Kamerik 205 is inspired by the classic, geometric sans-serifs such as Futura and Avant Garde, but has shallower ascenders and descenders for a more compact look, and features a traditional double-storey lower case a and g. It's a versatile, modern sans, highly legible as a text font and with a clean, elegant look as a display font at larger sizes. It includes old style non-aligning (lower case) numbers, both proportional and tabular as well as accented characters for Central European languages. The Kamerik 205 family comprises of six weights, and is closely related to Kamerik 105. The most notable differences between the two variations, are the two-storey lower case a and g in Kamerik 205, where they are single-storey in Kamerik 105.

Introducing 58 Rodeo: A Classic Redefined 58 Rodeo is based on several different woodtypes used primarily as display faces in the late 1800s/early 1900s. The difference with this version of a classic woodtype is the balance and legibility. 58 Rodeo has been redrawn to emphasize line and character uniformity. The goal is to create a eurostyle, square look in a western font designed for modern applications with wild west sensibility. Additional characters provide whimsy and flair to round out any layout on the fly. Stars and other sorts are included in this reinterpreted design. Egyptienne-style fonts possess a universal appeal and are spectacular for adding interest and legibility in a variety of applications. The extended character set includes the Euro, placed on the currency key.

The digital outline fonts, DIN 1451 Fette Engschrift and Fette Mittelschrift were created by URW in 1984 and are the basis for all DIN font families. Both typefaces were designed for the URW SIGNUS system and were mainly used for the production of traffic signs. They have since become so popular in other areas that we have developed a complete DIN font family with 48 styles in OpenType Pro: URW DIN. It is semi-condensed, which is unique among the DIN fonts, so it has a broad spectrum of typographic uses. Its large x-height makes it perfect for use in e-publishing (web, apps, e-Books etc) and its adjusted stroke width between the regular and bold weights enhances its quality and distinguishability in print.

Mido is designed with the aim to recreate all the power of the early 19h century slab serifs, but without their geometric monotony. The ambition was to make a humanist slab serif that would function both in smaller sizes, as headlines, and poster size. Careful attention has been payed to the spaces within and inbetween letters – they show slight irregularities to create dynamic negative spaces, which in turn makes the letters sit solidly together as words and sentences. Mido is suitable for packaging, posters, book covers, identities and headlines, as well as type set in smaller sizes. It comes with both upper- and lower case figures. The typeface Mido is an ongoing design project of which the first font is now released.

Just imagine, You are searching for the font that should be modern and elegant at the same time, which is not possible with typical sans or serif fonts. So, Aurelux is what You need. This font in your library can be with you for decades, because it is useful and It's open border to create graphic designs that require "modern but elegant touch". : cafe, bar, theatre, spa, hotels, overall entertainment industry, travel, vintage, retro signs. Font is gender neutral. But, when You see Bold and black styles You understand that this font can be in the design of some industrial companies, factories, construction companies that want to show that they have history and heritage. You can contact me if You need questions: andfontscontact@gmail.com

This family was inspired by the edition De Civitate Dei (by Sanctus Augustinus) printed in 1467 in Sobiano (Italy, Roma) by Konrad Sweynheym and Arnold Pannartz who was the Punchcutter. It is one of the first few “Roman style” fonts, just before the birth of Jenson’s pattern (look at 1470 Jenson Latin). The present font contains all of the specific latin abbreviations and ligatures used in the original (about 54). Added are the accented characters and a few others not in use in this early period of printing. Decorated letters such as 1512 Initials, 1550 Arabesques, 1565 Venetian, or 1584 Rinceau can be used with this family without anachronism. If Italic style is required (not yet existing in early time of printing), we recommend using 1557 Italique.

House Sans is a 100 style super-family made up of 5 widths, 10 weights plus matching italics in two design approaches through stylistic alternates to the E, F, L and e characters. The weights range from compressed to expanded, from thin to heavy creating a plethora of styles to create with. House Sans has a unique visual structure to key glyphs such as the A, M & Y that give the font a stand out feel while the contrasting horizontal bars provide a nice balance. The compressed weights are great for fitting in tight spaces whilst the Heavy styles are perfect for standing out from the crowd. The font features extensive support for European and Cyrillic languages, stylistic and discretionary ligatures, plus superiors, inferiors and fractions.

Adelbrook is a dynamic serif typeface that keeps calm. It enriches text with the archaic structure of humanist type, because its characters arrange in a harmonious rhythm with a dynamic stroke, asymmetric serifs and stems that lean in the direction of reading. These characters have gravity and are firmly on the baseline. The tapered stems define a heaviness that end in emphasized foot serifs. Actually all the details are heftier the lower they are. This is particularly evident in a subtle vertical hairline variation, light or unapplied head serifs, and clipped upper dots. The clearness of the semi-serif italics with a brushy nature integrates perfectly in a subtle way. All these details result in a sophisticated text typeface with a sharp contemporary design.

Grange Rough is an inky, distressed version of Grange that mimics the effects of vintage hot-metal type on rougher paper. Grange is the Device interpretation of the classic “Grot” thick/thin sans style. Unlike the traditional models on which it is based, Grange takes a rational, consistent approach across wide range of weights and widths for contemporary use. The font includes alternative curved and straighter versions of key characters, most obviously the lower-case ‘g' and capital ‘R', allowing the font to take on either a sharper or warmer, more playful appearance. These can be toggled on or off using the ‘Alts' feature in Illustrator, or ‘Stylistc Sets’ in Indesign. Contains proportional, lining and tabular numerals. Perfect for both headline and text.

Dharma Slab is an antiqued slab serif designed inspired by 1800s-style wood type. All glyphs had been designed carefully to be retro-looking of the old time and to fill all with nostalgia. This condensed font family with 42 styles will be the best solution for posters, titles and anywhere you need impact. To complete your work perfectly, Gothic Extras family is ready for free. They include borders, ornaments and frames designed using vintage catalog of Hamilton in 1800s as a model. Incidentally, g, r and y has their alternative glyphs that can be available with OpenType salt feature and tabular figures can be available with tnum feature. Be sure to check out the sans serif style of this Dharma series named Dharma Gothic.

Makozin is a humanist typeface with a stylish appearance. Designed with a more fluid approach, makozin has more movement and curvature within stems, an angled stress and visible modulation. Together these features give a strong presence of the hand providing a comfortable read. Makozin's aesthetic dimensions both serve and enhance the design, making it the perfect tool for communicating in magazines; both in their print and online form, with attention grabbing headlines and easy to read body copy that follows. The true italics of this typeface are a real show stealer, they instantly create a sense of atmosphere, style and authority, complementing the uprights perfectly. Full details include 10 weights including italics, manually edited kerning and a range of OpenType features.

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

Orittish - Lettering Brand Font Introducing our font Orittish, we have finished the font project we made for your company's branding needs. The character of this font is that it has characters that are not connected to each other, we deliberately made it that way so that it is more flexible when it will be paired in a product branding for your business. Orittish comes with upper and lowercase characters, punctuation, numerals,supports international languages and OpenType features with Stylistic Alternates,watshot type is very best choice fonts for : ,quotes, Posters, Logos, Print Ads, Digital Ads, Promotion Product, video bumper, etc. Stylistic alternates for key lower case characters are also available, accessible in the Adobe Illustrator Glyphs panel, or under Stylistic Alternates in the Adobe Photoshop OpenType menu.

Xenois is a sweeping suite of designs that will provide solutions for a multitude of projects. Annual reports, restaurant menus, business correspondence, corporate identity programs, movie credits and advertising campaigns can all be set with various faces from the family. Interrelating perfectly, the sub-families within the series include Xenois Sans, Serif, Semi, Soft, Slab and Super. The designs have a common and obvious design bond, yet each is able to stand on its own as a distinct typestyle. The Xenois typefaces are based on a common underlying model; they have the same cap height, the same lowercase x-height, the same stem weights, and the same basic character shapes. This unity of shape and proportion results in a remarkably complementary set of typeface designs.

Xenois is a sweeping suite of designs that will provide solutions for a multitude of projects. Annual reports, restaurant menus, business correspondence, corporate identity programs, movie credits and advertising campaigns can all be set with various faces from the family. Interrelating perfectly, the sub-families within the series include Xenois Sans, Serif, Semi, Soft, Slab and Super. The designs have a common and obvious design bond, yet each is able to stand on its own as a distinct typestyle. The Xenois typefaces are based on a common underlying model; they have the same cap height, the same lowercase x-height, the same stem weights, and the same basic character shapes. This unity of shape and proportion results in a remarkably complementary set of typeface designs.

If you want to design a classic yet strong touch, try these typography combinations. Tilaa Sans Logo Fonts The Tilaa Sans Logo Fonts were designed by combining Ligatures and Alternates for modern and interactive imaginations. You can enjoy the joy of design through these Opentype Features. Tilaa Serif Display Fonts Tilaa Serif is a beautiful typeface with extensive coverage ranging from editorial design to web design. Manually adjusted italic inclination and 124 Ligatures are innovative solutions for classic and defiant styles. And it is excellent for creating modern and luxurious logos and titles by incorporating rebellious ligatures while maintaining classic skeletons. And, they each contain exquisitely designed Ligatures, and in the case of Tilaa Sans, the best typography solution for 3D effects.

Margic TP - Magic of typeface with 2 types of characters. There are two types of letters by activating stylistic alternates you will get a very contrasting feel than regular letters. It was also followed by the addition of swash, many ligatures, and many languages. Standard glyphs uppercase and lowercase letters Numerals, a large range of punctuation and ligatures. Swashes, Stylistic Set Multilingual Works on PC & Mac. Simple installations, accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support for; ä ö ü Ä Ö Ü ß ¿¡ Image used: All photographs/pictures/logo/vectors used in the preview are not included, they are intended for illustration purposes only. Thank you

Hello Introducing, Orchidesta - Ligature Display Serif is an elegant and unique font that uses ligatures to smoothly link letters. Perfect for adding a unique twist to word-mark logos, monograms, or pull quotes. Orchidesta - Ligature has 7 ligatures & 8 Alternate as well making it super fantastic. Ligature can be turned off if required standard writing needs. What's Included : Standard glyphs Ligatures Alternates Web Font Multilingual Accent Works on PC & Mac, Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support Image used: All photographs/pictures/vectors used in the preview are not included, they are intended for illustration purposes only. Thank You

Extragraph Display is a contemporary geometric mono typeface in five weights (xtra slim, slim, medium, large, xtra large). Originally based on a circle and a square, Extragraph Display shifts from ordinary into extravagant letter forms. For each character, numerous alternates come in nine steps, pushing the idea of common and unconventional shapes with each set further. The key feature of Extragraph Display is a massive variety of alternates. Choose from a wide range of 9 Stylistic Sets, multi-language support, geometric symbols, arrows or get the full expression of Extragraph Display with a exclusive customised font randomizer (OTF). Purposefully used, Extragraph Display allows the user to create unique typographic compositions with a huge amount of options to combine and play with.

Hard Rain is named after the torrential thunderstorms that occur in the subtropical regions on the east coast of southern Africa -- the land of the Zulu. During the two-month long rainy season the steamy downpour usually lasts for a few days, and is then followed by the welcoming sun. The diagonal stripes represent the heavy drops of water that drench everything they touch. The resulting font has something of a grunge look to it. As with other grunge fonts, Hard Rain is best used for posters and display work. However, the crisp edges mean that it can be very readable even if used at a small size. Unlike most grunge fonts, Hard Rain has a full character set and this greatly extends its usability.

Gemulir is the embodiment of the beauty of classic serif fonts. With smooth lines and elegant character shapes, this font brings a timeless and classy look to any project. Gemulir gives you the ability to create luxurious and memorable documents, promotional materials or web designs. Gemulir's key features include its ability to customize various types of projects. From use in formal documents to use in branding designs, this font always provides a consistent and professional appearance. Gemulir is the perfect choice for those who appreciate classic beauty in design. With the ability to convey messages elegantly and powerfully, this font will take your projects to the next level. So, don't hesitate to choose Gemulir and let your designs shine with classic elegance.

Quilt Patterns Four was inspired by the patchwork designs used in quiltmaking in early America. There is an assortment of 94 patterns located under the character set and shift+character set keys. Quilt Patterns Four is based on the nine patch pattern, a block that is 3 squares by 3 squares, the most basic and most common. The nine patch pattern can be subdivided into 6 squares by 6 squares, 9 squares by 9 squares, etc. Characters of Quilt Patterns Four can be typed in a vector drawing program and then converted to paths/outlines, color may then be added to various parts of a given pattern. Patterns can be stacked horizontally and vertically creating an infinite number of quilt designs.

Mary Helen from Jukebox is a warm and feminine script font that is bright and happy. Named after the designer’s paternal grandmother, the typeface lends a sense of fun and joy to any design. Perfect for a variety of functions, Mary Helen will provide that touch of feminine grace, like a handwritten note from a friend or loved one. The font contains several alternate letters and a couple of ending flourishes as well, for variety. Jukebox fonts are available in OpenType format and downloadable packages contain both .otf and .ttf versions of the font. They are compatible on both Mac and Windows. All fonts contain basic OpenType features as well as support for Latin-based and most Eastern European languages.

DOCTOR OCTOPUS! BOOM! DOCTOR DOOM! 'SHROOM! DOCTOR EVIL! BA-THROOM! DOCTOR FRANKENSTEIN! KRA-KOOM! Never let it be said that Comicraft does not possess a Varied Vocabulary of Vile Villainy or a Tremendous Thesaurus of Terrible Tinkerers! It's our belief that every Medley of Madmen, every Rogue's Gallery of Ragged Rascals and every Sinister Selection of Scoundrels, Scalliwags and Sick Scientists --even they deserve a Nefariously Notorious Name-Finagling Font to announce their Apocalyptic Arrival. That font is here, towering murderously above the city blocks of Manhattan even as we speak... It's a Despicable Doctor of Dastardly Deeds, it's a Master of Evil Scheming, an Infamous Infidel, your Arch Enemy, your NEMESIS... IT'S THE END OF THE WORLD AS WE KNOW IT! FING... FAN... FOOM!

Lotus is a traditional-style Arabic text face derived from foundry types cut earlier in the 20th Century, based on the calligraphic models in the Ottoman Naskh style (the traditional style of Arabic script for use in printing). Its graceful finials and elegant logotypes contribute to the classic look of the face making it particularly suitable for serious book and journal work. The conversion of the PostScript versions of these fonts to OpenType format has taken full advantage of the latest digital technology, allowing accurate positioning of diacriticals and kerning refinements. The Lotus typeface is available in two weights: Lotus Light and Lotus Bold. These two fonts incorporate the Arabic codepage (CP 1256), and support Arabic and Persian. They also include both tabular Arabic and Persian numerals.

Hello Everyone, Introduce our new collection, Avaneur - Unique Display, Inspired by Modern logos of brands that have very strong characteristics, very suitable for posters, packaging, branding, logotype, and more. Avaneur font with strong and challenging nuances. very suitable for the title, typography, Poster, magazines, brochures, packaging, Websites and much more for your design needs, making your designs more modern and professional What's Included : + Standard glyphs + Multilingual Support + Web Font + Works on PC & Mac + Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support + Image used: All photographs/pictures/vectors used in the preview are not included, they are intended for illustration purposes only. Cheers! Thank You

Bagilan - Modern Calligraphy Script Font Bagilan is an elegant, beautiful and flowing handwritten font perfectly for your favorite projects. This font is neatly crafted and very detailed. Whatever the topic, this font will be a great asset to your font library, as it has the potential to enhance any creation. Fall in love with her completely different and timeless style, and use it to create stunning designs. Many alternatives will help you create whatever design you need such as cute and girly handwritten letters and other designs that require a beautiful handwritten touch! Enjoy :) Contains full set: -Uppercase -Lowercase -Alternative -Ligatures -Punctuation -Number -Multilingual support. Need help or have questions let me know. I'm happy to help. Thanks & Congratulations on the Design.

Sparthones is an authentic display font with a beautiful character. This font building with lots of ligatures and versatile pairing between lowercase and uppercase and it makes this font more unique, beautiful, elegant, and stylish, it’s really perfect for headlines, typography, Poster, magazines, brochures, packaging, websites, and much more for your design needs, making your designs look like Luxurious nuances. What's Included : Standard glyphs Ligatures Alternates Web Font International Accent Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support Image used: All photographs/pictures/vectors used in the preview are not included, they are intended for illustration only. Thank You

Proto-Sinaitic (also referred to as Proto-Canaanite when found in Canaan, or Early Alphabetic) is found in a small corpus of c. 40 inscriptions and fragments, the vast majority from Serabit el-Khadim in the Sinai Peninsula, dating to the Middle Bronze Age. They are considered the earliest trace of alphabetic writing and the common ancestor of both the Ancient South Arabian script and the Phoenician alphabet, which led to many modern alphabets including the Greek alphabet. According to common theory, Canaanites or Hyksos who spoke a Canaanite language repurposed Egyptian hieroglyphs to construct a different script. The earliest Proto-Sinaitic inscriptions are mostly dated to between the mid-19th (early date) and the mid-16th (late date) century BC.

When they say everything’s already been invented, they’re exaggerating a bit. But not much. When we design new typefaces, whether we like it or not, we have in our memories the historical legacy and invention of our predecessors. That’s also true for more detailed work on optical sizes, intended for the largest or the smallest typesetting. Although for display sizes we give room for fantasy and elegance when shaping fine serifs or smooth drawings full of refined details, for styles designed for footnotes and other small texts we do the exact opposite – pragmatically and rationally, with knowledge of the optical properties of small text. And that’s precisely the case for the Tabac Micro subfamily, a sans-serif typeface derived from Tabac Sans.

Desirable Brush Texture is a brush version of desirable solid released in 2019. With a classic style and an elegant touch, inspired by Italian women's handwriting and ancient manuscripts. These two fonts are carefully designed to work together in harmony making them perfect for wedding media, book covers, greeting cards, logos, branding, business cards and certificates, even for any design work that requires classic, formal or extravagant. Try Desirable Brush Texture, enjoy the richness of the features and let her fun and elegant excitement make you happy and enhance your creativity! You can use this font very easily. Multilingual Support And Special Ligatures If you are interested in the solid version, visit the link - https://www.myfonts.com/fonts/alcode/desirable-calligraphy/

Based on the hit album by Glen Campbell, Southern Nights is the font with a style that’s “free as a breeze,” as the song says. It’s fun and casual, yet it has a flair for fashion and elegance. It also has an art nouveau look which lends itself to greeting cards as well as the branding of perfume, clothing, retailing, dining, and other luxury/high-end uses. This font includes alternate characters for the upper R, S, and T, the lower g and z, plus ligatures that include a double lower t and double lower l (L). As the song might say, I apologize to anyone who can truly say that they have found a better font! Digitized by John Bomparte.

Get some beach holiday vibe so needed during a crazy year in the city! BEACHCLUB fonts are inspired by tropical islands hand-painted signs. Bring the summer beach parties feeling with sunshine, music and strong cocktails. We crafted digital versions of woodcrafted letters as if it was made for a beach bar in Hawaii. Then the time, sea and sand did the rest. Use our fonts to bring this fun and relaxed energy to your graphics! Key Features: BEACHCLUB fonts will be a great help and perfect fit for various posters, banners, typography and illustrations. Fonts can be used for both personal and commercial projects. Credits: BEACHCLUB clean and BEACHCLUB grunge are designed by Royalclub. For purchasing the full kit (brushes/frames) proceed to www.royalclub.sh/royalclub-supplies

Quilt Patterns Two was inspired by the patchwork designs used in quiltmaking in early America. There is an assortment of 94 patterns located under the character set and shift+character set keys. Quilt Patterns Two is based on the nine patch pattern, a block that is 3 squares by 3 squares, the most basic and most common. The nine patch pattern can be subdivided into 6 squares by 6 squares, 9 squares by 9 squares, etc. Characters of Quilt Patterns Two can be typed in a vector drawing program and then converted to paths/outlines, color may then be added to various parts of a given pattern. Patterns can be stacked horizontally and vertically creating an infinite number of quilt designs.

Probably everyone living in Europe has heard of the (in)famous Route Du Soleil. The Route Du Soleil (Motorway Of The Sun) is a stretch of road from Paris to Lyon (in the south). It is THE route holiday makers take to reach southern France, so they can get there before everyone else does. The result: endless traffic jams, overheated engines and people and more toxic exhaust fumes than your average petroleum distillery. Route Du Soleil is also a very nice hand written font that comes with swashes and ligatures. If you happen to find yourself in a traffic jam on your way to southern France, then I hope you have downloaded this font. Just one look at it and you’ll forget your problems! ;-)

During the period of the Great American Depression, “hobos” created a system of symbols to communicate and assist fellow travelers. These symbols would mark a home, farm, fence or other structure to indicate what to expect in the area. They would tip off travelers on how to find food, stay safe and what to avoid and more. In some areas of the USA, these symbols are still visible and have also become part of the American popular culture. These 96 symbols are accompanied by a pdf describing what the symbol was used to indicate. The meanings and symbols are by no means the complete list and there may be additional or alternative meanings. These are for casual use and not historical or anthropologically completely accurate.

Xenois is a sweeping suite of designs that will provide solutions for a multitude of projects. Annual reports, restaurant menus, business correspondence, corporate identity programs, movie credits and advertising campaigns can all be set with various faces from the family. Interrelating perfectly, the sub-families within the series include Xenois Sans, Serif, Semi, Soft, Slab and Super. The designs have a common and obvious design bond, yet each is able to stand on its own as a distinct typestyle. The Xenois typefaces are based on a common underlying model; they have the same cap height, the same lowercase x-height, the same stem weights, and the same basic character shapes. This unity of shape and proportion results in a remarkably complementary set of typeface designs.

Typeface designer and Letraset type director Colin Brignall created the font Romic. The character of the strokes as well as the serif forms give the font its calligraphic look. The placement of the serifs, on the upper left and lower right of a character, also distinguishes this typeface and allows the figures to be set very close to one another. The dots on the i and j do not hang in the air, rather, they are connected to the rest of the letter with a light, serif-like stroke. The elegant and lively Romic font is legible even in smaller point sizes. It is best used in middle length texts and headlines and wherever an individual and sophisticated image is the goal.

Perfume - a luxurious display pack. Perfume is a display combo pack of three styles and eight fonts. Perfume fonts are soft and clean and they have a distinguishable character. Perfume Pen is a monoline script with three weights and large x-height. Perfume Pen is equipped with automatic Contextual Alternates that keep the connections smooth. In addition Perfume Pen has Swash, Stylistic and Titling Alternates, boasting over 500 glyphs in total. Perfume Brush is a bold brush script with two weights. Perfume Brush is also equipped with Contextual Alternates to keep connections smooth and Swasha lternates for more imposing character forms. Perfume Sans is a sturdy all caps Sans with three weights. For the best price purchase the whole pack!

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