MIX QUIRKY QUILL is not your average font. Inspired by the old archival books and documents from the days of yore, MIX QUIRKY QUILL brings a touch of history and tradition to your designs. With its clean, slightly italicized letters, this font is the perfect choice for projects that aim to evoke a sense of timelessness. Think of the old record books in church archives, the documents from Ellis Island, and pre-technology paperwork. MIX QUIRKY QUILL is reminiscent of these timeless pieces, making it ideal for art events, classic artwork, theatre posters, and anything that demands an air of tradition and classic sophistication. But don’t let its historical roots fool you. MIX QUIRKY QUILL is a perfectly imperfect digitized handwriting font, with a playful and fun flair that makes it stand out. Its clean lines and slightly italicized letterforms provide a touch of sophistication, while its charming imperfections add a touch of personality. This font is perfect for use in earthy, classic palettes such as browns, creams, and ink greens. Whether you’re looking to create a vintage-inspired design or a modern, quirky take on tradition, MIX QUIRKY QUILL is the font for you. Add Quirky Quill to your design arsenal today and see what story you can tell! MIX QUIRKY QUILL comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()`~♥✿•· ÷×+−±≈=≠≥≤[]<>:;'”,.\|/ {}“”‘’-–—_…‚„©®™‹›«»°¹²³¡¿₱¢€£¥¶§№† ÁÀÂÄȦÃÅĂĀĄÆĆĈČĊÇÐĐÉÈÊËĖĒĘḞǴĜǦḠĠĤȞḦḢIÍÌÎÏĪĮĴḰǨŁḾṀŃÑŇ ÓÒÔÖÕŌŐØŒṔṖŔŘṘŚŜŠŞȘŤṪȚÚÙÛÜŨŮŬŪŰŲẂẀŴẄẆÝŶŸŹẐŽŻƵ áàâäȧãåăāąæćĉčċçðđéèêëėēęḟǵĝǧḡġĥȟḧḣıíìîïīįĵḱǩłḿṁńñň óòôöõōőøœṕṗŕřṙśŝšşșťṫțúùûüũůŭūűųẃẁŵẅẇýŷÿźẑžżƶ Alternates/Ligatures: & j gg kk ll lt mm nn oo th tt

Elegant and round Having harboured a desire for a rounded font within the Fontsmith library for some time, Phil Garnham recognised that FS Emeric offered the perfect skeleton around which to design it. Most new rounded fonts rely on scripts or other in-app automation to form their characters. For all their warmth and approachability, they too often conjure images of jelly sweets and sausages. Not so FS Aldrin, where every curve and transition has been crafted by hand, giving a distinctive look and elegant feel. Design highlights FS Aldrin enjoys wide-open ‘lunar’ counters and soft, tube-like terminals. These improve legibility, especially on backlit signage and screens. The open proportions and circular strokes are juxtaposed against a more serious technical aspect that exists within each counter shape. The lighter weights feel precise and efficient, perfect for notes on blueprints or technical drawings. The heavy weights are equally crafted but more playful by their rotund nature, and are perfect for strong headlines or packaging projects. UI icons A suite of 268 icons complement the typeface beautifully and extend the design language in all directions. They cover a range of commonly used applications and themes ranging from ecommerce to weather, and also serve as a solid starting point for a bespoke brand icon set or UI. In addition, born of FS Aldrin’s astronomical theme and playful nature is a special collection of space-themed icons, including rockets, shuttles and lunar modules (hint: if you type the word BUZZ with ligatures enabled, an astronaut appears). Earth to Buzz Buzz Aldrin was the pilot of Apollo 11’s lunar module, the one that put man on The Moon for the very first time. Early on in the project’s life, FS Aldrin emerged as the ideal hook on which to hang the font’s space helmet (hardly surprising given Phil’s fascination with space travel and astronomy). An approach was made to Buzz’s management to see if he would sanction the association. Not only was the great man himself happy to see his name on a typeface, he also asked to use it in his upcoming keynote talks, book launches and online projects.

When you think of marmalade or jam (that’s Marmellata in Italian), images of a happy breakfast table are conjured up into the mind, with of course the unforgettable emotive response accompanied. These emotions are exactly what our Marmellata fonts can conjure up for your designs as well (we agree, nothing can beat marmalade on a hot toast)! Our Jar 1 is ideal for all designs where you need to send across a feeling of care, childhood, comfort, motherhood or friendship...amongst all those ideas you will get on your own! With that classic breakfast table feel, you are sure to connect on a very comforting level with all those who view your designs using these fonts. May we suggest, these fonts go very well with unusually dull colours, and can add a spark of life to the most mundane of words! Try getting a taste of our Jar 2 if you want even more of the classic taste (sorry, touch!).

Opa-locka JNL is named for a city in Miami-Dade County, Florida and is based on an Art Nouveau-era bit of hand lettering found on vintage sheet music. Legendary aviation pioneer Glenn Curtiss (who successfully developed the city of Miami Springs and the city of Hialeah with James Bright) began the development of Opa-locka around 1925 as a planned community with a "1001 Arabian Nights" theme. Plans for this exclusive community included a country club and a small private airfield, but the hurricane of 1926 derailed Curtiss' original vision of the city. Opa-locka gradually took shape as a residential area for middle-class families, but the closing of a long-established Marine base, changing demographics and a reputation for being a hot-spot for crime, drug abuse and corruption tarnished this once-grand community (which boasts the largest collection of Moorish Revival architecture in the Western hemisphere). Old-time Miamians bristle when the city's name (an abbreviation of a Seminole place name, spelled Opa-tisha-wocka-locka) is mis-spelled as "Opa-Locka", "Opa Locka" or "Opalocka". The correct name is hyphenated, and the second part is in lower case.

Biwa is a new straight-sided family of formally nuanced grotesk typefaces. Biwa’s lighter weights feel subdued, cool in tone, and neutral, while the heavier weights are more robust and full of personality. Developed over the past few years by Ian Lynam and James Todd, the 14-member Biwa family and the accompanying 14-member Biwa Display family are paeans to the immediate moment when phototype arrived on the global scene — partially smooth and partially machined. Biwa and Biwa Display are neutral in tone, have enlarged x-heights, and look amazing on-screen and in print. Each weight is designed to be highly readable in print and on-screen. The italic variations are true italics, having a single-storied italic a and have been designed for smooth, fluid reading and text-setting. Lovingly spaced and kerned, the Biwa family works equally well for text typesetting and for display design work. Languages supported include Western European, Central, and South European as well as Vietnamese. The entire family is comprised of a range of weights and a matching display family that features rounded terminals for large-scale display work. An agate version of Biwa Black is provided for free.

In 1972, VGC released two typefaces by designer friends Dick Jensen and Harry Villhardt. Jensen’s was called Serpentine, and Villhardt’s was called Venture. Even though both faces had the same elements and a somewhat similar construct, one of them became very popular and chased the other away from the spotlight. Serpentine went on to become the James Bond font, the Pepsi and every other soda pop font, the everything font, all the way through the glories of digital lala-land where it was hacked, imitated and overused by hundreds of designers. But the only advantage it really had over Venture was being a 4-style family, including the bold italic that made it all the rage, as opposed to Venture’s lone upright style. One must wonder how differently things would have played if a Venture Italic was around back then. Chopper is Canada Type’s revival of Venture, that underdog of 1972. This time around it comes with a roman, an italic, and corresponding biform styles to make it a much more attractive and refreshing alternative to Serpentine. Chopper comes in all popular formats, boasts extended language support, and contains a ton of alternate characters sprinkled throughout the character map.

Hickory is the revival of an old unnamed font dating back to 1852 and was sold through a few different type foundries including Bruce, MacKellar Smiths & Jordan and James Conner's Sons. By the year 1900 this font disappeared from the major type foundries, now with the digital age of type we're proud to revive this old classic font that hasn't been used in over one hundred years. The original font was only available as an uppercase with punctuation and an ampersand. Today the character set has been updated to include a new lowercase, numbers and accented characters for Eastern, Central and Western European countries. Three fill fonts have been created for the Hickory font making it easier for you to add different colors, textures and patterns to the letters. You will need an application that works in layers such as Adobe Photoshop or Illustrator in order to use the fill fonts, some fill fonts may look good as a stand alone font, the Hickory fill fonts however do not look good used apart from the Hickory main font. I hope you enjoy this old font as much as I did making it.

Blanchard is a revival and elaborate extension of Muriel, a 1950 metal face made by Joan Trochut-Blanchard for the Fonderie Typographique Française, that was published simultaneously by the Spanish Gans foundry under the name Juventud. Blanchard is a script that embodies the post-war narrow decorative aesthetic that would become the instantly recognizable feature of that era’s design. Its high ascenders corners make it the tuxedo of fonts, with slight and casual angles gradually revealing a trustworthy confidante, and sharp corners signaling a most expressive ally. Font. James Font. This digital version updates the original metal shapes to work within today’s design tools and designer needs. Some of the questionable metal shapes were optimized, plenty of alternates were added, and as many as five ending forms were built for most lowercase letters. Overall, this is one of the most useful packages for book cover, magazine and packaging design. Blanchard is available in all popular formats. Blanchard Pro combines all five fonts into a single one that makes use of OpenType’s cross-platform compatibility and programs that support OT’s fine typography features, like recent versions of Adobe InDesign and QuarkXpress.

Milton Glaser’s Kitchen Typeface from the mid 1970s exemplifies the bold 3-D art deco revival genre that was a trademark of the Glaser style. This typeface resulted from his involvement in the design of the The Big Kitchen in the World Trade Center’s concourse in New York City. The new P22 Glaser Kitchen takes on the technical challenge of overlapping 3-D shadows by offering two styles. P22 Glaser Kitchen Regular is spaced out so that the shadows do not overlap the white spaces of the neighboring letters. Whereas the P22 Glaser Kitchen 3D Fill and 3D Shadow can be used layered on top of one another to achieve the tight spacing intended by Glaser. P22 Glaser Kitchen was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Typographic punctuation and sorts were imagined by James Grieshaber to work with Glaser’s design, as well as diacritics to accommodate most European languages. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official fonts approved by Milton Glaser Studio and the Estate of Milton Glaser.

The name of this typeface comes from the surname of James (Jim) Bowie, American pioneer and inventor of the famous Bowie knife. This is exactly what inspired English rockstar David Jones to change his stage name to David Bowie. Bowie is thenew font by Bercz and Latinotype Team. The typeface is a type system that reflects a strong personality, an urban feel and an unprejudiced style. Bowieis well-suited for publishing projects, branding and packaging. This font family is composed of three sections: a group of sharp-shaped uppercase fonts (smallcaps and all caps) in 5 weights, each with matching regular/back slant italics,providing users with 15 different styles for multiple combinations; a set of script catchwords and eclectic sets of dingbats and flags that communicate the blue-sky thinking and feel of the project. Bowie —a collaborative project between Bercz and Latinotype Team—was developed by Leonidas Loyola, Valentina Vega, Rodrigo Fuenzalida, César Araya and Bruno Jara, under the supervision of Dany Berczeller, Daniel Hernández y Luciano Vergara.. Bowie consists of 5 weights, ranging from Thin toBlack, and comes with a 439-character set that supports 206 languages.

‘Thwaites’ typeface is fully dedicated to one of my best Canadian friends who I do cherish and value highly. This great and industrious Canadian friend is ‘James Douglas Thwaites’ who lives along with his good-natured family in British Columbia, Canada. For me, James is like a source of inspiration and I do consider him as an ideal in my life. Our strong friendship has started since 1999 and I hope that it will endure just to the last moment of my life. Sometimes I see him as the writer and poet that I learn a lot from, sometimes I see him as a devoted religious minister that I try to understand more about his teachings, and other times I see him as the educator that I strive to imitate verbatim in my life. When I want to talk more about this Canadian friend, I will not be able to give him his due in full. Thus, I will instead mention some excerpts of his biography that he wrote himself saying that: “James D. Thwaites is a self-accomplished man. Having worked in various fields including restaurant management and cleaning, he has achieved his goals of being a full-time teacher, past-time writer, and volunteer religious minister for the Christian Congregation of Jehovah's Witnesses. His personal and academic pursuits have led him to be published in various magazines, newspapers, self-published books, and websites, including his now defunct ‘poetryofthemonth.com’ website. He continues to learn and augment the craft of writing while working primarily in early literacy and delayed literacy learners, teaching reading and literature to a wide age range of students. He views his religious endeavors as an extension of his academic ones. He teaches others both as a public speaker and in one-on-one situations, teaching about the benefits of submission to God and to His teachings. His future goals include expanding his ministry and continuing his writing.” The name ‘Thwaites’ itself comes from Great Britain and originated from the last Viking raids upon England, being an Anglicized version of a Scandinavian term meaning—depending on the source material—either "a place that is difficult to approach" or "a small thicket of trees." Another recitation mentions that ‘Thwaites’ can be described also as an English surname but one of pre 7th century Norse-Viking origins. It may be either topographical or locational, and is derived from the word "thveit", meaning a clearing or farm. As a locational surname it originates from any one of the various places called "Thwaite", found in several parts of Northern England and East Anglia to the south. The various modern spelling forms include Thwaite, Thwaites, Thwaytes, Thoytes, Twaite, Twatt, Twaites, Tweats and Twite. The name, although often appearing unique to outsiders, can often be found within other famous names like Braithwaite, Goldthwaites, or Misslethwaites. With various spellings, some families not including the ‘e’ or the ‘s’ at the end, Thwaites and its derivations—although not exceedingly common—is a name found worldwide. ‘Thwaites’ typeface is simply a sans-serif streamlined, stylish, and versatile font. It is designed using a combination of thick and thin strokes for its +585 characters. Its character set supports nearly most of the Central, Eastern, and Western European languages using Latin scripts including the Irish language. The typeface is appropriate for any type of typographic and graphic designs in web, print, and other media. It is also absolutely preferable to be used in the wide fields related to publication, press, services, and production industries. It can create a very impressive impact when used in headlines, posters, titles, products’ surfaces, logos, medical packages, product and corporate branding, and also signage. It has also both of lining and old-style numerals which makes it more suitable for any printing or designing purposes. ‘Thwaites’ typeface is really the cannot-miss choice for anyone who wants to possess unique artistic and modern designs produced using this streamlined typeface.

ITC Tactile is a puzzle of subtle typographic contradictions. Capitals have traditional epigraphic proportions, but the lowercase has a uniform optical width. Light weights are stately and elegant, but bold designs are almost jolly. This paradoxical alphabet even combines two distinctively different serif designs. Designer Joe Stitzlein says, “I wanted to create a modern and dynamic serif face that draws its forms from antiquity. I also wanted to have as much fun as possible with the drawing and architecture of each letter. Hopefully I've created a very legible typeface that grabs the reader's eye in a nice, 'tactile' way.” The apparent inconsistencies of the design are the result of careful consideration. Of the seemingly odd serif design, Stitzlein explains, “The transitional serif is an entry point for the eye into the letterform, and the long slab is an exit, leading to the next letter.” The result is a typeface that's easy to read at text sizes but offers surprising details when enlarged to display sizes, setting ITC Tactile apart from more traditional designs. While this is his first commercial typeface design, Stitzlein has ample experience creating custom typefaces for corporate branding, including companies such as Silicon Graphics and Sempra Energy. His graphic design business has served a wide range of clients, including Apple Computer and the 2002 Salt Lake City Olympics. The ITC Tactile family is available in three weights, with complementary italic designs and a suite of small caps for each of the roman designs. Stitzlein drew the small caps to match the height of the lowercase x-height, which enables “bi-form” or “unicase” setting in display copy.

Momoiro is a feminine typeface family, designed for editorial use. "The first case in which appeared a fashion content in a magazine was in 1672 in the magazine Le Mercure Galant, which was a magazine of entertainment and varied content, including fashion. But the first illustrated and specialized magazine was Le Journal Des Dammes Et Des Modes, created in 1797. "(Fashion Trends, 2011). On the basis of this historical period, the creation of typography has characteristics of a Baroque type. "In this category we mainly include the types created in the Netherlands during the seventeenth century and whose protagonists are the punch makers Reinhard Voskens and Christoffel Van Dijck. Baroque typography stands out for its accentuated play of irregular axes and contrasts that permeate the text of great vividness. " Therefore it has contrast in the thick and thin strokes, Roman serifs, humanistic axis. With this typography, we are not looking for a re-reading of the baroque, but rather a current typeface with humanistic characteristics of the handwriting, with a brush as a differential. Momoiro comes in two weights plus italics to cover as much design needs as possible. It compliments from OpenType features such as ligatures, swashes, true fractions, old style numerals and stylistic sets.

Dream Within a Dream was the title of exhibition of Czech art inspired by the work of Edgar Allan Poe curated by Otto M Urban and Veronika Hulíková. Three dozens of artists exhibited their works in the Czech National Gallery in 2020. The cataloguje was printed with the use of the present typeface. Artists took significant interest in Poe's literary oeuvre only after the writer's untimely death. This was mainly thanks to the poet Charles Baudelaire who translated Poe's works to French. As early as in the second half of the 19th century, prominent artists such as Edouard Manet, Odilon Redon, James Ensor and Gustave Doré created remarkable artworks inspired by Poe. Although the first Czech translations of Poe's woks date to the 1850s, artworks inspired by them only appeared several decades later, at the turn on the 20th century. Poe's poems and short stories inspired František Kupka and soon after him, Josef Váchal, Jan Konůpek and František Kobliha. Alfred Kubin, a German artist born in Bohemia, made illustrations for the German translation of Poe's collected stories. Later on, Alén Diviš and František Tichý created further Poe-inspired artworks. Poe was a source of inspiration for Jan Švankmajer and more recently, František Štorm and Jaroslav Róna.

Pyke's Peak is a spirit type descended from Paeleoflex: The Angel of the Odd. Wraith-like forms mix Roman inscriptional letters with an ar'deco theme for an ethereal graphic art effect. Suitable for magazines and editorial design, book jackets & interiors, posters & broadsides, art & craft objects and other things needing a touch of the extraordinary. Over 500 extra characters give Pyke's Peak unusual range and ability. Mirror capitals, phantom forms, dot phantoms, "superposed" (overlapping) ligatures, capitalized ligatures and fitted pairs for hours of trippy rub-down arcadian magic. Includes hanging numerals, lining numerals, full punctuation, standard math & monetary symbols. Accented characters for Latin 1 and Latin 2 cover the following languages: Albanian, Catalan, Danish, Dutch, English, Estonian, Finnish, French, German, Icelandic, Italian, Norwegian, Spanish and Swedish. Available in OpenType format only. Pykes Peak comes in two versions: (1) Pyke's Peak the full-blown OpenType version with over 500 extra characters, (2) Pyke's Peak Zero, the zero cost version with full Latin 1 & 2 character set but no extra characters. Pyke's Peak Zero is free to download, is licensed for commercial and personal (non-profit) use, and may be embedded on webpages using the CSS @font-face property. This typeface is dedicated to Australian musician James "Jock" Paull, who is a free spirit.

This old classic font has an interesting history, it was originally cut with lowercase by the Bruce Type Foundry in 1865 and listed as Ornamented No. 1514. Around 1903 the Bruce foundry was bought by ATF, in 1933 this font was revived by ATF as Caps only and was given the Gold Rush name but was sometimes called Klondike. A similar version of this font with lowercase and radiused serifs was produced by the James Conner's Sons Type Foundry around 1888. In the past other foundries such as the Carroll foundry, Type Founders of Phoenix and the Los Angeles Type Foundry have produced an all caps version of this font. After examining several printed sources of this font from more recent books I found that the original from Bruce's 1882 book was by far the best in design quality, it was also the only printed source that included the lowercase. New open faced, ornamented and distressed versions have been added to this old classic font, there are also many extended characters for Western, Central and Eastern European countries. The Gold Rush Trail OpenType version has alternate double letter pairs included in the font and will automatically be substituted when used in Adobe CS products or other software that takes advantage of OpenType features. Also available is a spurred version of this font listed under the name Gold Spur.

Milton Glaser on designing Babyfat: “This is the first alphabet I ever designed. For some inexplicable reason I called it Babyfat. Because I’m not a type designer, most of my alphabets are actually novelties or graphic ideas expressed typographically. Here the idea was to take a gothic letter and view it simultaneously from two sides. It started out as a rather esoteric letterform; it ended up being used in supermarkets for ‘Sale’ signs.” This forced perspective 3-D font has appeared on many LP covers and posters from the mid 1960s onward. This revival includes the original lowercase for the first time in digital form. Besides the three original styles (Outline, Shaded, and Black) made for photo typesetting, the new P22 Glaser Babyfat introduces six additional variations to allow the user to easily colorize the type as Glaser envisioned. The Keyline, Fill, Glyph, Left, Right, and Down font styles give the user nearly infinite options to create dynamic chromatic effects. P22 Glaser Babyfat was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Typographic punctuation and sorts were imagined by James Grieshaber to work with Glaser’s design, as well as diacritics to accommodate most European languages. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official fonts approved by Milton Glaser Studio and the Estate of Milton Glaser.

Buntypes Bunaero™ combines classical and contemporary characteristics to a unique and distinctive font family with extravagant but also harmonious appearance. The characters are clear, open and sometimes bellied. Especially the caps have a very high waistline. Based on this, four main states with different moods have been composed: The original Bunaero™, the more conservative “Classic”, the elegant and curvy “Up” and the matching ”Italic”. All states offer weights from a considerably thin „Hair“ to a real fat „Heavy“, so the family consist of 34 Styles, all with rather narrow width and very good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure flawless appearance in all media. It supports at least 99 languages incl. Vietnamese and provides ligatures, alternative glyphs, special localized forms and even more enjoyable OpenType® features. This Pro version of Bunaero also includes a lot of features for sophisticated users: Lining figures for headline setting; Intermediate linings and oldstyle figures for text setting; Tabular versions of all figures; Superiors, inferiors, numerators, denominators and automated fractions; Language specialities like a capital Eszett for the german language and extra characters with a polish kreska instead an acute; And many more. Further information: Bunaero™ Pro Specimen PDF Bunaero™ Pro OpenType® Quickguide Feature Summary*: -4 Moods: Normal, Classic, Up and Italic -9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy -Supports at least 99 Languages incl. eastern european and vietnamese languages -Overall width: Narrow or Space-Saving -Advanced f- ligature set including fb -Discretionary s- and c- ligatures -Alternative Characters: a, e, f, g, i, k, l, t, v, w, y, J, K, Q, R, and more -6 sets of figures: -Capital sized figures, oldstyle figures and intermediate figures, each in proportional and carefully adjusted tabular versions -Superiors, inferiors, numerators and denominators -Circled and negative circled figures -Capital German Eszett -Extra characters with Polish Kreska -Catalan Punt Volat -Extra characters with alternate minmalistic Cedille -Arrows -Automated feature for fractions as well as extended fraction character set -More than 1000 characters per font * Some features may only be available in OpenType®-savvy applications

Inspired by the Indonesian island’s laid back feel and easy going culture, Bali Script is a tribute to the hand-lettered signage on beach bars, surf shacks and cafes. The swell of the stroke endings and the bolder-than-your-average gooey look convey a cool, contemporary take on baseball scripts. Overlay Bali Script Highlight for a cartoonish, glossy finish. Perfect for logos. This font is jam-packed with OpenType features that make smooth flowing text a doddle. Contextual alternates and ligatures are best left on by default. The alternates especially work a subtle magic that helps letters connect with an even rhythm, and automatically substitutes letters with the best fit alternatives based on their context, such as at the end of words, or adjacent to certain other letters. There are four stylistic sets (or all grouped together in the stylistic alternates feature for those without easy access to them) which do the following: SS01 - changes the r to a script form SS02 - makes certain caps more ‘scripty’ SS03 - capital I (and accented versions of it) get serifs SS04 - underline function. typing two or more underscores extends on underline beneath the previous word. Also included for your pleasure - oldstyle figures, automatic fractions, superior and inferior numbers, ordinals, some discretionary ligatures, swash alternates and extended language support.

The P22 Underground Pro font family started in 1997 as the first and only officially licensed revival of Edward Johnston’s London Underground railway lettering. The original design by Richard Kegler sought to be as true to the original as possible. In 2007 P22 revised and expanded the fonts into a massive character set with additional weights, language support, and stylistic alternates. Endeavoring to make this font family a more versatile and useful tool for a designer, P22 sought to add true italics to this stalwart type design. The only other existing italic interpretation of Johnston’s Underground type was executed by the inimitable Dave Farey and Richard Dawson at Housestyle Graphics. We asked Dave Farey to imagine an Underground italic that would pair well with the P22 Underground, done as if Edward Johnston himself might approach the design challenge. This new italic version was then expanded for all six of the existing P22 Underground weights and characters sets by James Todd of JTD Type. Final mastering of the P22 Underground Pro roman and italic with a streamlined yet still expansive language coverage by P22 partner Patrick Griffin of Canada Type. These refinements remain true to the original Johnston design while employing contemporary typographic finesse to create six weights with optional alternates to increase legibility. The new P22 Underground Pro family is now a rock-solid and very versatile humanist sans serif font family that should be a cornerstone of any designer’s typographic toolkit. After five years in development, the new P22 Underground Pro is the most iconic and useful font family ever presented by P22 Type Foundry.

Breaking the cycle of homelessness We are partnered with The House of St. Barnabas, a private members club in Soho Square, whose work as a not for profit charity aims to break the cycle of homelessness in London. Each purchase (of the family pack) comes with a one month membership to The House and 100% of the proceeds from sales of fonts go directly to the charity to help their essential work. This unique collection of 7 typefaces is based on the disappearing signs of Soho, at risk of being lost forever due to the ever changing landscape of the area. By re-imaging the signage as complete fonts, we have rescued this rich visual history from the streets and present the typefaces into a contemporary context for a bright optimistic future. FS Berwick Thanks to its humble tiled origins, this Egyptian serif type maintains a uniform character width, creating the irregular letter proportions found in the final alphabet. Broad-shouldered, the bracketed serifs firmly ground the font, whilst its extreme hairlines become a necessity due to the uniform width. Of note is the upside down ‘S’, to be found on the original sign on Berwick Street. Perhaps due to its ceramic origins, there is a surprising ‘slippiness’ to its final appearance. FS Cattle Cattle & Son is best described as a wide, but not overly extended, grotesque-style sans serif, showing a uniform width and carrying a robust strength to its form. Whilst lightly functional overall, the purposeful diagonal legs of the ‘K’, ‘R’ and the tail of the ‘Q’ add an urgency to its appearance. The reduced size of the ampersand gives away Cattle & Son’s hand-painted origins, and the oblique compacted ‘LTD’ found on the original sign is also included in the final set. This beautiful sign is tucked away under an arch in Portland Mews, sheltering from the weather. Perhaps this is why it has lasted so long. FS Century This somewhat elongated set of Roman capitals was originally rendered in paint circa 1940, but its roots trace back to the Trajan Column in Rome. Witness the slightly unbalanced ‘W’ and the painter’s hand is revealed. Century’s flared serif style is extremely short, sharp and bracketed. The ‘M’ is splayed and has no top serifs. Century has a uniform appearance of width, probably due to its sign-written origins. Yet is elegant, classic and exudes sophistication. FS Charity A true Tuscan letterform, the original is located on The House of St. Barnabas in ceramic tiles and was revealed in all its broken glory in 2014. FS Charity retains the option of using these incorrect characters (try typing lowercase in the test drive above and compare with the more uniform uppercase characters). FS Charity features fishtailed terminals on its strokes, a curious branched ‘T’ and the ‘S’ displays tear-drop ends to its serifs. Almost uniform in width, the ‘A’, ‘M’ and ‘W’ are the widest characters in this set. FS Marlborough The elongated Marlborough features diagonal terminals to some characters and numerals. Also retained is the space-saving contracted ‘T’ glyph from the original sign, while the ‘R’ features a distinctive wedge-shaped leg. Highly individual in this form, similar signage appears around Soho, but featuring a variety of widths in their design. FS Portland The sister type to Cattle & Son, Portland is oblique rather than italic. The serifs are not overly long, yet still enhance its rather rigid cap height and baseline appearance. Its ‘A’ has a top serif, the ‘M’ is square and the ‘G’ foregoes any spur. Particularly delightful is the open ampersand. Numerals align to encourage the horizontal flavour of the oblique style. Overall, Portland is both confident and graceful. FS St James A lineal Continental style, St James also displays a true sense of ‘Londoness’ in its titling form, perhaps influenced by early Underground signage. Irregular letterforms display a continental flavour, particularly evident in its Deco style ‘W’, ampersand and numerals. The rather high cross bar in the ‘A’ is also reflected in the raised middle strokes of the ‘M’. Noteworthy are the distinctive unions found on all of the characters and the additional small caps. The original lettering is still located on Greek St.

Cooper Black's second coming to American design in the mid-sixties, after almost four decades of slumber, can arguably be credited with (or, depending on design ideology, blamed for) the domino effect that triggered the whole art nouveau pop poster jam of the 1960s and 1970s. By the early 1970s, though Cooper Black still held its popular status (and, for better or for worse, still does), countless so-called hippie and funk faces were competing for packaging and paper space. The American evolution of the genre would trip deeper into psychedelia, drawing on a rich history of flared, flourished and rounded design until it all dwindled and came to a halt a few years into the 1980s. But the European (particularly German) response to that whole display type trend remained for the most part cool and reserved, drawing more on traditional art nouveau and art deco sources rather than the bottomless jug of new ideas being poured on the other side of the pond. One of the humorous responses to the "hamburgering" of typography was Friedrich Poppl's Poppl Heavy, done in 1972, when Cooper Black was celebrating its 50th anniversary. It is presented here in a fresh digitization under the name Gator (a tongue-in-cheek reference to Ray Kroc, the father of the fast food chain). To borrow the title of a classic rock album, Gator is meaty, beaty, big and bouncy. It is one of the finest examples of how expressively animated a thick brush can be, and one of the better substitutes to the much overused Cooper Black. Gator comes in all popular font formats, and sports an extended character set covering the majority of Latin-based languages. Many alternates and ligatures are included in the font.

Mutable is as flamboyant and changeable as its name suggests. These characterful fonts were designed specifically for display purposes. It’s an exuberant type family that’s jam-packed with alternates and bestowed with a loud personality. This typeface is defined by its barbed serifs and elegantly curved terminals, or “foxtails” as they are sometimes known. An extremely large x-height amplifies the friendliness and buoyancy of the lowercase glyphs. These qualities give Mutable a unique aesthetic that will undoubtedly give your logotypes, headlines, and titles a distinctive appeal. Mutable has a strong Art Nouveau influence and was mainly inspired by Ed Benguiat’s Tiffany and the mysterious Pretorian typeface accredited to P.M. Shanks and Sons of London. Special OpenType features include 523 alternates that will make each word resonate beautifully when used in titling and branding situations. With so many alternates available, you may find it difficult to stop playing and settle on a selection... but that’s a good thing, right? Small Caps are also included (along with their matching diacritics and alternates) – these are designed to harmonise with regular lowercase forms making unicase-style typography a cinch. Mutable has a total glyph count of over 2,400 characters. There are 9 weights across 2 widths, ranging from a delicate and wispy Narrow Thin to a chunky and imposing Ultra. And... it’s variable! This allows you to select any width or weight in between, making Mutable even more... erm... mutable! This type family has an extensive character set that covers all Latin European languages. Finally, you can test drive Mutable immediately as the Regular weight is offered as a free download. Key features: 9 Weights 2 Widths Variable Small Caps 500+ Alternates Old Style Figures European Language Support (Latin) 2400+ Glyphs per font

LTC Italian Old Style is not to be confused with the English Monotype font also called Italian Old Style, which is an earlier design from 1911 based on William Morris’s Golden Type that is based on Nicholas Jenson’s Roman face. Goudy went back to Jenson’s original Roman and other Renaissance Roman faces for his inspiration and the result is what many consider to be the best Renaissance face adapted for modern use. Bruce Rogers was one of the biggest admirers of Italian Old Style and designed the original specimen book for Italian Old Style in 1924 using his trademark ornament arrangement. These ornaments are now contained in the pro versions of the Roman styles—Regular Pro and Light Pro. With most digitizations of old metal typefaces, one source size is often used as reference (as was Goudy’s method for his own cuttings of his Village foundry types) so that all sizes refer to one set of original artwork. The original hot metal fonts made by Lanston Monotype (from Goudy’s drawings) and other manufacturers used two or three masters for different size ranges to have optimal relative weights—smaller type sizes would need proportionally thicker lines to not appear thin and larger sizes would require thinner lines to not appear to bulky. The variations in size ranges can also be affected by the size of the cutter head in making the master patterns. The light weights of LTC Italian Old Style were digitized from larger display sizes (14, 18, 24, 30, 36 pt) and the regular weights were digitized from smaller composition sizes (8,10,12 pt). The fitting for the regular weights is noticeably looser to allow for better setting at small sizes. Very few font revivals take this approach. Italian Old Style, originally designed by Frederic Goudy in 1924, was digitized by Paul Hunt in 2007. In 2013, it has been updated by James Grieshaber and is now offered as a Pro font. The newly expanded Pro font includes all of the original ligatures, plus small caps and expanded language coverage in all 4 Pro styles.

Romantically -the lovely natural signature font- It is classy, it is naturally, it is beauty signature fonts... - Fantastic 417 Ligature I was created 417 ligatures to keep this font looks naturally, al bl cl dl el fl gl hl il jl kl ll ml nl ol pl ql rl sl tl ul vl wl xl yl zl at bt ct dt et ft nt ot pt qt rt st tt ut yt all ell att ett itt ott utt alt elt ilt olt ult atl etl itl otl utl ftl attl ettl ittl ottl uttl ab bb cb eb ib jb mb nb ob sb ub abb ebb ibb obb ubb abl abh ebh ibh obh ubh abt ebt ibt obt ubt ah bh ch eh gh hh ih jh mh nh oh ph rh yh zh ahh ehh ihh ohh uhh ak ek ik kk ok rk sk uk yk zk akk cc dd ee ff mm nn oo pp ss zz am em im om um amm emm imm omm umm amb amh an en in on un ann inn anb anh ank enh inh anl enl ant ent ar er ir or ur arb arh erh irh orh urh ark arl erl url art ert fr urt ce co com ay eel iu ppl erfl Ar Br Cr Dr Er Fr Gr Hr Ir Jr Kr .............and more as you seen on presentation pictures. I am also created it for multilingual characters. àl ál âl ãl äl ål æl œl èl él êl ël ìl íl îl ïl ñl òl ól ôl õl öl ùl úl ûl ül àt át ât ãt ät åt æt ............and more as you seen on presentation pictures. - Swashes Swashes make it completed. You only need adding underscore 2x after lowercase from a to j . For example a__ - Multilingual Support Fonts include punctuations and multilingual support. Romantically is perfect for branding, photography, invitations, quotes, watermarks, advertisements, product designs, labels, and much more! I hope you really enjoy it.. Regards, Abo Daniel

INSPIRED BY THE LOVERS OF LETTERS AND ANCIENT ANIMATED DRAWINGS: We present one of our most desired typographical tools of 2019: NUTCAKE CATCH-WORDS! Designed and produced by #carlosfabiancg and #a_freitez at different times and places in Venezuela and Colombia. Each word design was like “travel to the old school of hand lettering of 1930” due to the number of options and alternatives we discarded to solidify meticulous researches and Bezier drawings, based on analysis and synthesis of empty and full calligraphy, first done with a round brush and then perfected with pencil and paper. For this reason, each NUTCAKE CATCH-WORDS design contains a high dose of cursive expressiveness, apparently handwritten, and that is why our customers can take advantage of more than 160 words compiled in a single OTF file. NOTE: if you need any new word with the NUTCAKE CATCH-WORDS style, please write us and we will gladly design it to include it in your file. Below the list of 160 catch words: and, An, All, As, After, Ante, Avec, Break, Bright, Big, Back, Both, Best, Body, Butter, Breakfast, By, Bajo, Coffe, Café, Closet, Can, Cocktail, Cookies, Custom, Cabe, Con, Contra, Could, Crisp, Candy, City, Chocolate, Chocolat, Come, Del, Don't, Deliver, Desde, Di, Durante, Enjoy, Eat, Example, El, En, Entre, Front, Fire, Free, Fashion, For, Fresh, Friday, Family, Going, Great, Go, Heres, Here, Hand, Hacia, Hasta, Have, I'm, It’s, Imagine, It, Join, Just, Jam, Kitchen, Kiss, Know, Keep, Like, Life, Lady, La, Las, Les, Los, Le, Love, Money, More, Master, My, Mediante, Now, now, New, new, next, nuevo, nueva, Off, out, ofertas, oferta, offer, offers, Please, Para, Per, Page, Quality, Queen, Question, Valley, Queso, Right, Road, Save, See, Show, Something, So, Según, Sin, So, Sobre, Sale, Shop, Style, Styles, Sweet, Special, To, the, The, Theres, There, To, This, Three, They, That, Tras, Think, Time, Take, Transfer, Until, Vacation, Value, Vote, What, Hats, With, Welcome, Which, You, Y, You're, you, Zip, Zoom, Zombie.

The Mashq script is the oldest documented Arabic Jazm calligraphy style. It was invented by the early Muslims in the Arabian cities of Mecca and Medina, exclusively for writing the Quran and other Islamic religious texts. The Mashq style employed complex ligature and multi-level baseline rules, and therefore it went through a continuous simplification process. Around the time period Mashq was developed, the early Arab Muslims experimented with another short-lived Mashq-like style with heavily slanted vertical stems, which closely resembled the common Ḥijazi style. This style is commonly referred to as the Ma’il (slanted) style. Eventually, the early complex Mashq style was replaced as the main Islamic Arabic script, by a more simplified Mashq-derived calligraphy style that was developed in the city of Kufa, modern day Iraq, which was commonly referred to as Kufi. The Kufic style became the official Arabic script style for centuries before it was replaced by the more developed Naskh, the modern Arabic script style used today. The Mashq font family by Arabetics includes three styles of Mashq. The first is Mashq regular, which closely follows the script style of Musḥaf ‘Uthman (currently displayed in the Topkapi Museum in Turkey) with only the initial and final Haa’ baselines shifting. The second is Mashq Maail, which emphasizes the features of the Ma’il style shared with Mashq. The third is Mashq Kufi, which closely follows the script style in an adequate sample from the Quran manuscripts of the Bergstraesser Archive. All three fonts include two styles, with and without Tashkeel (dots). The Mashq and Mashq Kufi fonts include two more styles, with and without Harakat (soft vowels), and Hamza. Only three soft vowels are implemented along with their Tanween (double) forms. The Sukoon vowel is the default shape before inserting a soft vowel. Hamza was treated as a vowel in the Mashq and early Kufi manuscripts. Kashida is a zero width character. In the Mashq fonts, inserting one Kashida before the final ‘Ayn glyph group will trigger alternative shapes. In the Mashq Kufi fonts, inserting one Kashida (or two) before the final Yaa’, ‘Ayn, and Ḥaa’ glyph groups will trigger alternative shapes. The Mashq font family by Arabetics was designed to be as compatible as possible with the Arabic keyboard and Unicode alphabet used in computers today. Calligraphic variations were implemented only when they marked significant and permanent script features.