customers have larger character sets to work with and fewer font files to deal with.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

Volta is a robust typeface from the 1950s. A revisit to styles that were en vogue at the turn of the century, Bauer type foundry designers Walter Baum and Konrad Bauer designed this type family in1955. The form of Volta's letters are similar to those in New Transitional Serif typefaces, like Cheltenham and Century. Developed after the Didone (i.e., Bodoni) style types, New Transitional Serifs speak more to the zeitgeist of the late 19th Cntury, and were typographic adaptations to it's newer technologies. Already in the period of mass production, typographers and printers at the dawn of the 20th Century had to cope with larger print runs on cheaper materials. The robust letterforms of New Transitional Serifs were designed to compensate for this, but they were also ingenious little inventions in their own right. Form the beginning, the new, peculiar forms of New Transitional Serif letters were adopted for use by advertisers. Their robustness also allowed them to be used in virtually all sizes. Volta was designed especially with advertising display usage in mind. The x-height of Volta's letters is higher than average for serif faces. It is recommended that Volta be used exclusively for shorter tracks of text, above 12 point. Headlines look dashing set in Volta. Four different font styles are available for the Volta typeface: Regular, Medium, Medium Italic, and Bold."

The idea of Limes emerged at the seashore last year in late summer. Getting ready in advance for a dark winter, we've decided to design a special fontfamily which would bring a bit of vitamins and summer sun into the rough everyday routine and help us survive the cold winter. Limes is both a dream of the sun while it’s gone and a refreshing breeze for the time when it finally gets warm! Limes is a completely handwritten fontfamily and consists of 23 typefaces. To create Limes Sans and Limes Slab families, we've used regular watercolor brushes, and to create monolinear Limes Script, as well as for Catchwords and Dingbats, we've used a felt-tip pen with circular section. Limes Sans and Limes Slabs fonts work perfectly together with Limes Script due to the general handwritten idea, as well as due to the widths contrast – despite its width, Limes Script mixes well with narrower opponents and adds a bit of human spontaneity into the general handwritten concept. The Limes collection includes: Limes Sans (Thin, Light, Regular, Bold, Black & italics), Limes Slab (Thin, Light, Regular, Bold, Black & italics), Limes Script, Catchwords and Dingbats. Limes Sans and Limes Slab widely support OT features: tnum, ordn, frac, case, numr, dnom, subs, sups, and Limes Script uses a large number of context alternatives.

From today's point of view Katarine has a rather unusual origin. Initially an all-caps display face, what was to become the Medium weight of the family was augmented with a lower case, then the character set was completed by adding all the missing glyphs. The next step was the creation of the Light and the Bold weights with matching Italics. This working method compromised the relationships between the characters across the different weights After some consideration the decision was made to start over and draw the complete family from scratch. This time the "conventional" process was followed — first the Light and Bold weights were designed. Those extremes were used to interpolate the Regular, Medium and Semibold weights. When compared to the original, the glyphs of the new fonts are slightly wider. The construction of the letters is sturdy, with an x-height that varies from the heaviest to the lightest weights. The relationship of the stem weight between the horizontal and vertical strokes is carefully balanced. Characters are open and firm; the italics have room to breathe. The original fonts included two sets of small caps — Small Caps and Petite Caps. However neither set were suited for emphasis, with the Small Caps being too tall and the Petite Caps too short. We decided to replace them both with one set of traditional small caps, slightly taller than the x-height, perfectly suited for emphasis in text usage. The original version of Katarine was partly incorporated into the new OpenType versions. Thus most of the original arrows, frames and boxes can be found in the new Katarine. Each individual weight now contains 830 glyphs, nine sets of numerals, small caps, numerous ligatures and fractions. An additional font named Numbers contains numerals in circles and squares, and is now augmented with accented caps and a number of terminal alternatives, which can easily be accessed through stylistic sets. We also added two extra variants, Experts Regular and Experts Black (in inverted form). Katarine Std preserves the solid construction and excellent legibility of the original family, but has now become a fully featured OpenType typeface. Katarine is suited for a broad range of applications, from simple layouts to intricate corporate systems. It is the typeface of choice where the cold, austere character of modern sans serifs are inappropriate, yet simple shapes and good legibility are required.

Introducing "Bremoleaf" - The Nature-Inspired Font 🌿 Embrace the beauty of nature with "Bremoleaf," a unique and versatile font that seamlessly blends the organic elegance of leaves with a harmonious mix of sans serif and script elements. This exquisite typeface is more than just a font; it's a work of art that brings the enchantment of nature to your creative projects. 🌱 The "Bremoleaf" font is a perfect choice for those who seek a harmonious fusion of two distinct typographic styles. It effortlessly combines the sleek and modern characteristics of sans serif letters with the flowing, graceful curves of an elegant script. This harmonious pairing creates a visually captivating and versatile typeface that suits a wide range of design needs. 🌿 With dynamic ligatures and an extensive selection of alternates, "Bremoleaf" offers endless possibilities to express your creativity. These ligatures and alternatives seamlessly flow, enhancing the readability and aesthetic appeal of your text. Whether you're designing a logo, a wedding invitation, a branding project, or any other creative endeavor, "Bremoleaf" has you covered. ✨ "Bremoleaf" boasts a wide range of characters and symbols, providing support for a staggering 708 characters. This inclusive font enables you to create content in various languages and styles with ease. Plus, it includes PUA (Private Use Area) Unicode, ensuring that you can access all its special characters and unique features effortlessly. 🌍 "Bremoleaf" is not bound by language or borders. It offers comprehensive multilingual support, making it the perfect choice for projects that target global audiences. From English to Spanish, French to Vietnamse, this font will help you convey your message beautifully and effectively. Experience the enchantment of "Bremoleaf" and elevate your design projects to new heights. This nature-inspired font brings the organic beauty of leaves to your creations, offering an irresistible combination of style and functionality. With "Bremoleaf," your designs will flourish like never before.

Syntachron is an extraordinary monospaced font that stands out with its futuristic and mecha-inspired design. What sets this font apart is its unique ability to combine simplicity, modernity, and boldness, resulting in a visually captivating typeface. It is the perfect choice for those seeking to create impactful posters, eye-catching marketing materials, captivating logos, attention-grabbing headlines, and engaging book and magazine layouts. One of the distinguishing features of Syntachron is its compatibility with the Cyrillic alphabet, offering versatility and style for a wide range of design projects. Whether you're working on international branding campaigns or multi-language publications, this font seamlessly integrates with the Cyrillic characters, ensuring consistency and cohesiveness across different languages. In terms of typeface pairing, Syntachron harmonizes exceptionally well with related families and typefaces that share its sleek aesthetics and futuristic vibe. It complements and enhances other fonts, enabling designers to create stunning combinations that amplify the impact of their designs. Beyond its striking appearance, Syntachron excels in its functional aspects. The font comes in a variety of styles, allowing for versatility in design choices. Its monospaced nature ensures consistent character widths, making it ideal for code snippets, technical documentation, and typewriter-style layouts. Furthermore, Syntachron offers a comprehensive character set with special features, enabling the seamless creation of diverse and engaging designs. The design concept behind Syntachron was to capture the essence of a futuristic world and merge it with the mechanical elements of mecha-inspired aesthetics. The result is a font that exudes a sense of cutting-edge technology and boldness, empowering designers to create visually striking and impactful designs that captivate their audience. Syntachron was meticulously created to fulfill the need for a font that seamlessly merges modern simplicity with futuristic design elements. Its purpose is to provide designers with a versatile tool that sparks creativity and enables them to craft stunning visual experiences. With its sleek aesthetics, support for the Cyrillic alphabet, and functional aspects, Syntachron is an indispensable asset for any design project seeking to embrace the future.

Introducing "Narony" – where sophistication meets nature in a harmonious dance of elegant typography and organic inspiration. This unique font seamlessly blends the timeless allure of serif with the dynamic fluidity of script, creating a typographic masterpiece that is both refined and enchanting. Serif Elegance: Embrace the classic charm of serif letterforms that exude sophistication and readability. Narony's serif elements add a touch of timelessness to your text, making it perfect for both formal and creative contexts. Dynamic Script: The script elements in Narony bring a sense of movement and fluidity to your words. The dynamic script flows effortlessly, adding a touch of personality and modernity to your designs. Whether used for headings or accents, Narony's script component elevates your text with grace. Natural Harmony: Immerse your designs in the serenity of nature with Narony's natural concept. Adorned with elegant leaf illustrations, each character is delicately intertwined with botanical elements, creating a seamless blend of man-made artistry and the beauty of the natural world. Versatility in Design: Narony is designed for versatility, making it suitable for a wide range of applications. From branding and logo design to wedding invitations and editorial layouts, this font effortlessly adapts to various design needs. Distinctive and Memorable: Set your projects apart with a font that is both distinctive and memorable. Narony leaves a lasting impression on your audience, ensuring that your message is not just read but experienced. Ideal Usage: Branding and Logo Design Editorial Layouts Wedding Invitations Packaging Design Social Media Graphics Nature-themed Projects Elevate your designs with the perfect blend of sophistication and nature – Narony. Let your words flourish in the graceful strokes of this font, where each character is a work of art and each design tells a story of elegance and harmony. Experience the beauty of Narony and redefine your typographic expression.

"Berganza" is a typeface designed as a tribute to the spanish century called "Siglo de Oro". Embellished with several ornaments and swashes, it quickly reminds an age in which castilian arts & letters were flourished, as well as the fantasy knighty fables adventures of heroes, loved ladies and evil villains. Although the Siglo de Oro cannot be set in specific dates, it is generally considered to have lasted more than a century; between 1492, the year of the discovery of America and 1681, the year in which the writer Pedro Calderón dela Barca died. Lope de Vega, Francisco de Quevedo, or even William Shakespeare (in England) are also famous figures of this time. Berganza typeface takes its name from the main character of the picaresque novel "The Conversation of the Dogs" (Cervantes, 1613). Berganza is able to speak with the other dog Scipio on a big number of social & philosophical topics. Talking about technics, Berganza is a modern typeface but with a humanist flavour. Thanks to its various styles and flourishes, it immediately refers to the culteranism aesthetic of that time, whose aim was to elevate the noble over the vulgar. But also, Berganza takes advantage of the contemporary technology, highlighting in his drawing the contrasted forms and certain broken and unusual strokes in order to give it a brave and different style touch. Berganza includes four weights to be used for continuous reading with great visual richness. However, it is more recommended for large sizes, since its unusual and particular details appear when the letter grows. Finally, the hundreds of glyphs and Opentype features that it has incorporated, allow us to change the aesthetics of the type according to our needs. OPENTYPE FONT 518 CHARACTERS 1113 GLYPHS 4 INSTANCES (Regular, Bold, Italic & Bold Italic) 38 LANGUAGES 28 LAYOUT FEATURES (stylistic sets, ligatures, historical ligatures, swashes, contextual alternates, numerals, etc) DESIGNED BY CARLOS CAMPOS IN 2021 www.cuchiquetipo.com Dummy text from wikisource.org («Rinconete y Cortadillo», by Miguel de Cervantes).

The long awaited and much requested revival of Robert Hunter Middleton's very popular classic is finally here. Mayfair Cursive was an instant hit for Middleton in 1932, and it went on being used widely until late into the 1970s, in spite of it never having crossed over to film type technology. Like a few of its contemporary designs, most notably the work of Lucien Bernhard, Mayfair is a formal script that is somewhat based on traditional italic forms with swash uppercase, but also employs subsidiary hairline strokes in some of its lowercase as an emphasis to the script's cursive traits. Why these gorgeous letters never made the leap into photo typesetting is a mystery to us. But here they are now in digital form, almost three quarters of a century since they first saw the light in metal. Mayfair was redrawn from original 48 pt specimen. It also underwent a major expansion of character set. Plenty of swash characters and ligatures were added. An alternate set of lowercase was also made, in order to give the user a choice between connected and disconnected variations of the same elegant script. Mayfair ships in all popular font formats. While the Postscript Type 1 and True Type versions come in two fonts (Mayfair and Mayfair Alt), the OpenType version is a single font containing all the extra characters in conveniently programmed features that are easily accessible by OpenType-supporting software applications. We are quite sure today's graphic designers will be appreciative of having access to the face that all but defined menus, romance covers, wine and liquor labels and chocolate boxes for almost two 20th century generations.

It all started with a simple idea back in 1998: do a digital version of a "lost" 70's typeface, and make up the missing letters that were not present in the only available example Jeff Levine had to work with. Jeff wasn't yet doing his own digital font creation, so he hooked up with Brad Nelson who owns a small foundry called Brain Eaters Fonts. Together, they collaborated on "Action Is"- a freeware font named after the source of the type example. This was a title page for a commemorative photo album of images from the 60's TV music show "Where the Action Is", formerly hosted by Jeff's employer at the time, singer-writer-producer Steve Alaimo. The free font took off like a rocket, being released just at the peak of the 60’s/70’s retro craze in the late 1990’s, and it was EVERYWHERE! It showed up on TV shows, packaging and web design -- and was even spotted on signage used on the side of a major amusement resort’s retro-themed hotel. From that point on, Jeff kept getting requests for a version with a lower case. Although they shared the copyright in the freeware version, Brad Nelson gave Jeff his blessing to re-work and take Action Is into the realm of commercial type. Newly improved and re-released as Groovy Happening JNL, it became one of Jeff's better selling type designs. A simplified, yet similar font was issued called Groovy Summer JNL. Now, after about a decade, Jeff had decided to clean up the 3-D (drop shadow) version that was originally freeware with many minute design flaws and re-release it commercially. Groovy 3D Caps JNL is an all-caps, limited character set font which ties in well with the previous releases, yet retains itís 1960s-1970s era charm. The font flag art is courtesy of Barbara D. Berney and is used by permission.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. Please Note: these fonts include only the latin alphabet; no accented characters, no numbers or punctuation. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. The world is a very big place, the world is for travelling. And that’s what Francisco did, travel. Though born in Spain, he was raised in Brazil, where he worked as a graphic designer. He spent years hitchhiking round South America, his eagerness to see and learn new things preventing him from settling in one place. He returned to Spain an old man, to find his roots. Francisco never dreamed he’d end up in the street: “The experience of the street has taken away my vanity,” or that he would grow as a person there. “The only thing I’ve learnt in life is that in life you have to learn, because if you spend your life without learning you haven’t lived.” In Barcelona, the street changed his life and taught him just how tough it can be. Tough, but full of good people. He says that’s the best thing about the street.

Castellar is a capital letter typeface from John Peters, named after a location in the Alps. It first appeared in 1957 with Monotype. Peters modelled the design on the Roman script Scriptura Quadrata as it was used in the first two centuries of the Roman Empire. One distinguishing characteristic is the quadratic proportions of many letters, which are however mixed with circular and narrow forms. The original script was called Scriptura Quadrata because the ancient engravers used rectangular stone plates for their work. Castellar is a typical title typeface and is best used in large and very large point sizes to highlight its classic elegance.