A friend of mine says that sports are the ultimate popular drug. One of his favorite things to say is, “The sun’s always shining on a game somewhere.” It’s hard to argue with that. But that perspective is now the privilege of a society where technology is so high and mighty that it all but shapes such perspectives. These days I can, if I so choose, subscribe to nothing but sports on over a hundred TV channels and a thousand browser bookmarks. But it wasn't always like that. When I was growing up, long before the super-commercialization of the sport, I and other kids spent more than every spare minute of our time memorizing the names and positions of players, collecting team shirts and paraphernalia, making up game scenarios, and just being our generation’s entirely devoted fans. Argentina is one of the nations most obsessed with sports, especially "fútbol" (or soccer to North Americans). The running American joke was that we're all born with a football. When the national team is playing a game, stores actually close their doors, and Buenos Aires looks like a ghost town. Even on the local level, River Plate, my favorite team where I grew up, didn't normally have to worry about empty seats in its home stadium, even though attendance is charged at a high premium. There are things our senses absorb when we are children, yet we don't notice them until much later on in life. A sport’s collage of aesthetics is one of those things. When I was a kid I loved the teams and players that I loved, but I never really stopped to think what solidified them in my memory and made them instantly recognizable to me. Now, thirty-some years later, and after having had the fortune to experience many cultures other than my own, I can safely deduce that a sport’s aesthetic depends on the local or national culture as much as it depends on the sport itself. And the way all that gets molded in a single team’s identity becomes so intricate it is difficult to see where each part comes from to shape the whole. Although “futbol” is still in my blood as an Argentinean, I'm old enough to afford a little cynicism about how extremely corporate most popular sports are. Of course, nothing can now take away the joy I got from football in my childhood and early teens. But over the past few years I've been trying to perceive the sport itself in a global context, even alongside other popular sports in different areas of the world. Being a type designer, I naturally focus in my comparisons on the alphabets used in designing different sports experiences. And from that I've come to a few conclusions about my own taste in sports aesthetic, some of which surprised me. I think I like the baseball and basketball aesthetic better than football, hockey, volleyball, tennis, golf, cricket, rugby, and other sports. This of course is a biased opinion. I'm a lettering guy, and hand lettering is seen much more in baseball and basketball. But there’s a bit more to it than that. Even though all sports can be reduced to a bare-bones series of purposes and goals to reach, the rules and arrangements of baseball and basketball, in spite of their obvious tempo differences, are more suited for overall artistic motion than other sports. So when an application of swashed handlettering is used as part of a team’s identity in baseball or basketball, it becomes a natural fit. The swashes can almost be visual representation of a basketball curving in the air on its way to the hoop, or a baseball on its way out of the park. This expression is invariably backed by and connected to bold, sleak lettering, representing the driving force and precision (arms, bat) behind the artistic motion. It’s a simple and natural connective analysis to a designer, but the normal naked eye still marvels inexplicably at the beauty of such logos and wordmarks. That analytical simplicity was the divining rod behind Fan Script. My own ambitious brief was to build a readable yet very artistic sports script that can be a perfect fit for baseball or basketball identities, but which can also be implemented for other sports. The result turned out to be quite beautiful to my eyes, and I hope you find it satisfactory in your own work. Sports scripts like this one are rooted in showcard lettering models from the late 19th and early 20th century, like Detroit’s lettering teacher C. Strong’s — the same models that continue to influence book designers and sign painters for more than a century now. So as you can see, American turn-of-the-century calligraphy and its long-term influences still remain a subject of fascination to me. This fascination has been the engine of most of my work, and it shows clearly in Fan Script. Fan Script is a lively heavy brush face suitable for sports identities. It includes a variety of swashes of different shapes, both connective and non-connective, and contains a whole range of letter alternates. Users of this font will find a lot of casual freedom in playing with different combinations - a freedom backed by a solid technological undercurrent, where OpenType features provide immediate and logical solutions to problems common to this kind of script. One final thing bears mentioning: After the font design and production were completed, it was surprisingly delightful for me to notice, in the testing stage, that my background as a packaging designer seems to have left a mark on the way the font works overall. The modern improvements I applied to the letter forms have managed to induce a somewhat retro packaging appearance to the totality of the typeface. So I expect Fan Script will be just as useful in packaging as it would be in sports identity, logotype and merchandizing. Ale Paul

The concept of the Baroque Roman type face is something which is remote from us. Ungrateful theorists gave Baroque type faces the ill-sounding attribute "Transitional", as if the Baroque Roman type face wilfully diverted from the tradition and at the same time did not manage to mature. This "transition" was originally meant as an intermediate stage between the Aldine/Garamond Roman face of the Renaissance, and its modern counterpart, as represented by Bodoni or Didot. Otherwise there was also a "transition" from a slanted axis of the shadow to a perpendicular one. What a petty detail led to the pejorative designation of Baroque type faces! If a bookseller were to tell his customers that they are about to choose a book which is set in some sort of transitional type face, he would probably go bust. After all, a reader, for his money, would not put up with some typographical experimentation. He wants to read a book without losing his eyesight while doing so. Nevertheless, it was Baroque typography which gave the world the most legible type faces. In those days the craft of punch-cutting was gradually separating itself from that of book-printing, but also from publishing and bookselling. Previously all these activities could be performed by a single person. The punch-cutter, who at that time was already fully occupied with the production of letters, achieved better results than he would have achieved if his creative talents were to be diffused in a printing office or a bookseller's shop. Thus it was possible that for example the printer John Baskerville did not cut a single letter in his entire lifetime, for he used the services of the accomplished punch-cutter John Handy. It became the custom that one type founder supplied type to multiple printing offices, so that the same type faces appeared in various parts of the world. The type face was losing its national character. In the Renaissance period it is still quite easy to distinguish for example a French Roman type face from a Venetian one; in the Baroque period this could be achieved only with great difficulties. Imagination and variety of shapes, which so far have been reserved only to the fine arts, now come into play. Thanks to technological progress, book printers are now able to reproduce hairstrokes and imitate calligraphic type faces. Scripts and elaborate ornaments are no longer the privilege of copper-engravers. Also the appearance of the basic, body design is slowly undergoing a change. The Renaissance canonical stiffness is now replaced with colour and contrast. The page of the book is suddenly darker, its lay-out more varied and its lines more compact. For Baroque type designers made a simple, yet ingenious discovery - they enlarged the x-height and reduced the ascenders to the cap-height. The type face thus became seemingly larger, and hence more legible, but at the same time more economical in composition; the type area was increasing to the detriment of the margins. Paper was expensive, and the aim of all the publishers was, therefore, to sell as many ideas in as small a book block as possible. A narrowed, bold majuscule, designed for use on the title page, appeared for the first time in the Late Baroque period. Also the title page was laid out with the highest possible economy. It comprised as a rule the brief contents of the book and the address of the bookseller, i.e. roughly that which is now placed on the flaps and in the imprint lines. Bold upper-case letters in the first line dramatically give way to the more subtle italics, the third line is highlighted with vermilion; a few words set in lower-case letters are scattered in-between, and then vermilion appears again. Somewhere in the middle there is an ornament, a monogram or an engraving as a kind of climax of the drama, while at the foot of the title-page all this din is quietened by a line with the name of the printer and the year expressed in Roman numerals, set in 8-point body size. Every Baroque title-page could well pass muster as a striking poster. The pride of every book printer was the publication of a type specimen book - a typographical manual. Among these manuals the one published by Fournier stands out - also as regards the selection of the texts for the specimen type matter. It reveals the scope of knowledge and education of the master typographers of that period. The same Fournier established a system of typographical measurement which, revised by Didot, is still used today. Baskerville introduced the smoothing of paper by a hot steel roller, in order that he could print astonishingly sharp letters, etc. ... In other words - Baroque typography deserves anything else but the attribute "transitional". In the first half of the 18th century, besides persons whose names are prominent and well-known up to the present, as was Caslon, there were many type founders who did not manage to publish their manuals or forgot to become famous in some other way. They often imitated the type faces of their more experienced contemporaries, but many of them arrived at a quite strange, even weird originality, which ran completely outside the mainstream of typographical art. The prints from which we have drawn inspiration for these six digital designs come from Paris, Vienna and Prague, from the period around 1750. The transcription of letters in their intact form is our firm principle. Does it mean, therefore, that the task of the digital restorer is to copy meticulously the outline of the letter with all inadequacies of the particular imprint? No. The type face should not to evoke the rustic atmosphere of letterpress after printing, but to analyze the appearance of the punches before they are imprinted. It is also necessary to take account of the size of the type face and to avoid excessive enlargement or reduction. Let us keep in mind that every size requires its own design. The longer we work on the computer where a change in size is child's play, the more we are convinced that the appearance of a letter is tied to its proportions, and therefore, to a fixed size. We are also aware of the fact that the computer is a straightjacket of the type face and that the dictate of mathematical vectors effectively kills any hint of naturalness. That is why we strive to preserve in these six alphabets the numerous anomalies to which later no type designer ever returned due to their obvious eccentricity. Please accept this PostScript study as an attempt (possibly futile, possibly inspirational) to brush up the warm magic of Baroque prints. Hopefully it will give pleasure in today's modern type designer's nihilism.

Danah” is the first name of a very close and cherished classmate, friend, and peer. Danah is a Palestinian woman who used to study with me in the same university where I was honorably introduced to her several years ago. In fact, I decided to dedicate this typeface wholly to her in return for all the years of friendship that we had spent together as classmates during the late 1990s. She was—and absolutely still—a source of support and inspiration for me in life due to her brilliant, big-hearted, and philanthropic personality. Danah likes different things in life and among them the sea, horses, reading, and also travelling. She lives and works now in Palestine, and yearns for being granted a new life—like many other free Palestinians—full of freedom, peace, and happyness. Danah® is a handwriting and scribbly Arabic display typeface. The main trait of this typeface is the realistic handwriting design of its letters and ligatures. This feature renders it as one of the stylish typefaces used for headlines and also texts. Among the distinguished letters of Danah® typeface are the “Qaaf”, “Kaaf”, “Meem”, “Noon”, and others. Moreover, Danah® typeface has a character set which supports Arabic, Persian, Urdu, and Latin letters/numerals with a limited range of specific Arabic and Latin ligatures. This font comes in a single weight (i.e., regular) with exactly 639 distinctive glyphs. Due to its free and streamlined design, Danah® typeface is appropriate for heading and text in Arabic, Persian, and Urdu. It can be graphically and visually exploited in magazines, posters, and interfaces of different things such as clothes and equipment. Moreover, it can be pleasingly used in writing personal, friendly, and unofficial letters, messages, documents, invoices, notes, dispatches and menus which require a smoothed handwritten touch and trend. It is also elegantly suitable for signs, books’ covers, advertisement light boards, and titles of flyers, pamphlets, novels, and books of children and adults. In brief, Danah® typeface is one of the new hand-drawn typefaces which can be brought into play efficiently in diverse graphic, typographic, calligraphic, and artistic works in different languages and cultures. 2018-09-13 00:00:00.000 10.0000 F25946-S114426 10913 Timeless URW Type Foundry https://www.myfonts.com/collections/timeless-duplicate-font-urw NULL NULL 2016-01-08 00:00:00.000 89.9900 F10913-S42560 54569 Jellofries Maulana Creative https://www.myfonts.com/collections/jellofries-font-maulana-creative https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/JtHgrbkPi7YU282OWix69Tqb_97b690350e4b3ed453d7c27fe0eb6664.png Jellofries is a fancy brush script font. With brush bold contrast stroke, fun character with a bit of ligatures and alternates. To give you an extra creative work. Jellofries font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Jellofries font. Cheers, Maulana Creative 2022-05-06 00:00:00.000 12.0000 F54569-S252887 38361 Alt Moav ALT https://www.myfonts.com/collections/alt-moav-font-andreas-leonidou https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/70046_aa489c02cd589f8f924b405c901a8014.png Moav is a geometric experimental display typeface for use on logos,posters etc. 2011-12-13 00:00:00.000 15.0000 F38361-S179452 42255 M Elle HK Monotype HK https://www.myfonts.com/collections/m-elle-hk-font-monotype-hk NULL HK series fonts are in Unicode encoding and consists of BIG 5 character set and HKSCS characters. The character glyphs are based on the regular Traditional Chinese writing form and style. It is generally used in Taiwan ROC, Hong Kong and Macau. 2011-05-11 00:00:00.000 523.9900 F42255-S193845 71839 Kaerobi Kulokale https://www.myfonts.com/collections/kaerobi-font-kulokale https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10004/ieVtB18gl4EgKrVVDIPLtX8b_33d93ffd2cd339b2544feb3d7a0a3121.png Kaerobi is an condensed display font, and with a style that is very different from the others. This font comes in four styles, Regular, Oblique, Rough, and Outline Version. Kaerobi is well-suited for posters, social media, headlines, magazine titles, clothing, large print formats - and wherever you want to be seen. Inspired by the style of design that is currently popular, and this is the answer to all the needs of every idea that you will pour in this modern era. We highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor / application. Thank You. 2022-08-16 00:00:00.000 17.0000 F71839-S298671 52588 The Heather Romie Creative https://www.myfonts.com/collections/the-heather-font-romie-creative https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/Lc4estBSB0wCiDunz9GNDUcb_097035319875b31f0a18a4bb2e8e675b.png The Heather Script is a formal calligraphy design, including Regular. This font is casual and pretty with a stroke. Can be used for various purposes. such as logos, product packaging, wedding invitations, branding, headlines, signage, labels, signatures, book covers, posters, quotes and much more. Heather Script featuring OpenType style alternatives, ligatures and International support for most Western Languages ​​is included. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. How to access all alternative characters using Adobe Illustrator: *https://www.youtube.com/watch?v=XzwjMkbB-wQ Heather Script is coded with PUA Unicode, which allows full access to all additional characters without having to design special software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any additional characters to paste into your favorite text editor/application. How to access all alternative characters, using the Windows Character Map with Photoshop: *https://www.youtube.com/watch?v=Go9vacoYmBw 2022-02-23 00:00:00.000 19.0000 F52588-S242949 16709 Pastina Lebbad Design https://www.myfonts.com/collections/pastina-font-lebbad-design https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/220264_a574aa9e49d2f9f1da3950f1fef09123.png Pastina is an elegant serif font consisting of caps, lower case, and alternate characters. Soft serifs and the graceful flow of each character add to the classic feel of this font. 2008-07-31 00:00:00.000 24.9500 F16709-S66588 2367 Munira Script Picatype https://www.myfonts.com/collections/munira-script-font-picatype https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/309621_5c93006e7517281c082dc7c75bfd1c2b.png Munira Script is a modern calligraphy design. This font is casual and pretty with swashes. It can be used for various purposes. such as logos, product packaging, wedding invitations, branding, headlines, signage, labels, signature, book covers, posters, quotes and more. Munira Script features OpenType stylistic alternates, ligatures and International support for most Western Languages. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Munira Script is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. If you need help or have any questions, please let me know. I'm happy to help :) Thanks & Happy Designing! 2019-07-05 00:00:00.000 10.0000 F2367-S10062 27004 Ketimun Hanoded https://www.myfonts.com/collections/ketimun-font-hanoded https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/306179_8517cd9a57ccc15cff68737e17de4e85.png Ketimun means ‘cucumber’ in Bahasa Indonesia. At home we eat a lot (A LOT) of Indonesian food, which often includes Acar Ketimun (Sweet/sour cucumber salad). I usually make the simple version, but sometimes I go for the more elaborate cucumber salad (the recipe of which you’ll find on poster 2). Ketimun font is a rather delicious script font; uneven, organic and full of life. Comes with a fresh taste and lots of diacritics. 2019-06-06 00:00:00.000 15.0000 F27004-S120951 38675 Psalterium Alter Littera https://www.myfonts.com/collections/psalterium-font-alter-littera https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/204202_94b78204200645ccd1daa5d5f1a63916.png A clean, smooth adaptation of the magnificent gothic types used by Johann Fust and Peter Schöffer in their famous Mainz Psalter (Psalterium Moguntinum) of 1457, also used in their Canon of the Mass (Canon Missae) of 1458, and in their Benedictine Psalter (Psalterium Benedictinum) of 1459. [Although these works were published after Gutenberg’s break with Fust, it is generally agreed that Gutenberg was working along with Fust and Schöffer on the Mainz Psalter while the 42-line Bible was still being printed.] In addition to the usual standard characters for typesetting modern texts, the font includes a comprehensive set of special characters, uncial initials (adapted from both the Mainz Psalter and early sixteenth-century Dutch types by Henric Pieterszoon), alternates and ligatures, plus Opentype features, that can be used for typesetting (almost) exactly as in the Mainz Psalter and later incunabula. The main historical sources used during the font design process were high-resolution scans from the copy of the Mainz Psalter preserved at the Österreichische Nationalbibliothek, Vienna (the only copy whose colophon includes the famous printer’s mark of Fust and Schöffer). Other sources were as follows: Masson, I. (1954), The Mainz Psalters and Canon Missae, 1457-59, London: Printed for the Bibliographical Society; Kapr, A. (1996), Johann Gutenberg - The Man and his Invention, Aldershot: Scolar Press (ch. 8); Füssel, S. (2005), Gutenberg and the impact of printing, Burlington: Ashgate (ch. 1); and Man, J. (2009), The Gutenberg Revolution, London: Bantam (ch. 8). Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Psalterium” Font Page. Note: Several uncial initials in The Oldtype “Psalterium” Font have been derived from corresponding characters in The Initials “Gothic C” Font, adjusting them to cope with the special (large) x-height and letter spacing of the Psalterium font (so the two sets of initials are not directly interchangeable). 2012-07-06 00:00:00.000 25.0000 F38675-S178340 23791 VLNL Donuts VetteLetters https://www.myfonts.com/collections/vlnl-donuts-font-vetteletters https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10001/190114_ca5047d6d6754375933067862f9328a8.png VLNL Donuts’ first incarnation was designed already in 2005 by DBXL as a logo for Dutch funky house music outfit Hardsoul, and since then has been used for lots of music related projects. Donuts is heavily infused by hip 1970s geometric fonts like Blippo, Pump and ITC Bauhaus, but nonetheless has both feet in this modern day and age. Meticulously designed and tightly spaced, VLNL Donuts is very suitable for logos, headlines and music artwork. We especially recommend using it on big 12 album covers. Oh, and it got its name for obvious reasons (“the O looks like one...’) VLNL Donuts is deep fried, glazed and can be covered in a variety of sweetness: sprinkles, cinnamon, coconut, chopped peanuts, powdered sugar or maple syrup. They also can be filled with cream, custard or jam. As a very sweet and saturated snack should, VLNL Donuts is fitted with a full set of alternate swoosh caps that can be deployed to liven up your already ‘out there’ designs.