Boutiera is an upright and soft vintage script with a modern twist. Its main characteristics are bouncy baseline, round forms and bumpy stems. These qualities gives Boutiera its casual, friendly and handmade looks. It has three weights to give contrast and options to your typographic elements and designs. Boutiera has two sets of Upper cases; Slightly swashy and more basic one. The more basic set can be used in all caps. Boutiera has positional alternate characters; Initial forms to letters like r, s, x and z. And final forms to all lower cases. Those final forms have a shortened upstroke to give more balanced and harmonized look. You can use these easily by enabling Contextual Aternates from OpenType menu. It also has alternate versions of letters t and s. You can use Boutiera on logos, packages, on titles or wherever you need a friendly and lively font.

Lil Stuart is a beautiful calligraphic script typeface. Drawn and created between 2019 to 2022, this logotype lettering has a vivid style and a strong personality. It has an optimistic look, expressive speed and characteristic movements. Use underscore _ anywhere in a word to make an underline. Example: Love_letter Use multiple underscores to make different swashes. Example: Base_____ball Use numbersign # after any letter to make a swash. Example: Welcome# Summer# (Download required.) The Lil Stuart typeface family consist of Regular and Italic. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Spongy is a rubbery sans-serif typeface. It has round, soft shapes but a stiff and funny character. A quirky, clowny font, Spongy's highlighted cartoon letters looks like levitating balloons. Drawn and created by Mans Greback in 2021, this comic lettering has a satirical style and a light-hearted personality. It is provided as Highlighted, Bold, Light, Solid and Outlined! The combination of these jolly jelly fonts makes for the perfect set of party and birthday types. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Slow Tempo is a relaxed, loose-fit font that you can easily enjoy. Slow Tempo has basic, natural and neutral letterforms and skeletons for a wide range of usage. Though, there are some distinctive features. As you can see, Slow Tempo has low curvature of the intersections between stem & shoulder or bowl and also has large and open apertures. This makes this font relaxed. The letterform has low contrast and geometric shape to be neutral design, large x-height and humanistic terminal to be legible and distinguishable. Slow Tempo consists of 8 weights and their matching Italics for a wide range of usages. Further, Slow Tempo is supporting international Latin languages and basic Cyrillic languages including Basic Latin, Western Europe, Central and South-Eastern Europe. Also CSS covers Mac Roman, Windows1252, Adobe1 to 3. This wide range of international characters expands the capability of your works.

Organika is a hand drawn type family of six fonts. It includes upright and italic brush script, sans and serif fonts. Because of the uneven edges, loose forms and bouncing letters Organika has an organic, friendly and casual feeling. The script has lots of alternates that gives you possibility to build your text almost like handwriting with all the charming imperfections and variations that a real handwriting has. If you enable Discretionary Ligatures OpenType feature (dlig) it replaces automatically lower case letters with an alternate when the letter is repeated. So there are never two letters next to each other that are just the same. The script also has a few neat underlines to choose from to give your design the final touch. With the Organika sans and serif fonts you can add some variety and contrast to your design with the matching casual hand written feeling.

Erik Spiekermann, working in collaboration with Ole Schäfer, originally designed FF Info® Display for use in the context of wayfinding systems. The variants FF Info™ Text and FF Info™ Correspondence were developed later for text setting and office communication. FF Info Display The sober and clear forms of the sans serif FF Info Display have been deliberately molded to make them perfect for use on wayfinding systems. The font by Ole Schäfer and Erik Spiekermann not only takes the problem of lack of space into account - it is some 15% narrower than comparable typefaces - the characters have also been designed to ensure they remain legible even in adverse conditions for reading. As text on signs often contains words with which readers are unfamiliar and which are thus deciphered letter for letter rather than perceived as whole words, it is essential to provide for a clear differentiation between glyphs. Additional serifs on the lowercase "i" and uppercase "I" and a small arch on the terminal of the lowercase "l" ensure that it is possible to readily discriminate between these particularly problematic letters. Moreover, sharp corners on glyphs can also make it difficult to read signs with backlighting or when driving past. The rounded corners of FF Info Display counteract this effect and make sure that the character forms remain well defined.FF Info Display is available in five carefully coordinated weights, from Regular to Bold. In the corresponding italic variants, the letters appear overall more rounded while the lowercase "a" has a closed form and the "f" has a descender. Also included among the glyphs of FF Info Display are several ligatures and arrow symbols. Pictograms with different themes that complement the typeface are also available in four weights. FF Info Text Thanks to his know-how gained through designing other typefaces, Erik Spiekermann became aware that fonts created for use in problematic environments can be used in many different situations. In smaller point sizes, FF Info Display cuts a fine figure when used to set longer texts. So Spiekermann carefully reworked FF Info Display to produce FF Info Text, a font perfected for use in this context. Not only can the characters be more generously proportioned, certain features, such as additional serifs to aid with the differentiation of problematic letters, are also no longer necessary in textual surroundings. The upright styles have a double-story "g" while Spiekermann has added oldstyle figures and small caps. FF Info Correspondence FF Info Correspondence has also been designed for setting block text although it recalls the style of old typewriter characters and is specifically intended for use in office communication. The characters of this third member of the family are thus more formal, without rounded terminals but with rectangular punctuation marks. The narrower letters are provided with large serifs to give them more space although, at the same time, this reduces the differences in terms of letter width among the alphabet. In contrast with its two siblings, FF Info Correspondence has only three weights, each with corresponding italic.The three styles of the FF Info super family cover an extensive range of potential applications. If the different kerning is adjusted manually, the three styles harmonize happily with each other and can be readily used in combination to set, for example, headlines and texts and also creative display options.

If you want to write something sincere and genuine but not too formal then this is the font for you. It is based on real handwriting, not some artificial calligraphy made to be either too haphazard or spiky or have loads of elegant flourishes but an ordinary person's writing, and designed to look as natural and as close to the original lettering as possible. Like any person's writing it is individual and distinctive, but so easy going on the eye those differences sit comfortably with you. It is friendly and open with easy to read glyphs both as lowercase and uppercase. The letters are relatively wide with clearly shaped distinct outlines. This font may be ideal for projects where you expect a wide readership with different reading abilities from young to old. When you are using this font a slightly bigger point size usually gives a better result so for a standard letter or similar you should size up to 15 points or more. Maree has been individually crafted to the smallest detail. To create a realistic handwriting font that looks relatively simple but works in a wide variety of languages requires a complexity and attention to detail most fonts will never require. This font in any ordinary business environment would never have been made, the effort required to make it too great, the length of time too long. There have been no shortcuts in this font, no automatic scanning or tracing, no automatic generation, no class kerning. Not only is each glyph individual but the width of letters, the height, the accents and the positions of the accents are all different. Even the line weight of the letters is designed to have natural variation but yet similar enough that the font appears as though it were written effortlessly in the same pen. And in order to keep the spacing consistent even though the letters have different widths, heights, lengths of descenders and so on, there are a vast number of kerning pairs, letter to letter, number to number, letter to number... All kerning has been individually assessed with an eye to proportionality taking in character shape, size and weight. For instance if you write a telephone number the numbers all sit close together but if you write a number before a letter such as in a UK post code or before a unit of measurement an extra little bit of space has been added which makes the number more distinct and therefore readable. That space is so natural to the eye that you don’t even know it is there. However even in the spacing allowance has been made for the fact it can’t be too perfect because when you write by hand the spacing is inconsistent. There have to be some letters which are too close or far apart otherwise the font would look artificial. For similar reasons if you are going to print out this font for a letter, etc, check the print version before you make any letter spacing changes because with the zoom functions in modern applications that uneven spacing and lettering can seem more pronounced than it actually is. When this font is printed out you will find it is surprisingly neat. This font is what it is, simple clear handwriting. You will not go wow. But if you want something unique and different and looks good on the page you won’t be disappointed. This font is not a work of art but it is a work of love. This font has a soul. How many fonts can you say that about?

Combining classic serifs with curvy features, the Curvesta poster/display font has lots to offer. A real modern classic.

Arc Neuvo has a retro, art deco feel and provides a few quirky glyphs to add to the fun.

Elegant and refined, Rendezvous has a smooth, calligraphic appearance and can be used in a variety of design settings.

This classic title font has a wide proportion and minor contrast to make it the ideal choice for headlines.

Font Cap is a font based in ancient arches , it has a clear text and Greek and Cyrilics characters .

Mercurio is a sans serif type, inspired by scientific symbolism. It has a soft grey appearance suitable for text.

This font is ideal for cartoons, greeting cards and children's books, as it has a happy 'feel' to it.

Smeethe manages to look almost out of focus while being slightly degraded and distorted, but has a smoothed outline.

Questa Grande is a serif font family. This typeface has ten styles and was published by The Questa Project.

InfoBits is a two-font system of dingbats with a strong technology theme. The complete family has 188 icons.

THE NORWEGIAN RUNES The oldest runes discovered in Norway date from 400 AD. They were based upon the 24 - rune Elder Futhark of Germanic origin. Two of the runes in the Elder Futhark, Pertra and Eoh, have never been found in any Norwegian rune text. From 550 AD to 700 AD there was a transition period between the older 24-rune Futhark and the newer 16-rune Futharks. By the end of this period, the 24-rune Futhark went completely out of use and the 16-rune Futharks had prevailed. Then, about 900 AD, the Shorttwiggs-runes were introduced from Sweden. Shortly thereafter, from 1000 AD, Futharks with more than 16 runes became more prevalent, as these were more consistent with the Latin alphabet. These types of runes were used in Norway up to 1800 AD.

Kewl is the result of being caught in the afterimage of one design project while conceptualizing another one. Just before finishing the final tests on Mrs Blackfort, the first of what became a long series of Charles Bluemlein fonts, some of the letters began morphing differently in my mind. The idea was to go on the heavier and more playful side, but with a South American sign letterer’s twist, rather than just good handwriting. I did some sketching, took some notes, then got busy with other projects. Some of that stuff eventually seeped into Candy Script and, to a lesser extent, the Whomp font. But it was only a matter of time before I got back to the original concept and finished it. Kewl is ideal for food packaging, book and music covers, magazines, and window splashes. Illustrations by Catriel Martinez.

Neue Helvetica® is a melding of aesthetic and technical refinements that result in superior design proportions, improved legibility and an expanded range of uses beyond the original Helvetica typefaces Neue Helvetica World fonts enable the setting of pan-European languages, in addition to Arabic, Armenian, Cyrillic, Georgian, Greek, Hebrew, Thai and Vietnamese. The Cyrillic fonts include full support of the Unicode block, including characters for Bulgarian, Mazedonian, Serbian and Ukrainian. Other Monotype global fonts can be paired with Neue Helvetica World to create a more comprehensive global typographic solution. A few examples follow: Devanagari: Saral Devanagari Japanese: Tazugane Gothic or Yu Gothic Korean: YD Gothic 100 or YD Gothic 700 Simplified Chinese: M Ying Hei PRC or M Hei PRC Traditional Chinese: M Ying HK or M Hei HK Click here to download a brochure with more information on Neue Helvetica World.

Brda originally designed by the Polish designer Franciszek Otto for the Powiat weekly newspaper. Powiat needed a new, dynamically drawn sans serif for its headlines, and Otto's Brda fit the bill. Combining traditional Grotesk letterforms with witty subtleties, like the notched-joint seen in the capital G, Brda displays a novel design that works best when set large. The typeface is named after the Brda river, which runs through Bydgoszcz, Poland, the city where Powiat is published. The Brda family includes three weights, each with a companion italic: Regular, Bold, and Extra Bold. The Brda family's Extra Bold weight was one of the winners selected in the 2003 International Type Design Contest, sponsored by Linotype GmbH. Franciszek Otto also teaches graphic design at the Secondary Art School in Bydgoszcz, where his typefaces rank among the students' favorites.

This family was inspired by the early Fraktur style font used circa 1530 by Jacob Otther, printer in Strasbourg (Alsace-France) for German language printed books. Although it is an early Fraktur pattern, it is easy to see the characteristic differences with the Schwabacher style (look at 1538 Schwabacher), like in the small d, o or y... and the capitals (look at the H, K, T...). Frequently, Schwabacher and Fraktur were used together in the same book : Fraktur style for the main and Schwabacher for marginalia and comments. This font contains standard ligatures and German historical ligatures (German double s, long s, ts...) and diacritics (special ummlaut "e superscript" and "∞" instead of dieresis with letters a, o and u,) naturally, we have added numerous letters lacking in the original to permit a contemporary use of the font.

Introducing our newest Butany Fonts. This font is created with original hand drawn strokes for a relaxed, beautiful and elegant impression. This font also offers beautiful abstract typographic harmony for a wide variety of design projects, including natural handwriting in digital form for designs, quote designs, for social media business designs, advertisements, trademarks, promotional banners, posts, posters, signatures, and all designs require handwriting or whatever design you want. This font is equipped with uppercase, lowercase, numbers, punctuation marks, swhases and several variations on each character including multi-language. This font is best suited for open type friendly applications. How to get alternative glyphs from open type fonts: http://adobe.ly/1m1fn4Y PUA Character Code - Fully accessible without additional design software. We hope you enjoy this font. Feel free to send whatever message you want to convey. thank you Regards Twinletter

Meristmas is a beautiful and sweet handwritten font. It is fresh, clean, and elegant. This font will look amazing in a great amount of projects, both formal and informal. Meristmas is the perfect font for making craft original and outstanding designs. Its casual charm makes it appear wonderfully down-to-earth, readable and, ultimately, incredibly versatile. You can also get alternate ornament / swashes in this font. Just type 0 - 9 and block one characters ( number ) / highlight and you can get alternate swash in here. If you use character Map please convert to .ttf format to get swash alternate. Comes with a full uppercase, lowercase, numbers and punctuation + standard multilingual support. It’s great for branding, logo designs, lettering, logotype, craft, posters, packaging and much more. We recommend using Adobe Illustrator or Photoshop. Tutorial how to Install & use Alternate / Special Character : https://hanscostudio.com/tutorial/ Enjoy!

From 1958 to 1964, one of ABC-TV’s popular shows was the detective series “77 Sunset Strip”. Based in Los Angeles, the fictional detective agency was located next door to Dino’s Lodge, (partly owned by Dean Martin and actually located at 8532 Sunset). It was originally known as the Alpine Lodge. The adjacent building where Stuart Bailey and Jeff Spencer’s private detective service was located in fact housed a popular modeling agency. The ‘77’ address did not exist outside of the realm of the series. However, a wonderful sign with Art Deco-influenced lettering graced the set (on the wall of the office foyer) saying “Bailey & Spencer Private Investigators Suites 101-102”. A screen capture of this sign served as the working model for Private Eye JNL, which is available in both regular and oblique versions.

Iowan Old Style was designed for Bitstream in 1990 by noted sign painter John Downer. Iowan Old Style is a hardy contemporary text design modeled after earlier revivals of Jenson and Griffo typefaces but with a larger x-height, tighter letterfit, and reproportioned capitals. Iowan Old Style Titling was designed by John Downer and added to the Iowan Old Style family in 2002. The cap-only character set includes several ornaments and fleurons, broadening the appeal and functionality of the typeface family. Iowan Old Style was originally designed for Bitstream in 1990 by Downer, a noted sign painter. Iowan Old Style is a hardy contemporary text design modeled after earlier revivals of Jenson and Griffo typefaces but with a larger x-height, tighter letterfit, and reproportioned capitals. Expert and old style figure font sets were added in 2000.

We produce original printing press letter fonts, for example from the journal Southern Literary Messenger (circa 1830 - 1870). The only one in the world. What makes our fonts so attractive to the eye, are the myriad imperfections. It's not an approximation to the printing-press letters--- these are the actual letters, complete with all their manifold differences. If you look closely you will notice that the letter 'e' say, each time it is printed, is slightly different. These differences arise from the mechanical action of the inked-wooden press on the paper, and cannot be faked by artificial means. The eye subconsciously picks up this text as the actual printing press letters. Edgar Allan Poe published many of his great works in the Southern Literary Messenger, as did many other great nineteenth century writers, ie. Henry Wadsworth Longfellow, Nathaniel Hawthorne &c.

Duct tape is one of the most versatile adhesive materials known today. From fixing the bumper of your car that keeps falling off, to creating a sturdy wallet. From alternative wrapping to sticking a friend to the wall, Duct tape is there. And it will stay there. It will stick to anything and hold for a very darn long time too! The cloth-backed tape was invented some time during World War II, and also proved itself useful as a base material for lettering. VLNL Duct was originally designed by DBXL as a logo for temporary Amsterdam restaurant BAUT. DBXL imagined an owner taping the name on the window of his shop using Duct tape. The font was used for all communication of the restaurant. Duct is a sturdy, rough all-caps typeface that will stick to anything.

This is yet another Willard T. Sniffin deco-inspired original. Created for the American Type Foundry, Hollywood Deco remains a classic that is still as contemporary today as when it first appeared in 1932. Use this novelty gothic typeface on announcements and stationery. It is also well-suited for many advertising situations where a stylish retro look is desired. A useful set of alternate characters (including the illustrious “Overlapping O's”) is included with this version. Hollywood Deco Medium with Alternates is also available as an OpenType font. This version now contains small caps, lining and oldstyle figures, prebuilt fractions, stylistic alternates, word buttons and a wide assortment of f-ligatures. These advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

This is a series that takes unfinished typefaces that were either previously ideated but not realized or were close to completion but left incomplete due to dissatisfaction with certain aspects, and brings them to completion. "Oorrnnoott" was originally a project named "Petitgothiquemignon" or "Sangoth". In the process of refining "Kropotokin", several ideas were incorporated into the design. Well, I say "incorporated," but it was designed on a whim, as usual. After all, it was started around 2005, and I don't usually leave notes or anything (which isn't the best habit), so I don't remember the emotions or thoughts behind its creation. Please consider this typeface as a very typical sans-serif font, as that is what I was aiming for when I excavated it this time. Please use it for body text, headlines, eye-catching designs, or whatever you like.

This steam era typeface, created by Gustav Schroeder in 1884, found popular use on soap box labels and tobacco tins during its initial release. Then, later, a successful and stout revival of Gustav's face, named Othello, was carried out by Morris Fuller Benton in 1934, and the typeface's appeal widened to include items such as broadside posters featuring Boris Karloff's Frankenstein. After metal gave way to film type, Gustav's creation experienced a brief fashion moment in the 1960's, but then disappeared entirely, never re-surfacing as a full digital typeface. With the release of Bathysphere, the typeface comes full circle, having been completely redrawn from scratch using Gustav's original specimens. The new extended language support establishes the typeface firmly in the modern era, while Bathysphere's refinement of subtle blunt corners restores a deep-sea grace to this iron giant.

The design of Kristall Grotesk is based on a cut by Wagner & Schmidt, Leipzig, from the 30s of the last century. The basis for the digital version of the Stiftung Werkstattmuseum für Druckkunst , Leipzig was the standard font (28p) of the manual cuts as offered by the font foundry Johannes Wagner, Ingolstadt. The implementation was deliberately created as a replica to create a faithful reproduction as a starting point for the design of other design sizes. The present Kristall Grotesk is therefore a headline design. The appearance of the typeface can be varied by a number of alternative forms of capitals, which, according to the taste of the time, contain either pointed or flat formations. Designer: Hausschnitt Johannes Wagner, Leipzig, Redesign Elsner+Flake, Hamburg Designdate: 1937, 2009 Publisher: Elsner+Flake Design Owner: Stiftung Werkstattmuseum für Druckkunst , Leipzig Original Foundry: Wagner & Schmidt, Leipzig

Messenger is a redux of two mid-1970s Markus Low designs: Markus Roman, an upright calligraphic face, and Ingrid, a popular typositor-era script. Through the original film faces were a couple of years apart and carried different names, they essentially had the same kind of Roman/Italic relationship two members of the same typeface family would have. The forms of both faces were reworked and updated to fit in the Ingrid mold, which is the truer-to-calligraphy one. The Messenger package is comprised of two interchangeable fonts that support Western, Eastern and Central European languages, as well as Baltic, Celtic/Welsh and Esperanto. Messenger Pro is a single OpenType font that contains the characters of both Messenger and Messenger Alt, linked by programmed features for stylistic alternates, automatic f-ligatures and class-based kerning.

Fashion is a trend, Style lives within a person *Oscar de la Rerta. I believe everybody's special. You have your own original character in every single appearance. And i feel so addicted to bring that something special in you to be shown to the universe. And that's what it cames from. Introducing, Steady Bonanza. A versatile hand lettering script typeface to dig up your authentic style. Made from the authenticity of brush and ink character, and delivers with so many style so you can always show up fresh in every use of it. Undoubtedly fit for your fashion branding, logo, posters, promotions kit, social media post, brochure, quote, lookbook, and a possibility to expand more such as wedding stuff, food and beverage, girly things, hand crafted stuff, you got the full control on it, dont stop yourself!

Cormac is a humanist typeface characterized with it's large x-height and slightly flared stems. The word that best describes our ideas in the beginning of the project is "simple" - the idea behind it was to strip the letter forms of everything unnecessary, and yet keep the typeface interesting. The typeface is friendly without being too cheezy thanks to its humanistic character, flared ascenders and stems reminding of its calligraphic origin. The proportions are closer to the traditional old style typefaces. Cormac is open and readable typeface coming in 7 weights plus their matching 'true' italics - from Extra Thin to Bold. The family comes with Cyrillic support, great range of numerals, fractions, ligatures, alternates and a lot of special characters making Cormac a great solution for greate range of design work - branding, editorial, web, wayfinding, etc.

This font family was inspired by a visit to the Duxford Air Museum just outside of Cambridge, UK, where the whole history of aviation is represented in a series of exhibits ranging from early prop planes to supersonic jetliners. A common feature is the clipped, blockletter painted on the wing or fuselage of each aircraft, my interpretation of which I present here. To add an original touch each letter incorporates its designation in the NATO phonetic alphabet. In response to popular demand this font is now available in 'Scotch' and 'Irish' versions. If you take your whiskey with an 'e' choose Oscar Bravo Whiskey. If you prefer it neat, choose Oscar Bravo. And no, I am not going to bring out an Oscar Bravo Bourbon version! For variations on this font family see also Alma Mater.

The official terseness and grey of Neo-Classical type faces will stand out when we narrow them. The consistently vertical shading of the letters suppresses one's desire for eccentricity, just like tea with bromine. It would, however, be wrong to consider Bodoni as the originator of this - vertically shaded - trend in type face production. In his Manual we can also find type faces with a slanted axis of shade, picturesque italics and a number of normal, more human type faces. It remains a mystery why his name is connected only with one of his many works. Genre's basic design is fairly light in colour, which is why it looks good in illustrated magazines and short texts and directly calls for graphically striking, contrasting headings. It shows off beautifully next to photographs, on diplomas and on printed materials connected with a person's death.

The initial inspiration for CA Spotnik was the opening title of an early Andrei Tarkovsky movie. There was this very unconventional hand drawn “s” which drew my attention. Despite its strange shape, it felt totally natural in that context. So we made a few screenshots and started to sketch some more letters in order to catch the spirit that attracted us so much. The result is a grotesque typeface with a slight contrast, the proportions are rather wide with a large x-height. The bolder the weight, the wider it gets. In case you find the swirly “s” uncomfortable, there is a standard s included as well. The general atmosphere of the typeface, which could be described as “nerdy but friendly” doesn’t depend on this detail. It’s rather the sum of details derived from the original inspiration.

Let Ark, an Art Nouveau-infused high-contrast serif, transport your designs into the realm of elegant psychedelia. Ark draws deep inspiration from Heinz Keune's Edda, a remarkable design from 1900. While its vibe might evoke the groovy 70s and the mesmerizing world of trippy album covers, Ark transcends any assumed historical shabbiness. It trims the style into a refined and neatly cut serif, suitable for gallery-worthy presentations, all while maintaining a strong and unmistakable connection to its original roots. The standard letters of Ark maintain a respectable demeanor, only scratching the surface of the font's psychedelic potential. To truly unlock its full potency, try the Swash or Stylistic Alternates, or dig for even more Alternates from the Character palette. Needless to say, that Ark is a natural match for anything trendy, artsy, wierd and fun.