note: it's an All-Caps font, so there's no Lowercase letters in this font. Fast-forward to the modern and futuristic era, a font with strong characters and a long versatility in any era is a must-have survival mode item. Rebelton family was born to company that mission on earth. A set of family fonts with special mood and characters in every single one. Team up with each other to make a strong vibe in your visual project. Because that's what family stands out for. Language Support: Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Finnish Scots, French, Gaelic, Galician, German, Greek Transliterated, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latvian, Lithuanian, Maltese, Nynorsk Bokmal Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Spanish, Swedish, Turkish, Welsh. If you doubt with it please type it out in the text box below, I hope it will support your language too :)

This is a grotesque typeface which was derived from an older more simple version designed back in 2000. Bulletin Sans Pro is distinguished by its selective deep cuts which give this typeface a robust and contemporary look. These cuts become more apparent at larger sizes while they create a more subtle effect at smaller sizes. For intense titles try the black version. When space and legibility for long texts are critical, use the lighter versions. The family consists of 10 fonts—from black to light—including true italics. It supports 20 special OpenType features like small caps, fractions, ordinals, etc. and offers multilingual support for all European languages including Greek and Cyrillic. Finally, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban lifestyle.

Opal Pro is a text family designed by Hannes von Döhren in 2008. It gives every text a noble character. The typeface has long ascenders that clearly rise above the capital letters and a low x-height. Opal’s letters sport inktraps at stroke junctions, which on one hand create a cutout feeling and on the other hand strengthens the image in larger point sizes. In total, the letterforms have clear emphasis on their verticals and horizontals; they do not fear the weight on their curves. In addition to the Italic and Bold, the Opal type family includes a Script face, whose letterforms include connections, similar to handwriting. On top of that, the typeface possesses swash letters for italic and script, small caps, many ligatures and borders & ornaments. With a little bit of care, designers will be able to create the finest of traditional, elegant work with this family.

The main inspiration is from Art Nouveau which flourished in Europe at the end of the 19th and beginning of the 20th centuries. This design included furniture (Majorelle, Lalique) and architecture (Victor Horta, Henry Van de Velde, Gaudi, Alfons Mucha). But Hector Guimard remains the favorite for all aspects of its art and, of course, its typefaces used on the Parisian Metropolitan posters. In particular, the various kerning of the various letters he used to make the poster a whole design from singular designs, leading to numerous variations. As a designer, I initially worked a first version, called Metro New One, which is more geometric and traditional. This design "Two" has more flexible shapes and long vertical hooks. It can be used to enhance specific parts in letters and books in the context of Art, specially Art Nouveau and Art Deco of course, posters of any kind.

Frasa is a contemporary serif family with characteristics that arise from the charms of Caslon and a touch of transitional style; the design offers distinctive proportions to serve long-running small text and the sturdiness of its own form to help as a headline font. Frasa shows that the family is shaped by the traditions of its ancestors through small details that show the personality of the typeface, such as pointed ball terminals and strong shoulders. The italic weights have their own beauty, which is created to humanize the form based on a stylized and natural cursive style with the aim of emphasizing the text's essential elements. The addition of small caps, old-style figures, ligatures, etc. to this type family satisfies conventional typographic requirements. Frasa typefaces can eventually lead to the use of powerful design tools to create editorial and casual design styles.

Greetings! Introducing Mustopha, the brand new Arabic font, inspired by Latin classic handwriting and Arabic letters called 'hijaiyah'. The letterforms designed by a combination of Carolingian typography which visualizes a humanism feel and the Arabic calligraphy that mostly showing decorative with the long-swash of the letters. Feel the humanism with this font, neat, elegant, and luxurious with an extra set of alternates characters and Arabic symbols as a decoration of your typographic design. Musthopa created to bring back the classic typography (specifically cursive typography) between the many styles of design trends. This beautiful font also designed to be versatile that you can use this font for many themes, not only Islamic or Arabic. Perfect choice for poster, logo, branding, greeting card, wedding, apparel, cosmetic labels, packaging, Book cover, short body text, quotes, and many more! Fonts Featured : Uppercase Lowercase Numbers Symbols Stylistic alternates SS01 - SS05 Ligatures Extras

This family is very special to me. I started working on it right after my first son was born. I decided to name the typeface "Servus" which means "Hello" in my country. The whole idea of the family symbolizes a child’s growth. It starts with Thin and Narrow weights - just like a newborn baby - then it slowly grows to Black and Wide. As You can guess, my son is quite chubby now! And I can assure You that I put all my love into details. Servus consists of 9 weights which gives us 18 fonts with matching italics. Lights and Bolds, due to their strong personality, are perfect for display uses. At the same time, Regulars create a harmonious structure that provides good legibility in long texts. Servus covers all latin languages. It contains a wide set of numerals, small capitals, fractions, ligatures and other OpenType goodies.

George Ryan's ITC Migrate is a highly condensed sans serif display face that effectively complements ITC Adderville. Migrate represents what Ryan calls a “more highly evolved version” of a typeface he designed for Bitstream in 1991 called Oz Handicraft. “Both faces,“ says Ryan, “are based on designs of the popular early 20th-century type designer Oswald Cooper.” His inspiration came from drawing samples found in the Book of Oz Cooper, published in 1949 by the Society of Typographic Arts in Chicago. “Oz worked extensively with the sans serif form long before it became popular in the States, eschewing a popular belief of the time that sans serifs were only skeletons of letters.” Where Oz Handicraft was informal and quirky, ITC Migrate has a more restrained feel. “The uppercase characters and figures, in particular, have been reworked,” says Ryan, ”resulting in a more formal and traditional, compressed sans serif typeface.”

A typeface for telling stories. After seven years through which Rodrigo Saiani worked on Dupincel, Plau’s team still had months of dedication until found a good way of summing up this typeface. All this effort was rewarded, though, when we came up with a motif that gave Dupincel the grandiosity it deserves. Telling stories is this typeface’s gift because it has the emotion for it, resources for it and the breadth for it. Like all that wasn’t enough, it has the scale for it: optical sizes Small, Medium and Large make Dupincel optimized for stories of every length. From short stories displayed big or long stories on small letters. We don’t want to dictate the types of stories either, anything goes. But if ornaments make a good fit with that story, we will be even more thrilled. In the end, Dupincel makes us want to find new stories to tell.

Chapman is the result of spending too many hours staring at the often all-capital engraver typefaces from long-gone foundries. The wide serifs, high contrast, and various widths seem to have so much character but also remain so neutral. From these references, Chapman began to emerge. It seemed natural that the lowercase would be based on a Scotch Roman model, much like the original all-capital faces. Chapman does not pull directly from any one source but from the genres themselves. It was, from the beginning, the goal to create a typeface that would be relatively neutral but not boring; an adaptable solution that works anywhere and, depending on the chosen width, can be squeezed or stretched to fit anywhere. The idiosyncrasies of the original designs are tamed in some places and turned up in others. The result is something familiar but unique and contemporary.

Lemonite (Regular and Expanded) is a self examination in whether, after five years without attempting to design any new fonts, I was still capable of creation. Lemonite is the result, and even though its plain, it showed me I could still work. I have made two of the face free to anyone who wishes to have a look, so please feel free, no obligations, to take them and use them if you have a use. Why so long ? Well, we do age, and with age comes the usual benefits, like Glaucoma and a touch of Arthritis in the old digits, and that's made computer work a little… interesting for me over the past couple of years. Anyway, if you don't find my humble offering of any use, please search the fontbase on Myfonts, and you will sure to find a suitable font from one of the fantastic designers there.

It’s bold, brazen, and irresistibly fun – it’s Hot Mess! A super realistic hand brushed font just raring to get the party started. It’s guaranteed to leave a vibrant, long lasting impression on social media posts, advertisements, posters, products packaging & more. Ligatures • Hot Mess includes 17 ligatures built in to the font. These letter pairs help to create authentic, naturally flowing hand-lettering. Ligatures are supported by most desktop graphics & text software (not just the fancy ones!), including Photoshop, Illustrator, InDesign, Word, Pages & Keynote. Ligatures will automatically be switched on when using supported software. Language Support • English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian. Swashes • Hot Mess includes 4 swashes; use these to underline your script text and add a stylish finishing touch. Simply type any of the square brackets to generate a swash [ ] { }

A geometric sans for space saving typography Sofia Pro Condensed is the condensed version of the popular Sofia Pro font family. This typeface was completely drawn with the look of the original normal-width version. Sofia Pro Condensed contains 16 styles from Ultra Light to Black (Ultra Light, Extra Light, Light, Regular, Medium, Semi Bold, Bold and Black) with an alternative glyph set to improve its use in different graphic contexts. This typeface will be suitable for many projects such as titles, subtitles, long editorials, brand building, mobile applications, ebooks, websites or company signage. Its contemporary aspect and its condensed style will also be suitable for editorial projects who needs to save space. Sofia Pro Condensed also has many powerful OpenType features such as case sensitivite forms, old style and tabular figures, ligatures, capital spacing, fractions and alternative characters to give personality to graphic design projects. Designed also for complex editorial content, this typeface has a powerful home kerning system called “Pro Kerning”. With more than 1500 pairs of glyphs in many languages, Pro Kerning optimizes headlines, subtitles, texts as well as long paragraphs in real time. In addition to all the features of its kind, Sofia Pro Condensed is part of a very complete “type system” with style variants such as the normal-width-version (Sofia Pro), the soft version (Sofia Soft) or the rough version (Sofia Rough). With all these typefaces, you have more than 40 styles to make your own vibrant and professional graphics or web creations while maintaining consistency in your creations. The OpenType features of Sofia Pro Condensed have an extended character set to support Central and Eastern European as well as Western European languages, Cyrillic and Greek. For more info about the powerful opentype features and the complete character map of Sofia Pro Condensed, download the PDF specimen to get a detailed view of all features.

Lettres d’amour! Flirting, fashionable, provocative, emotional, casual, moderate, extremely sensible & beautiful - Liza Pro covers it all. Liza Pro, Underware’s dear creation, is a live-script typeface. Thanks to its extremely intelligent OpenType architecture, she approaches human hand lettering as closely as technically possible. Liza Pro deeply analyzes the text. Out of a stock of 4000 hand crafted characters, Liza creates the most optimal combination. All of this works automatically. All you need to do is start typing your lettres d’amour, and Liza makes the text always look different. She gives your creative piece the impression par excellence. Erotique mais intelligent. She is as clever as we could imagine. She kept all folks at Underware busy for a couple of years. It all started one rainy night back in May 2004 but quickly changed into a fatal affair exceptionnelle. But now, 5 years later we are quite sure: this is something serious. Yes, we are talking about real love. L’amour pour la vie. Liza Pro has Underware’s world-dominating Latin Plus character set, supporting a total of 219 languages (Latin 1 + 2 and beyond). Liza Pro is a package of 4 fonts which work together. Liza Display Pro rocks the script lettering to the max. The build-in Out-of-ink feature, LetterSwapper and Protoshaper makes this font a realtime-digital-calligrapher. She’ll swash up your text drastically, giving long strokes, loops and swashes to letters if their context allows. Liza Text Pro has a more silent, moderate character - she’s well behaving sister of Liza Display Pro, designed to walk long pieces of text in a lively script style. Liza Caps Pro adds more possibilities and functionality to these two script fonts. It bridges the gap in case running script lettering doesn’t do the job, but it also works perfectly on its own. Every capital letter appears in various shapes to obtain the manual lettering feeling. Liza Ornaments Pro is for extra delicatesse et est plus charme. Four heart winning fonts, pour la langue l’amour!

The Fred family is based on the casual hand lettering of Fred G. Cooper: cover artist, cartoonist, and letterer for Life magazine in the 1920s and '30s. His relaxed style captures the flavor of the Roaring Twenties, and the digital font was developed for use in the credits and title cards for a 1920s-style silent movie, The Call of Cthulhu. In an effort to keep the hand-lettered look, the OpenType font has numerous discretionary ligatures and contextual alternates, along with fleurons and ornaments.

Our Galindo Pro was inspired by the heavy-weight animated fonts such as Ad Lib, Nightclub, and Bear Club, blending geometric cuts with light-hearted contours. The festive letterforms intrigue and draw in the reader, while the SmallCaps and extensive figure sets open the font up to a wider range of uses. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

I named this font after one of my favorite songs by Soundgarden: "Rusty Cage". The font is a mishmash of letters, which were hand-drawn and given a photoshop overhaul to make them look grungy and grotesque. I mixed upper and lower case letters, added a whole bunch of alternate letters, spooned in some Salt and Calt and added a pinch of Liga as well. The result is a weird concoction, which looks good on posters, in ads and possibly even tattoos. I dare you!

Dulce pro (improved and changed version of Dulce), is a swash typeface, monoline elongated teardrop terminals. This romantic and thin font has certain characteristics of a script, without turning it, which gives a sophisticated and elegant. Dulce pro, has initial capital letters with swashes and final in lowercase. To make it a more complete typeface we have added italics and ornaments also make any design, a very welcome time to design, among its ornaments can find hearts, a flower, banners, various frameworks to mix, among others.

A 1918 lettering instruction book by William Hugh Gordon presented a number of lettering styles that were geared toward sign and show card painters along with tips and tricks regarding the correct construction of such signs for maximum effect. One pen lettered Roman alphabet with a beautiful set of numerals has been recreated digitally as Pen Elegant JNL, which is available in both regular and oblique versions. To note, Gordon was the co-inventor of the Speedball lettering pen with Ross F. George in 1915.

Sink your teeth into the heavy-hitter Sistine Family consisting of Regular to Extra Black weights along with an extra black stencil style. They are a tough and industrious set of typefaces suited perfectly for headlines and poster design, and so much more. The Opentype ligatures feature swaps in special THE & AND (by typing a space before and after THE or AND in all capitals), as well as a double cap L option. Stylistic Alternates include a variant Q and R for all styles.

Vonique 43 is a stylish display font designed to stop passerby in their tracks. Curvaceous lowercase members define this font along with a consistently thin line weight throughout. Most are elegantly styled after circles featuring very short descenders and matching the cap height of capital letters. Vonique 43, like its predecessors, was not designed for everyday text, but eye catching logos. It's equipped with support for many different languages including Russian and Greek. Use it for a luxury brand, clothing line, or a company logo.

A snappy single-stroke alphabet from The New Lone Pine ABC of Showcard and Ticketwriting, which Aussie author C. Milnes suggested should be executed with a well-loaded brush, provided the inspiration for this loose, lilting retro script. Its condensed letterforms and tight spacing allow for larger headlines than most brush scripts, and its bouncing baseline adds an extra dollop of visual fun. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus Central European (Unicode 1250) languages as well.

NEUROMANCER is a font inspired by the novel of the same name by William Gibson, the TV series "The Lone Gunmen" and the game "Watch Dogs". Two versions of glitch and regular, for different purposes. I wanted to convey the atmosphere of all references. The atmosphere of cyberspace and the oppressive atmosphere of hacking. The font can be used in posters, covers, texts, titles, banners, and others. If you find an error in the font or kerning, please write to me at: bunineugene@gmail.com

A pleasant Art Nouveau hand lettered title is featured on the sheet music cover for "You Brought A New Kind of Love to Me". The song is from the 1930 Paramount film "The Big Pond" featuring Maurice Chevalier and Claudette Colbert. The original lettering was done with a round point pen nib, and showed a lot of small inconsistencies. For the digital version it has been "tightened up" a bit and is now available as Nouveau Fashion JNL, in both regular and oblique versions.

Sherbet BF is a robust, bouncy handwritten-style script with an enthusiastic voice. A number of Automatic Ligatures and Contextual Alternates, are included in the font, along with Stylistic Alternates for lowercase letters g, and y. Enable these features in OpenType-savvy programs (such as InDesign CS+, Illustrator CS+ and QuarkXpress 7 and later) to enhance your typography. As with most scripts, it is not recommended that word settings be in all uppercase, but rather in settings of initial capitals together with lowercase letters.

Brenta is a crisp typeface with open counters and compact proportions, its name referring to a range of mountains in northern Italy. Like its namesake, Brenta is characterized by sharp-edged and sturdy forms, but also by its clarity and elegance. Strong serifs, flat and bold shoulders and open terminals pronounce the horizontal and help to guide the eye along the line. Very fine junctures keep the characters sharply defined and create dynamic light traps. Visit this minisite to see the Brenta webfonts in action: http://brenta.ludwigtype.de

Caria (/ˈkɛəriə/; from Greek: Καρία, Karia, Turkish: Karya) was a region of western Anatolia extending along the coast from mid-Ionia (Mycale) south to Lycia and east to Phrygia. The Ionian and Dorian Greeks colonized the west of it and joined the Carian population in forming Greek-dominated states there. Carians were described by Herodotus as being of Minoan descent, while he reports that the Carians themselves maintained that they were Anatolian mainlanders intensely engaged in seafaring and were akin to the Mysians and the Lydians

ITC Gema is the work of Brazilian graphic designer Claudio Rocha. It was first written in a small size to keep the surface irregularity of a non-coated paper when enlarged for use as a display font," says Rocha. Many strokes do not quite join, giving Gema the visual effect of a stencil typeface, the distinguishing characteristic of the font. "Some characters have my own handwriting gestures," says Rocha, like elongated endings and angular shapes. Gema comes complete with an unusual variety of ligatures and alternate characters."

Changing Times JNL was inspired by the hand lettering on the cover of the 1929 sheet music for "Wedding Bells (Are Breaking Up that Old Gang of Mine)". While the font’s name is an extremely vague reference to the subject of the song itself, it also represents the fact that the lettering style (still reflecting some Art Nouveau influence) welcomes the dawning of the Art Deco movement with the thick-and-thin line letter forms. The type design is available in both regular and oblique versions.

Grillmaster is a nice clean sans serif that you'll find many uses for with eight widths and eight weights in each width set plus italics. It’s always grillin' season with Grillmaster; at 128 font files strong Grillmaster is ready to serve large crowds and dinner parties. So put on some cheap shades and cutoff jeans, then fire up the grill and turn up that perfect song on the radio: the Grillmaster is here to satisfy your appetite; I guarantee you won't go home hungry.

ITC Fontoon was designed by Steve Zafarana of the Galápagos Design Group in 1995. Along with ITC Fontoonies and ITC Gargoonies from the same designers, it is the perfect text font for cartoons and comics. Slight irregularities in stroke contrast and basic forms distinguish ITC Fontoon and make it look like printed handwriting. It has an individual and consciously naive character and its high x-height makes it legible even in smaller point sizes. ITC Fontoon is best used for short texts and headlines.

Proudly Present, Naoufumi a Rough Brush Font. Naofumi come along with Multi-Lingual Support to fulfill your need. We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. Naoufumi is perfect for any tittle, product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank You!

A funtastic and playful typestyle, Wintermint started as a digitization of a film typeface called Lori by LetterGraphics. This font is filled with bounce and liveliness taken from its original limited character set and fleshed out to a fully functional typeface. Flare serifs along with the occasional weird and wonderful curl gives this typeface a festive holiday vibe, but it could easily blend into a psychedelic design space, or just an all out wacky groove. Give it a spin, and see where Wintermint takes you.

Our Marcellus Pro was inspired by classic Roman inscription letterforms. Clarity and beauty are embodied in the standard lowercase, while this historically influenced typeface also nods to the powerful presence of the Trajan titling style with its SmallCaps set. When combined together, Marcellus is a gorgeous flare-serif typeface, rich with presence and usability. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

Bougainville Neo is a complete remake of our popular Bougainville series which first appeared at MyFonts in 2005. Neo is now in 4 additional weights plus italics. The original typeface family was named in honor of the renowned eighteen-century French mathematician and explorer Louis-Antoine de Bougainville to whom we owe the naming of South Sea Islands and colorful tropical flora he discovered along his journey. Bougainville Neo makes for effective headings at any size and is equally readable at semi-display sizes.

Hebrew alphabets contain 22 Hebrew letters along with five final letters. These final letters are automatically activated when used in Applications such as Apple Pages® and MicroSoft Word®. Some alternate hebrew letters have been added. Pageantry Hebrew letters do not contain cantillation marks very much used in everyday modern Hebrew accompanied with the complete latin alphabet. View my other Hebrew fonts, Newmark Hebrew, Hebron Hebrew, Hanah Hebrew and Komunidad Hebrew which is a handwritten (script font). Pageantry Hebrew requires OpenType-aware software.

K-Type’s ‘Banks & Miles’ fonts are inspired by the geometric monoline lettering created for the British Post Office in 1970 by London design company Banks & Miles, a project initiated and supervised by partner John Miles, and which included ‘Double Line’ and ‘Single Line’ alphabets. The new digital typeface is a reworking and extension of both alphabets. Banks & Miles Double Line is provided in three weights – Light, Regular and Dark – variations achieved by adjusting the width of the inline. Banks & Miles Single Line develops the less used companion sans into a three weight family – Regular, Medium and Bold – each with an optically corrected oblique. Although the ‘Banks & Miles Double Line’ and ‘Banks & Miles Single Line’ fonts are based on the original Post Office letterforms, glyphs have been drawn from scratch and include numerous adjustments and impertinent alterations, such as narrowing the overly wide Z and shortening the leg of the K. Several disparities exist between the Post Office Double and Single Line styles, and K-Type has attempted to secure greater consistency between the two. For instance, a wide apex on the Double Line’s lowercase w is made pointed to match the uppercase W and the Single Line’s W/w. Also, the gently sloping hook of Single Line’s lowercase j is adopted for both families. The original Single Line’s R and k, which were incongruously simplified, are drawn in their more remarkable Double Line forms, and whilst the new Single Line fonts are modestly condensed where appropriate, rounded letters retain the essentially circular form of the Double Line. Many characters that were not part of the original project, such as @, ß, #, and currency symbols, have been designed afresh, and a full set of Latin Extended-A characters is included. The new fonts are a celebration of distinctive features like the delightful teardrop-shaped bowl of a,b,d,g,p and q, and a general level of elegance not always achieved by inline typefaces. The Post Office Double Line alphabet was used from the early 1970s, in different colours to denote the various parts of the Post Office business which included telecommunications, counter services and the Royal Mail. Even after the Post Office was split into separate businesses in the 1980s, Post Office Counters and Royal Mail continued use of the lettering, and a version can still be seen within the Royal Mail cruciform logo.

Originally designed in 1996, Mrs Eaves was Zuzana Licko’s first attempt at the design of a traditional typeface. It was styled after Baskerville, the famous transitional serif typeface designed in 1757 by John Baskerville in Birmingham, England. Mrs Eaves was named after Baskerville’s live in housekeeper, Sarah Eaves, whom he later married. One of Baskerville’s intents was to develop typefaces that pushed the contrast between thick and thin strokes, partially to show off the new printing and paper making techniques of his time. As a result his types were often criticized for being too perfect, stark, and difficult to read. Licko noticed that subsequent interpretations and revivals of Baskerville had continued along the same path of perfection, using as a model the qualities of the lead type itself, not the printed specimens. Upon studying books printed by Baskerville at the Bancroft Library in Berkeley, Licko decided to base her design on the printed samples which were heavier and had more character due to the imprint of lead type into paper and the resulting ink spread. She reduced the contrast while retaining the overall openness and lightness of Baskerville by giving the lower case characters a wider proportion. She then reduced the x-height relative to the cap height to avoid increasing the set width. There is something unique about Mrs Eaves and it’s difficult to define. Its individual characters are at times awkward looking—the W being narrow, the L uncommonly wide, the flare of the strokes leading into the serifs unusually pronounced. Taken individually, at first sight some of the characters don’t seem to fit together. The spacing is generally too loose for large bodies of text, it sort of rambles along. Yet when used in the right circumstance it imparts a very particular feel that sets it clearly apart from many likeminded types. It has an undefined quality that resonates with people. This paradox (imperfect yet pleasing) is perhaps best illustrated by design critic and historian Robin Kinross who has pointed out the limitation of the “loose” spacing that Licko employed, among other things, yet simultaneously designated the Mrs Eaves type specimen with an honorable mention in the 1999 American Center for Design competition. Proof, perhaps, that type is best judged in the context of its usage. Even with all its shortcomings, Mrs Eaves has outsold all Emigre fonts by twofold. On MyFonts, one of the largest on-line type sellers, Mrs Eaves has been among the 20 best selling types for years, listed among such classics as Helvetica, Univers, Bodoni and Franklin Gothic. Due to its commercial and popular success it has come to define the Emigre type foundry. While Licko initially set out to design a traditional text face, we never specified how Mrs Eaves could be best used. Typefaces will find their own way. But if there’s one particular common usage that stands out, it must be literary—Mrs Eaves loves to adorn book covers and relishes short blurbs on the flaps and backs of dust covers. Trips to bookstores are always a treat for us as we find our Mrs Eaves staring out at us from dozens of book covers in the most elegant compositions, each time surprising us with her many talents. And Mrs Eaves feels just as comfortable in a wide variety of other locales such as CD covers (Radiohead’s Hail to the Thief being our favorite), restaurant menus, logos, and poetry books, where it gives elegant presence to short texts. One area where Mrs Eaves seems less comfortable is in the setting of long texts, particularly in environments such as the interiors of books, magazines, and newspapers. It seems to handle long texts well only if there is ample space. A good example is the book /CD/DVD release The Band: A Musical History published by Capitol Records. Here, Mrs Eaves was given appropriate set width and generous line spacing. In such cases its wide proportions provide a luxurious feel which invites reading. Economy of space was not one of the goals behind the original Mrs Eaves design. With the introduction of Mrs Eaves XL, Licko addresses this issue. Since Mrs Eaves is one of our most popular typefaces, it’s not surprising that over the years we've received many suggestions for additions to the family. The predominant top three wishes are: greater space economy; the addition of a bold italic style; and the desire to pair it with a sans design. The XL series answers these requests with a comprehensive set of new fonts including a narrow, and a companion series of Mrs Eaves Sans styles to be released soon. The main distinguishing features of Mrs Eaves XL are its larger x-height with shorter ascenders and descenders and overall tighter spacing. These additional fonts expand the Mrs Eaves family for a larger variety of uses, specifically those requiring space economy. The larger x-height also allows a smaller point size to be used while maintaining readability. Mrs Eaves XL also has a narrow counterpart to the regular, with a set width of about 92 percent which fulfills even more compact uses. At first, this may not seem particularly narrow, but the goal was to provide an alternative to the regular that would work well as a compact text face while maintaining the full characteristics of the regular, rather than an extreme narrow which would be more suitable for headline use. Four years in the making, we're excited to finally let Mrs Eaves XL find its way into the world and see where and how it will pop up next.