Soprani is a unique typeface inspired by a plaque found in New Zealand dating from the 1920s. The design was contemporized and brought 100 years into the future. The serifs are dramatically flared at the end of the stems, while in the middle, they contract. This leads to a unique shimmering effect that draws the eye and catches your user's attention. This typeface meets the demand for unique serif types that are both eye-catching and delicate. It’s a display face that's ideal for very contemporary work. This typeface has plenty of alternates and has a full complement of OpenType features. The 1920s inspire the design, with a bit of art nouveau and arts and crafts, yet the typeface is designed to meet contemporary design requirements. It has a unique elegance and the letterforms are condensed more than most. Soprani is suggested for table books, menus, and various promotional materials, newspapers, television, motion pictures and other media. There is a wide range of widths and weights available, from the thin, which is delicate and graceful, to a bold and robust black. Production assistance by Lucas Azevedo and ikern.

New-Yorker-Type was one of the first typefaces I tried my hand at in 1985. I meant it as a revival of the typeface used by the New Yorker magazine. I did not scan it. I just looked at the type and redrew it completely by hand. Only much later did I come to know, that there is a bundle of similar typefaces of that period. Rea Irvin's design for New-Yorker magazine was just one of them, maybe the best. In the next step I repaired some of the mistakes that I made more than thirty years ago. Now on the eve of 2020 I gave the font a complete overhaul and added a set of Swash Initials, Cyrillic and Greek glyphs and many ligatures. The font now has 1075 glyphs and is all set for most latin writing systems. On top of that I made two versions, a Classic one with rounded corners and a pointed Pro version for a more up-to-date look. Take your pick. Yours sincerely, honoring Rea Irvin a great type- and magazine-designer, Gert Wiescher

New-Yorker-Type was one of the first typefaces I tried my hand at in 1985. I meant it as a revival of the typeface used by the New Yorker magazine. I did not scan it. I just looked at the type and redrew it completely by hand. Only much later did I come to know, that there is a bundle of similar typefaces of that period. Rea Irvin's design for New-Yorker magazine was just one of them, maybe the best. In the next step I repaired some of the mistakes that I made more than thirty years ago. Now on the eve of 2020 I gave the font a complete overhaul and added a set of Swash Initials, Cyrillic and Greek glyphs and many ligatures. The font now has 1075 glyphs and is all set for most latin writing systems. On top of that I made two versions, a Classic one with rounded corners and a pointed Pro version for a more up-to-date look. Take your pick. Yours sincerely, honoring Rea Irvin a great type- and magazine-designer, Gert Wiescher

Futura is THE prototype of a geometric or constructed linear sans serif and the font most commonly font of its kind used to date. Futura, very much influenced by the Bauhaus movement in Germany, was designed in 1927 by Paul Renner. Although being around for almost 90 years, Futura seems eternally young and fresh which also explains its continuous popularity with designers and typographers. Futura simply means efficiency and functionality documented by both its many usages as corporate type (e.g. Volkswagen, formerly IKEA, Vuitton, Shell, formerly HP, SMA and many more) as well as in various famous film projects (e.g. Kubrick, Anderson etc.). Futura’s iconic status was probably established when it walked on the moon with the Apollo 11 crew in 1969. It was used for the lettering of the plaque that was left up there.

Designed by the renowned Robert Hunter Middleton of Chicago’s Ludlow Typograph Company, this “serifless roman” was first introduced in 1929. Middleton has created a transitional face linking the traditional thick and thin serifs of the times with the new Futura and Kabel design imports. With its slightly flared main strokes, Stellar predates in many respects Hermann Zapf's Optima by thirty years. Highly effective where an elegant and warm feeling is desired. This typeface is faithful to the original letterforms of the Stellar design. Stellar Classic is also available in the OpenType Std format. Some new characters have been added as stylistic alternates in this new version. Stylistic alternates and other advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Pantoufle is French for slipper. Not the flipflop variety (or thongs if you’re from Australia), but the one you wear indoors when it’s cold. I have some too; Spanish ones, made from recycled PET bottles. Here in Holland, we call them ‘Pantoffels’ and you don’t have to be a language expert to see the resemblance between the French and the Dutch word. That is because the French are probably more savvy when it comes to keeping your feet warm and the Dutch just borrowed the word, pronunciation and all! Pantoufle is a font I made with a big fat marker pen. My kids had used it to decorate some gifts for Sinterklaas (if you want to know what Sinterklaas is, look it up). Pantoufle comes with extensive language support and a full set of alternates for the lower case glyphs. Enjoy!

In the immortal words of Homer Simpson, "It's easy to complain... and so much FUN, too! Woo-HOO!" Now your characters can grumble, mumble and mutter in barely audible tones as they dredge up some bit of misery from their lives, unleash a rambling river of criticism and complaints about the state of their health, or the government, garbling as much graphic detail as time and your imagination will allow! Or perhaps your creations are issuing drunken slurs as they wake up outside their own fricka-frackin' houses cuddling wheelie bins, covered in glitter, wearing a shiny hat and budgie smugglers over their jeans while holding the reins to a miniature horse. So moan, groan, gossip incoherently or swear under your whiskey-soaked breath like a trooper... courtesy of those Rassum Frassum font lovers at Comicraft. >Hic!

The Face2Face (F2F) series was inspired by the techno sound of the mid-1990s, personal computers and new font creation software. For years, Alexander Branczyk and his friends formed a unique type design collective, which churned out a substantial amount of fresh, new fonts, none of which complied with the traditional rules of typography. Many of these typefaces were used to create layouts for the leading German techno magazine of the 1990s, Frontpage. Branczyk and his fellows would even set in type at 6 points, in order to make it nearly unreadable. It was a pleasure for the kids to read and decrypt these messages! F2F Monako Stoned was inspired by the Apple system font Monaco, and is one of 41 Face2Face fonts included in the Take Type 5 collection from Linotype. Branczyk designed 16 of these himself."

Aldo Pro is a contemporary sans serif OpenType font family designed by Sacha Rein. With 8 weights from hairline to black and an extended latin character set of 690 glyphs it is suitable for all typesetting needs, from advertising and branding to web and screen. Aldo Pro is the evolution of the free Aldo semi-bold font published on dafont.com in 2007, and which has been downloaded over 700.000 times. « I have gotten quite a lot of feedback on the original Aldo over the years and tried to integrate most of it into Aldo Pro. The x-height has been reduced to make for a less condensed, more legible font, which makes it more useful for body text than before. By popular demand the X glyphs have been changed to a more ‘classic’ shape. The font also contains some useful ligatures now. »

A vintage lettering stencil manufactured by the E-Z Letter Stencil Company of Baltimore, Maryland was the model for Schoolyard Stencil JNL, available in both regular and oblique versions. Re-drawn digitally and following the actual bend of the steel rule dies used to cut the stencils, this typeface has not been cleaned up from its original design. Upon close examination, you will find straight angles and slight curves in the most unusual places. This was representative of the difficult work involved in bending steel cutting rule material and fitting it into small areas. For many years, E-Z Letter was the main competitor to the Stenso Lettering Company; the originator of the oil board stencil lettering guide complete with automatic spacing holes. Anyone over 40 will well-remember lettering their science fair posters, report covers and ring binders with these stencils.

This set of decorated initial letters was inspired by those used in 1510 in Nancy (France, Lorraine) for printing of "Recueil ou croniques des hystoires des royaulmes d'Austrasie ou France orientale[...]" Author Symphorien Champion, unknown printer. There were three sorts of initials family, but only one complete and clear, except a very few characters. The printer used some letters to represent others, as V, turned over to make a A, D to make a Q, M for E, So, the reconstruction was a little less difficult. Thorn, Eth, L slash and O slash were also added. The original font's letters was only drawn in white on a black background only, but it was tempting to propose a negative version in black on white. A few letters have multiple appearance, but only the A was clear enough to be reproduced. It can be used as variously as web-site titles, posters and flyer design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, as a very decorative, elegant and luxurious additional font... This font supports strong enlargements revealing its fine details and remaining very smart. Its original medieval height is about one inch equivalent to about three to four lines of characters. This font may be used with all our blackletter fonts, but as well with "1543 Humane Jenson", "1557 Italic" and "1742 Civilite", without any fear about anachronism.

I was working about 10 years exclusively for a type company. Based on my experiences, I built this superfamily. Schuss™ Sans PCG is a humanistic sans-serif with a little contrast. Small Caps, greek and cyrillic are included. Also tab, prop, lining, old style and small cap figures. It's a typeface with clear and open characters. All complicated shapes are cleaned and simplified with a bit elegance. Schuss™ Slab Pro is a slab serif, based on the Schuss™ Sans. Schuss™ News Pro is the modeled style between Schuss™ Slab Pro and Schuss™ Serif Pro. Schuss™ Serif Pro is the antiqua shape. Additionally all serifs are cleaned up. There is just one-side-serif in the "n" for example. Tab figures (except small caps), mathematical signs and currency symbols have a width system accross all styles and weights.

I was working about 10 years exclusively for a type company. Based on my experiences, I built this superfamily. Schuss™ Sans PCG is a humanistic sans-serif with a little contrast. Small Caps, greek and cyrillic are included. Also tab, prop, lining, old style and small cap figures. It's a typeface with clear and open characters. All complicated shapes are cleaned and simplified with a bit elegance. Schuss™ Slab Pro is a slab serif, based on the Schuss™ Sans. Schuss™ News Pro is the modeled style between Schuss™ Slab Pro and Schuss™ Serif Pro. Schuss™ Serif Pro is the antiqua shape. Additionally all serifs are cleaned up. There is just one-side-serif in the "n" for example. Tab figures (except small caps), mathematical signs and currency symbols have a width system accross all styles and weights.

The M XiangHe Hei Traditional Chinese typeface merges traditional brush strokes with modern letterforms to carefully balance traditional calligraphy with humanist design. Named for the smooth movements of a flying crane, the M XiangHe Hei typeface is designed to glide across the page, and features strokes that are partly derived from the Kaishu calligraphic style – an everyday script which dates back hundreds of years. M XiangHe Hei TC features Neue Frutiger for its Latin glyphs, and works harmoniously Neue Frutiger World and Monotype’s CJK typefaces: Tazugane Gothic (Japanese) and Seol Sans (Korean). M XiangHe Hei TC is a great choice for global brands using sans serif Latin typefaces looking to maintain their visual identity, and communicate with a consistent tone of voice with Traditional Chinese. The M XiangHe Hei TC fonts have over 19,000 glyphs, and support the BIG5/HKHCS and CP950 character sets for Traditional Chinese.

Nobody Home JNL is unusual in nature as it combines two vintage typestyles into one font. Both have been used for home and property identification for decades and still remain popular. Over the years the letters and numbers have been made of cast steel, aluminum, brass and plastic. The alphabet is in a distinctly bold, asymmetrical style, while the numbers almost take on a calligraphic feel. There is just a basic character set - alphabet, numerals and simple punctuation. While the font has been reasonably spaced and kerned, it's best to remember that neither type design was made with digital technology in mind, so it's suggested to adjust your layout manually for optimum results. Nobody Home JNL is best-suited for replicating street addresses, apartment numbers on doors, and homeowner (or apartment house) names on buildings - whether in print design or as plotter-cut vinyl graphics.

I was working about 10 years exclusively for a type company. Based on my experiences, I built this superfamily. Schuss™ Sans PCG is a humanistic sans-serif with a little contrast. Small Caps, greek and cyrillic are included. Also tab, prop, lining, old style and small cap figures. It's a typeface with clear and open characters. All complicated shapes are cleaned and simplified with a bit elegance. Schuss™ Slab Pro is a slab serif, based on the Schuss™ Sans. Schuss™ News Pro is the modeled style between Schuss™ Slab Pro and Schuss™ Serif Pro. Schuss™ Serif Pro is the antiqua shape. Additionally all serifs are cleaned up. There is just one-side-serif in the "n" for example. Tab figures (except small caps), mathematical signs and currency symbols have a width system accross all styles and weights.

I was working about 10 years exclusively for a type company. Based on my experiences, I built this superfamily. Schuss™ Sans PCG is a humanistic sans-serif with a little contrast. Small Caps, greek and cyrillic are included. Also tab, prop, lining, old style and small cap figures. It's a typeface with clear and open characters. All complicated shapes are cleaned and simplified with a bit elegance. Schuss™ Slab Pro is a slab serif, based on the Schuss™ Sans. Schuss™ News Pro is the modeled style between Schuss™ Slab Pro and Schuss™ Serif Pro. Schuss™ Serif Pro is the antiqua shape. Additionally all serifs are cleaned up. There is just one-side-serif in the "n" for example. Tab figures (except small caps), mathematical signs and currency symbols have a width system accross all styles and weights.

Guanabara is the third release of Plau Type Foundry. It started from the need of a wayfinding typeface that had personality enough to be the brand typeface for a city. The city of Rio de Janeiro, with its never-ending curves and all year long summer weather provided the constraints and requirements of this typeface. From there, it evolved to be a workhorse, with 8 weights from Thin to Black and matching true italics. It just had to have the features that all us designers have grown to love, such as alternate letters (a, g and r for the romans), tabular and proportional figures in lining and oldstyle set-ups as well as small caps, fractions and all that jazz (I mean, samba). And it needed to be recognizable and distinct. For that, design features like tapered R legs, capitals with classic proportions and calligraphic finishes on the terminals proved crucial. And last, but not least, like Rio, it had to welcome many cultures. We came to think of it as the “Typeface from Ipanema”, with a classic, timeless look, swinging elegance and joyful attitude.

The Copperplate penmanship style has a distinctive flow and character. Many years of steady and patient practice allow calligraphers to achieve the flow, direction, sequencing, and speed required from the copperplate ductus, to achieve its distinctive, elegant, fluid aesthetic. Nautica is a monumental new script from Resistenza, which builds on the creator’s accomplished penmanship skills. The delicate strokes have high contrast and an extravagant personality. These letterforms invoke 18th-century sailors logbooks and the nostalgic correspondence those at sea sent home to their loved ones, with letters looping and rolling into one another like the waves these intrepid adventurers voyaged on. Nautica’s ornate feel is perfectly suited to romantic applications, and with three weights, one set of useful navigational icons and some nautical knots Nautica will allow you to create rich and cohesive graphics for those 'tying-the-knot' or in any display context which requires some sophistication. Nautica allows you to achieve the complexity and flow of copperplate calligraphy with OpenType features. Supreme swashes inspired by brush pen stroke, and exhaustive alternates, with over 900 glyphs and extensive language support, Nautica offers full professional typographic features, for a natural ‘written’ look. Check out also “Voguing” & “Nautica”

Franciszek Otto of Poland designed Linotype Notec in 1999. Linotype Notec is a low-tech" (or even "no tech!") typeface. By embracing handwriting's spontaneity, it has gotten as far away from technology as it can. Classified as an "inky"-style script face, for lack of a better term, Linotype Notec's informal design seems immediately artful and full of expression. Its irregularity and unexpectedness enlivens any composition, similar to how jazz or modern dance animate a room. Quite full of "ink," Linotype Notec's "strokes" are written in a sort of short-note-handwriting-style, which a slow-writing, thoughtful humanist might theoretically scribble to himself late at night. Yet Linotype Notec's character still maintains a jolt of energy; try Linotype Notec in small applications, in any size from 12-point on up."

Etalage Script was drawn for the first time in the year 2000, based on a early 20th century lettering stencil with what farmer Boelema at Lalleweer stenciled his grainsacks. Eventually the script letter was developed as a typeface with a wink to the ‘lost’ display types for the ‘display window’ of graphic designer Ariënne Boelens, who in exchange made the website www.lalleweer.nl. What originated the Ariënne should be evident now.

The Etalage-script has been drawn for the first time in the year 2000, based on a early 20th century lettering stencil with what farmer Boelema at Lalleweer stenciled his grainsacks. Eventually the script letter was developed as a typeface with a wink to the ‘lost’ displaytypes for the ‘display window’ of graphic designer Ariënne Boelens, who in exchange made the website www.lalleweer.nl. What originated the Ariënne should be evident now.

Horizon was inspired by the style of the lettering used in the original Star Trek TV series. Quite fittingly, this font was used 21 years later in the film Star Trek: Into Darkness. In keeping with the digital experimentation of the 90s, Horizon has a space-age look—with sharp, unexpected angles that were achieved sharply with digital tools. It was designed in 1992 by Bitstream staff designers.

Quell is a novel attempt to bridge the gap between geometrically constructed shapes on the one hand, and modulated strokes and subtle calligraphic influence on the other hand. The visual tension in Quell stems from conflict between two tendencies: The perfectly round shapes are geometrically constructed, yet the contrast of stroke widths and oblique line terminations suggest calligraphic roots. How this dualism affects typographic impression is up to designers and typographers using Quell — as variable font the seamless transition between modulated contrast and linear appearance offers unique typographic possibilities. Linear appearance gives the text a solid and compelling voice, whereas the modulated styles convey elegance, vibrance and a delicate tone. Quell is suited to display setting, headlines, way finding and identity. The combination of linear and contrast variants provides typographic range to convey different stance while rooted in the same visual heritage. In short paragraph typesetting the fonts have a modern look and characterful tone, but should not be overused for longer texts. Quell has been in development for over a year, and is the proud third release under the Underscore label. Released in 2018 this design by Johannes Neumeier is available from the Underscore webshop as well as selected retailers.

Philip Bouwsma’s offbeat mind, always working in mysterious ways, brings us one of the unlikeliest syntheses of historical influences in a perfectly fluid, organic, and highly expressive connected script. Tupelo takes its inspirational roots from the handwritings of two of the most influential men in world history: Elvis Presley and Abraham Lincoln. It took a little research and analysis on Bouwsma’s part to reveal that The King’s and Honest Abe’s methods of writing shared a common ancestor: a writing system they had both learned as youths during their early school years. While Tupelo’s lowercase maintains the slant, color, texture, and flourish of Elvis’s handwriting, its uppercase is the embodiment of Lincoln’s well-versed originality. This is the closest a typeface has ever come, in its timeliness and historic relevance, to making a statement about these modern days' fusion of politics and popular culture. Tupelo comes in two main fonts, plus a set of beginning lowercase, a set of ending lowercase, and plenty of alternates and extras. The non-Pro set consists of five fonts, while Tupelo Pro combines the lot in a single font of over 840 characters, which includes programming for push-button swash caps, stylistic alternates, oldstyle figures, beginning and ending letters. Elvis and Abe would be proud!

Bella Copia is a font dedicated to the world of childhood, to the writing of primary school children, but can also be used to compose texts or express essential concepts. It can be used for food, fashion, logos and much more. The clarity in the sign wants to express simplicity and immediacy. As far as possible, what is "not needed" has been taken away from individual glyphs. In the illustrations an attempt has been made, by combining images with fonts, to express the concept of cleanliness, simplicity and clarity. It is composed of 314 glyphs to try to embrace as many languages as possible.

As a spinoff to his Tagesstempel™ design, Georg John created Johnstemp™ in 2008. The Johnstemp family has four weights, as well as a special Mix" variant. Each of the basic fonts (Light, Medium, Bold, and Heavy) contain many alternate glyphs, allowing users to set text that realistically simulates stamped impressions. For even faster design, Johnstemp Mix is the perfect choice; it contains letters with far more stylistic and weight variation out-of-the-box, and was developed to create even livelier impressions. Here as well, many alternates are included in the character set to prevent too much repetition of the same glyphs. "

It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there. Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds. Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff. Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well. This is one quill script that no large bird had to die for. A few technical notes The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on. Awards During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.

Montague Script takes its name from a small hilltown of western Massachusetts rich in culture and history. I lived in this beloved community for a number of years and it’s where I first began my study of calligraphy and lettering. While most brush scripts take their cue from mid-twentieth century samples, Montague Script is a fresh, contemporary alternative. It comes directly from lettering written with a #3 sable brush on smooth vellum and is digitized with the same sensibility a lettering artist writes with. Montague reflects a dynamic interplay between form and rhythm not usually associated with type. Words suggest a baseline, yet are not bound by it. Beginnings, endings, alternates and ligatures come in as needed while you type. Many more alternates are available in the glyph palette of most current graphic software. Exuberant swash versions of upper and lowercase letters, as well as ligatures can be accessed through both the type and glyph palettes. Montague Script is a natural for advertising, point of purchase displays, packaging and logo design, cards, invitations, journals and much more. You will be delighted at how well it can dress up a project and how easily it sets.

Initially commissioned in the summer of 2009 for a popular North American ice cream parlor chain we cannot name, Tuba started with a reconceptualization of a somewhat flawed '72 alphabet idea by Swiss graphic designer Erwin Poell. During the back-and-forth of the custom project, other ideas seeped into the design, mostly from other Canada Type fonts, like Fab, Jonah, Jojo and Teaspoon. The end result was what the client called a "sugar circuit trigger alphabet". This now is the retail version of that project. Tuba's main style is a straight-forward mix of 60s/70s art nouveau ideas and late-70s/early-80s tube aesthetic. The Highlight and Outline styles are almost necessary spinoffs for this kind of typeface. And the all-caps Black style is a nod to the fat font fad of the past couple of years. All styles contain many alternates – so many that each style is almost two fonts in one. Make sure to check out the character sets for a few nice and useful surprises. Life's too short. Seek sweetness. Get gooey.

Jean Evans' interest in type design dates back to her third-grade fascination with fancy script writing. Years later, work at a sign-painting school she found in the Yellow Pages® cemented her relationship with letterforms. Evans went on to study with master calligraphers and type designers, including the likes of Donald Jackson, Hermann Zapf and Matthew Carter. Evans' designs have been exhibited and collected around the globe, and her distinctive calligraphic style has been lauded by leading trade organizations, annuals and publications. Hatmaker, one of Evans' more popular typefaces, was originally developed for the Boston-based broadcast design firm of the same name. Inspiration for the design came from Ben Shahn's famous hand-constructed alphabet. Shahn's alphabet, however, was limited to capital letters. Daunted by the idea of designing a lowercase that would measure up to Shahn's capitals, I developed a second set of caps-simple, quirky, yet almost classic-to work as 'lowercase' with the Shahn-like caps," explains Evans. Mixing the two in Hatmaker, creates a lively interplay of light and dark."

Odisseia: Monospaced Typeface Made on Earth by Plau. Plau presents Odisseia, a monospace type family in 8 styles designed with simplicity of shapes and a humanist touch. We’ve ventured into monospace territory, where all letters must occupy the same amount of space. This style is usually associated with typewriters and computer terminal fonts. Like all monospaced fonts, every letter align vertically in a multi-line setting. The rhythm created is peculiar, since large letters such as m and w occupy the same space as narrow ones like i. Because we have 4 different weights: light, regular, bold and black the design of some characters have to be adapted to fit the same width and achieve a constant light/dark value throughout. These features make Odisseia suitable for a specific yet considerable range of uses, from computer coding to systemized communication such as brand identities. This style has been used from high-end brand identity to cutting edge digital applications. Odisseia sets a little shorter in comparison with other monospaced fonts, and bears a large x-height.

Stack brings the spirit of industrial chimney lettering from the early twentieth century to the digital age. The typeface is designed to work both horizontally and vertically. Additionally, the fonts can work together in myriad chromatic expressions—providing limitless design possibilities. The family is true to the spirit of masonry lettering without being a direct lift of any specific lettering style from the industrial age. Like some of its masonry predecessors Stack is built as a typeface of 15 courses (horizontal rows) of ‘bricks.’ Based on several years of research a collection of 150+ photographs and roughly two dozen archival engineering drawings were amassed. The value of the historical references is a type family that is a legitimate reflection of masonry lettering styles of the period. In updating Stack for the digital age, the proportions of the base-unit ‘bricks’ and the thickness of ‘mortar’ joints have been optically adjusted to work in both screen-based and print media. Stack would not have been possible without the research and design input from Craig Welsh and Jenna Flickinger of GoWelsh.

Introducing Ondfuturs, the script font I designed which is so neat, with the theme of a nuanced heart that was upset about the feeling from losing a memory. This created something new to keep moving forward with confidence. This font is inspired by a tale from antiquity to the future with many points of view. Ondfuturs Script is a typeface thick, easy to read, and so comfortable to wear. You can use it as a logo, badge, insignia, packaging, headline, poster, t-shirt/apparel, greeting card, business card, and wedding invitation and more. The flowing characters are ideal to make an attractive messages to your taste. With this font you can make various sentences that are quite unique and simple, mix and match with a bunch of alternative characters to fit your project. It will be more interesting if you add swash characters. These alternative characters in this font were divided into several OpenType features such as Stylistic Alternates, Ligature and Ligature Alternates. Mail support : maculinc@gmail.com Thank you! Maculinc

There is plenty of lyric and literature about looking over one's shoulder in contemplation. What would you have done differently if you knew then what you know now? This is the kind of question that comes out of nowhere. When it does and whether its context is personal or professional make very little difference. It's a question that can cause emotions to rise and passions to run hot. It can trigger priority shifts and identity crises. It's never easy to answer. Three years ago, I published a font called Semilla. My aim with that was to distill the work of Bentele, a lettering artist from early 1950s Germany. Picking such an obscure figure back then was my way of pondering the meaning and efficiency of objectivity in a world where real human events and existences are inevitably filtered through decades of unavoidably subjective written, printed and oral history. And maybe to pat myself on the back for surviving surprises mild and pleasant. Having been fortunate enough to follow my professional whims for quite some time now, I took another, longer look at my idea of distilling Bentele's work again. I suppose the concepts of established history and objectivity can become quite malleable when personal experience is added to the mix. I say that because there I was, three years later, second-guessing myself and opining that Bentele's work can be distilled differently, in a manner more suited to current cultural angles. So I embarked on that mission, and Bowling Script is the result. I realize that it's difficult to reconcile this soft and happy calligraphic outcome with the introspection I've blathered about so far, but it is what is. I guess even self-created first world problems need to be resolved somehow, and the resolution can happen in mysterious ways. Bowling Script is what people who like my work would expect from me. It's yet another script loaded with all kinds of alternation, swashing and over-the-top stuff. All of that is in here. These days I think I just do all that stuff without even blinking. But there are two additional twists. The more noticeable one is ornamental: The stroke endings in the main font are of the typical sharp and curly variety found in sign painting, while the other font complements that with ball endings, sometimes with an added-on-afterwards impression rather than an extension of the actual stroke. In the philosophical terms I was mumbling earlier, this is the equivalent of alternate realities in a world of historical reduxes that by their very nature can never properly translate original fact. The second twist has to do with the disruption of angular rhythm in calligraphic alphabets. Of course, this is the kind of lettering where the very concept of rhythm can be quite flexible, but it still counts for something, and experimenting with angular white space in a project of a very dense footprint was irresistible. After playing for a bit, I decided that it would interesting to include the option of using optically back-slanted forms in the fonts. Most scripts out there, including mine, have a rhythm sonically comparable to four-to-the-floor club beats. So the weirdly angled stuff here is your chance to do the occasional drumroll. Everyone knows we need one of those sometimes. Bowling Script and Bowling Script Balls fonts comes with 1600 characters and features extended Latin-based language support. There are also a basic version of both fonts without all the alternates and extra OpenType features. Bowling family ships in cross-platform OpenType format. We also want to present “Mute”, a visual essay narated by Tomás García and Valentín Muro, about digital life created specially to introduce Bowling Script.

Trapped in a world they never made, the characters in our Story So Far have been engaged in final battle with their Arch Enemies... the characters known only as ToBeContinued. Will our heroes survive? Will justice prevail? Will the forces of good defeat the forces of darkness...? To Be Continued...

Minuet, an informal script with crossover deco elements giving it an unmistakable 1940s flavor, is a revival and expansion of the Rondo family, the last typeface drawn by Stefan Schlesinger before his death. This family was initially supposed to be a typeface based on the strong, flowing script Schlesinger liked to use in the ads he designed, particularly the ones he did for Van Houten’s cocoa products. But for technical reasons the Lettergieterij Amsterdam mandated the face to be made from unattached letters, rather than the original connected script. Schlesinger and Dooijes finished the lowercase and the first drawings of the uppercase just before Schlesinger was sent to a prison camp in 1942. Dooijes completed the design on his own, and drew the bold according to Schlesigner’s instructions. The typeface family was finished in February of 1944, and Schlesinger was killed in October of that same year. Though he did see and approve the final proofs, he never actually saw his letters in use. It took almost four more years for the Lettergieterij Amsterdam to produce the fonts. The typeface was officially announced in November of 1948, and immediately became a bestseller. By 1966, according to a memo from the foundry, the typeface had become “almost too popular”. This digital version of Schlesigner’s and Dooijes’s work greatly expands on the metal fonts. Both weights include a complete set of lowercase alternates — based on Schlesinger’s own drawings, as well as alternative variations for some of the capitals, a few ligatures, and extended language support covering Western, Eastern and Central European languages, plus Baltic, Celtic/Welsh, Esperanto, Maltese and Turkish. Minuet is available in all popular formats. The OpenType version, Minuet Pro, takes advantage of internal font programming to combine the main and alternate fonts into a single file per weight, making all alternates and ligatures automatically available at the push of a button in OpenType supporting programs.

Katsudon is a Japanese crumbed and deep fried pork cutlet, typically served on rice with egg drizzled over it. There is also a chicken variety. I have been to Japan numerous times (it is my favourite country) and each time I revelled in the great variety of foods being served in street stalls and hole-in-the-wall eateries. I especially love the grandma-and-grandpa eateries that are tucked away in alleys behind the major shopping streets. They never speak English and my Japanese is shaky (to say the least), but the food is always good and we always seem to understand each other. This year, I couldn’t travel to Japan, because of the Covid outbreak, but I can tell you that I miss Japan a lot! Katsudon is a crumbed and deep fried font. It comes with a splash of authenticity, a sprinkling of cheekiness and a generous dose of oomph. Oh, yeah, and double letter ligatures, plus a few alternates as well.

Some say The Silver Age Will End in Fire; others say The Silver Age Will End in Ice! Know, O Prince, that In Your Darkest Hour, the Masters of Evil Will Live Again! But from The Ashes of the Bitter Taste of Defeat, A New Power will be Unleashed! Lo, There Shall be A Frenzy in a Far Off Land, There Will be a Great Price AND a Great Prize! There Will Be a Bitter Victory in a World Gone Mad -- a World You Never Made... Face it, Tigers, You are Captives of The Coming of The Return of The Mad Mysterious Menace of He Who Would Destroy You...This Man, This Monster... This Final Font in our collection of Silver Age Display Lettering -- BATTLE DAMAGED! See the families related to Battle Damaged: Battle Cry & Battle Scarred .

This "Leaf" font has been swirling in my head for years - I remember my sister and I making letter formations like these when I was young. It was exciting to see the lettering look even better on paper than it did in my mind! "Leaf" surprised me by having two distinct looks: in size 24 or smaller, the look is delicate, because your eye doesn't see any space in the letters. In size 28 or larger, the eye can discern spaces, which gives a different facet to its personality. As much as I like this font when viewed on a monitor screen, it really shines when printed. The "Leaf" font is a perfect blend of quaint hand-written style mixed with crisp letter formations. This font has a very "happy" quality to it. May using it bring a little more happiness to your day!