Vintage sheet music was initially a partial inspiration for what started out as a simple retro typeface, but the basic hand-lettered design from the Art Deco era lent itself to some further experimentation. Geometric shapes were added to the original monoline letters and numerals and the end result was a marvelous display face called Cafe Society JNL. During the 1930s, "Cafe Society" was popular slang for the financially privileged during the Great Depression who dined at fine cafes while others who were able to eat out did so at diners and cafeterias. Available along with Cafe Society JNL is the original version, Cafe Society Monoline JNL.

Sometimes, just one font style is not too optimal. With this font, I present a unique and cheerful font with three styles for you. Easy and fast to use in design projects such as accessories, book covers, crafts, logos, birthday greetings, backgrounds behind, quotes, unique packaging designs, and much more that you can explore. See some of the previews above for reference. Features: -Uppercase -Lowercase -Numeral -Punctuation -Multilingual -Ligature -Alternate Note: Use a program that supports the Opentype feature and the glyph panel is available, so you can see the various alternative characters available. Examples of programs such as Adobe Illustrator, Corel Draw or Inkscape.

When teaching font-making at the Art Institute of Tucson, I give my students plenty of lab time to come up with design ideas. I designed Pucky while one class created their fonts. It came about through an idea for a capital A: sort of a triangle with two round sides and a crossbar formed by a circle falling out. (You can see it here.) In drawing that, I hit upon the idea of making the tops of the alphabet sharp and square and the bottoms rounded. (See the whole alphabet here.) Pucky suggests both circus and psychedelia. Hmmmm, does anybody have an “in” at Cirque du Soleil?

Omniscient is a narrative font that sees all… it’s everywhere and nowhere, the storyteller and the story, upper and lower case. This godlike font can be first person AND third person, friendly or serious, personable AND impersonal. It knows all the details but will only reveal them when it serves the narrative. The classical characters in Omniscient are all knowing, all seeing, and can even be all singing, all dancing on occasion. Even gods like to let their hair down and have fun. Features three weights with upper & lowercase alphabets, language support for Western & Central Europe, Automatic alternates, Stylistic Alternates & Crossbar I Technology™.

Birch was designed in 1990 by Kim Buker Chansler, who based her forms on the designs of the turn of the 20th century. The new age needed new typefaces for an ever-increasing commerce and its advertisements. This time period therefore saw a profusion of new typefaces, all of which were meant first and foremost to catch the eye of consumers. To this end, style elements of past ages were reused, changed, and combined. Birch is modelled after a woodtype, a style made famous by its use on wanted posters in western movies. The narrow and space-saving Birch is perfect for headlines in display point sizes.

Whereas blackletter types were hand written, Text letterforms are drawn using a series of graphic shapes that slot together in a series of permutations, one set for lower case and another for the upper case. As the link between the method of construction of the letterforms has been removed from the appearance (the quill pen with which they were written resulting in the angle and sharp stresses) there is no logic for these stylistic elements to work in any set way. As this fundamental rule of the blackletter style has been removed the typeface has become something other than a typical or derivative blackletter font.

Sign and Display JNL is a long-overdue companion font to 2009’s Sign and Poster JNL. The original design models were Art Deco influenced die-cut cardboard letters and numbers manufactured by the Duro Decal Company of Chicago. Square in shape with rounded corners, the thick cardboard letters were used for making show-cards and other display signage. Subsequently, Duro used the same style of lettering to manufacture water-applied decals for boat identification and other uses. It was a set of these decals (with a black outline and yellow interior) that inspired the outline typeface Sign and Display JNL, which is available in both regular and oblique versions.

Brovile, is a wedge serif font that is sure to stand out! A little bit retro and a bit modern, Brovile. is great for logos, editorial or web design. The unique sharp serifs mixed with thin strokes give off a bold mid century architectural vibe. This modern serif typeface features serifs. Perfect for gorgeous logos & titles, The Brovile. will pair beautifully with many fonts and work well with whatever project you're working on. Web font Uppercase Lowercase Numbers & Punctuation That's it! If you have any questions at all , feel free to pop me a private message , I'm always more than happy to help you along :) Happy creating! Hanzel Studio

Cord (Zsinór in Hungarian) was originally a commissioned work for a tablecloth pattern with a thread like frame decoration that is actually consist of letters. The lettershapes were being created based on Rovas characters, which were reinterpreted without decreasing legibility. Therefore, the Rovas alphabet was designed in the first place followed by its matching Latin company. The full character set contains: Western, Central and South Eastern European Latin characters basic symbols and punctuation Rovas alphabet Rovas number symbols and punctuation Display font, best fit in larger sizes for souvenirs, folk art theme, embroidery, ribbon like decorative texts and signages. Good luck and Happy Creating! Roland

DBXL Nightfever was originally designed by Donald Beekman in 2001 for the disco-techno-house record label of the same name, an imprint of United Recordings. Geometric and gridded, with a solid sci-fi techno feel, Nightfever still contains a lot of soul. Three additional wider weights were added for more design flexibility, as well as italics for all widths. After the record label was terminated the Nightfever fonts were used for many other DBXL design projects. It was put online for free download first in 2008, this year (2019) the design got more refined with additional accurate kerning and spacing. All fresh and new, ready for a new space age!

The Neue Frutiger Variable Set is a single font file that features three axes: Weight, Width and Italic. The Weight axis has a range from Ultra Light to Extra Black. The Width axis provides a range of condensed values. The Italic axis is a switch between upright and italic. Variable fonts act as a complete family of fonts in a single file. The new Variation font feature is supported by a growing number of desktop design applications, and more importantly by all the major web browsers. Variable fonts provide a variety of benefits to web and print designers and developers including flexible, responsive typography.

Kudryashev Display is a set of light and high-contrast faces based on Kudryashev text typeface . In addition to Kudryashev Display and Kudryashev Headline faces, the type family includes also two sans-serif faces of the same weight and contrast, with some alternates. The graceful nature of the typeface, along with carefully designed details, allows to use it in large point sizes, for example in magazine layouts, packaging design and in many other ways. The serif styles were designed by Olga Umpeleva in 2011, the sans styles were created by Isabella Chaeva in 2015 with the participation of Alexandra Korolkova. The typeface was released by ParaType in 2015.

In the July 24, 1915 issue of “Dry Goods Reporter” is a demonstration of hand lettering rendered with the use of a “speed pen”. Two suggested examples cited in the accompanying article were the Payzant pen and the then-new Speedball pen. An ornate Art Nouveau serif alphabet is displayed, with some examples having delicate floral elements entwining the letters. The initial alphabet was auto-traced, then cleaned-up and modified to recreate the core design of the basic (unadorned) letters. The numerals, punctuation and all additional characters were then made from scratch. Nouveau Rose JNL is the finished result, and is available in both regular and oblique versions.

Breathing Fresh is a handwritten script font. This font is perfect for quotes, branding, ornaments, shirts, mugs, headings, blogs, logos, invitations and more! What's Include : PUA encode & Opentype ( It is full of Tails and glyphs ) Multilingual support Use the fonts for: logos, branding materials, wedding sign, wedding website card, farmhouse signs, sign bridal, shirts, pantry labels, sign bridal shower, business cards, greeting cards, wall decor, social media, planner prints and websites. • This font works with any application Microsoft Word, Adobe Photoshop, Microsoft Paint, Corel, Adobe Illustrator, Cricut Design Space, and many others! If you have any question please do not hesitate to contact me. Thank You!

The impression of a textured font made me excited and it crossed my mind to make this font. With 2 styles I present this font (regular and stamp) so that you can use it in your designs easily and full of inspiration. Suitable for logotype designs, posters, merchandise , social media posts, packaging, landing pages, advertisements etc. See some of the previews above for reference. Features: -Uppercase -Lowercase -Numeral -Multilingual Note: Use a program that supports the Opentype feature and the glyph panel is available, so you can see the various alternative characters available. Examples of programs such as Adobe Illustrator, Corel Draw or Inkscape. Thanks.

Up until the advent of modern packing and shipping methods, the common way to mark merchandise or other items to be transported was through the use of a brass stencil. These marking devices were hand stamped (or punched) using metal dies that were struck against sheets of brass to create the letters, numbers and other symbols [unlike the steel rule die cutting method used for manufacturing paper stencils]. One such example of an antique marking stencil had letters and numbers approximately one quarter of an inch in height, and Stamped Brass Stencil JNL recreates the design complete with the unusual variations of character shapes and widths.

Dream Flourish is a beautiful, attractive and luxurious font with a very unique swash. Swash in the form of a very beautiful flourish. This font is compatible with various themes and concepts, such as wedding themes, fun, luxury and others. This font can be combined with additional elements such as watercolor designs, clipart and sketches. This font is suitable for your projects such as logos, wedding invitations, branding, landing pages, apparel, posters, headlines, greeting cards, invitation cards, social media, crafting, quote and more. This font can be used and supported in various programs and OS, such as procreate, cricut, windows, macOS and others. This font is also support multi language.

From 1702 to 1811 the French "Royal", then "Imperial", Printers, neglected Garamond and Fournier's designs and used only the font called "Romain du Roy", carved (1693 to 1723) by Philippe Grandjean by order of the king Louis XIV. 1790 Royal Printing was inspired by various variants of Romain du Roy that were in use during this period. Our sources were mainly official and legal documents printed in the late royal period, and in the beginning of the French revolution. There was no bold style. The 1790 Royal Printing Caps fonts contain small caps, plus titling caps for headlines as 1790 Royal Printing capitals are intended to be used preferably for text.

Fournier was made by Monotype in 1924. The design is based on types cut by Pierre Simon Fournier circa 1742, some of the most influential designs of the eighteenth century. Fournier's types were among the earliest of the transitional" style of typeface and were a stepping stone to the more severe "modern" style made popular by Bodoni later in the century. They had more vertical emphasis than the old style types, greater contrast between thick and thin strokes and little or no bracketing on the serifs. Fournier has a light, clean look on the page, provides good economy in text and retains an even colour.

Mittelhorn is a clean, readable, distinctive neo-grotesque. Use it for logotypes, web, signage, or editiorial design. Make a statement and choose one of the alternate sick glyphs… Main features: The family comes in three weights and matching italics Reinterpreted numbers and punctuation Comprehensive character sets for Western and Central European language Selected alternate uppercase sick glyphs for extra character Each glyph in this family was crafted with intention and care. It is a creative yet versatile and very readable font that you can easily use on a range of applications - headlines, billboards, signage, web copy, editorial, publishing… Most of all, have fun with it!

Univers Next Variable Set is a single font file that features three axes: Weight, Width and Italic. The Weight axis has a range from Light to Extra Black. The Width axis provides a range of condensed and extended values. The Italic axis is a switch between upright and italic. Variable fonts act as a complete family of fonts in a single file. The new Variation font feature is supported by a growing number of desktop design applications, and more importantly by all the major web browsers. Variable fonts provide a variety of benefits to web and print designers and developers including flexible, responsive typography.

The designer-favorite Blue Goblet series has been extended once again with Blue Goblet Frames and Vignettes. These animated and lively frames and vignettes can be resized easily without any loss of quality, and can easily be converted to outlines and modified. Combining them to form unique compositions or inserting them into chapter headings are just a few ideas for these versatile ornaments. Please see the sample .pdf to see all 96 Frames and Vignettes in action, and be sure to check out the rest of the Blue Goblet series, especially Blue Goblet Frames and Vignettes #2 Blue Goblet Frames and Vignettes is a collaboration between insigne Design and Portland Studios.

Future Concept is Sans Serif fonts inspired by future design concept great for product logo, technology, game, design, space concept, poster, headline, card logo, web, magazine, packaging, stationery and much more. Easily creates your own logo type with fonts. Future Concept has an Open Type feature to access a large selection of unique alternative letters and many ligatures to make it easier for you to create. Future Concept can be accessed perfectly on design applications such as Adobe Illustrator, Adobe Photoshop, Corel Draw, Affinity Designer but does not rule out the possibility that it can also be accessed using web-based applications such as kittl, canva, artboard studio and others.

MFC Hills Medieval was developed from a unique historical Blackletter type specimen in the 1882 Hills Manual of Social and Business Forms. While you could use its ornate capitals to construct a monogram, this is not a monogram font, but a fully functional typeface for invitations and period lettering. From stylish and ornate capitals to a soft lowercase resembling bled ink, this period lettering style is a true eye-catcher. Because of some of the unique medieval letterforms, standardized letterforms were created as the default typeable letters while the true historical forms were setup as Stylistic Alternates. A sophisticated Blackletter for manuscripts and invitations alike.

Plumage is somewhat unusual in that it has elements of calligraphy as well as script in a semi-loose form that gives it a pleasing appearance for both large and small sizes, and interesting flare finish strokes add to its unique character. As I read a dictionary description of "plumage", I realized that in many ways there is a parallel between a bird's plumage and how it is utilized in the context of writing: Plumage varies in pattern and arrangement for different purposes; what it expresses can of course be even more interesting. Plumage is disposable after a season, as new ones become available... imagine, a self-sustaining quill! - I guess that's equivalent to a refill or disposable pen. Historically, quill pens were made from feathers of a variety of birds, each chosen for its special characteristics. The sturdiest and most reliable feathers, however, come from turkeys, swans and geese. Feathers used to make pens are the stiff-spined flight feathers on the leading edge of the bird's wing. Pens for right-handed writers come from the left wing, and pens for left-handers, from the right! Each bird yields 10-12 good quills, and sometimes only 2 or 3 - so small a yield that the geese reared in England could not furnish nearly enough for local demand, and quills were imported from the Continent in large quantities. At one point St Petersburg in Russia was sending 27 million quills a year to the UK. It is said that geese were specially bred by US President Thomas Jefferson (1743-1826) to supply his own vast need for quills - in his lifetime he wrote almost 20,000 letters. The name "Plumage" was selected to pay homage to the noble birds that supplied countless quills for centuries of literary works. Plumage is recommended for any formal or informal invitation, decorations, awards, poetry, plaques, etc. We hope you will have the pleasure of using Plumage.

Emulating real handwriting has always been an aim of font designers in the digital age. The standard mainstream scripts and doodles that were available for the longest time have not successfully reached that goal. A letter always looked the same wherever you placed it. Some workarounds, such as letter alternates and ligatures, were used in many fonts, but they were a bit inconvenient to use, and in some cases didn't work correctly because they had to be placed in separate fonts from the main character set. Not until now, with OpenType technology, have we been able to emulate real handwriting, by including multiple character sets in the same font and programming it for smart form changes through letter sequence counting. Secret Scrypt was the first Canada Type font to make it to the bestseller list in the summer of 2004. In early 2005 a New York restaurant chain picked Secret Scrypt to use on its menus and internal signage, but they wanted to look even more like real handwriting, where two or three instances of the same letter used in one word would automatically change and look different from each other. Using OpenType technology, Canada Type produced a Secret Scrypt Pro for that restaurant chain under the direction of Mucca Design in New York City. That initial version contained three different character sets in the same font, and some intelligent programming that determines the sequence of the letters and change their shapes accordingly. Now the retail version of Secret Scrypt Pro is available, with four character sets built into the font for even more variety on the real handwriting theme. Make sure to check out the Secret Scrypt Pro PDF in the MyFonts gallery for tips on using Secret Scrypt Pro. Secret Scrypt is perfect for menus, handwritten notes, theater programmes, charity organization posters, and any design that attempts to get close to people with the personal magic of real handwriting.

ATTACK OS font version: 1.0 is the first version, including 340 characters, there are 4 types of handwriting that are: Regular; Italic; Bold; Bold Italic. We work with agencies and brands on visual identities and custom type design. Do you need a new font? Or an adjustment of the existing one? We can handle it on a best technological and creative level. New font design We create a concept and drawing of a completely new font to emphasise the character of your brand or project. Modifications to our fonts We adjust one of our retail fonts to your needs. It usually means a small change in design, an extension of the language set or icons. Let’s discuss how we can work together

BUMBLE OS font version: 1.0 is the first version, including 340 characters, there are 3 types of handwriting that are: Regular (Regular); Italic (Italic); Bold (Bold). We work with agencies and brands on visual identities and custom type design. Do you need a new font? Or an adjustment of the existing one? We can handle it on a best technological and creative level. New font design We create a concept and drawing of a completely new font to emphasise the character of your brand or project. Modifications to our fonts We adjust one of our retail fonts to your needs. It usually means a small change in design, an extension of the language set or icons. Let’s discuss how we can work together

Rosvard is our new old fashioned typeface. Inspired by vintage signages and brewery emblems. You could feel the vintage vibe on our preview images. Although you could use it to modern design as well. Since our last font just single font. We decide to make another layered font like we did in the past. This one in particular contains Stripe, Outline, Regular, Extrude and Shadow. You could combined all of them of just use two or three of them as you like. We also give you the separate ornaments we used for the preview image as an icon/dingbat font. You could mix and match each part to make your own badge / emblem. Because we believe you could do it.

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

A fairy tale, is a folklore genre that takes the form of a short story. Story tale, is a new type family for wonderous, romantic, magical and playful narratives brought to you by Resitenza. The 1970s were wild and whimsical times. Book covers from this time were iconic, innovative and enduring; bold colour and stylised pattern dominated. Story Tales forms were inspired by 70s books covers, and aims to encapsulate the zeitgeist of the time, but the typeface is by no means constrained to revivals of this era. There are nods to 60's flower power & psychedelia, chromatic type and decorative queues from the 1800s and the spirit of post-war era children's almanacks. It is also perfectly suited to inspiring curiosity, imagination and fantasy in today's audiences. Each of Story Tales 8 styles (4 upright and 4 italics) stack on top of one another giving the designer broad aesthetic range. This layering of styles and the ornamental illumination allows striking multi-coloured typography for your book covers, editorial and poster designs.

German type designer Ingo Preuss created this family between 2014 and 2016. Instance is a new classic built on the foundation of over two centuries of history. Fresh and contemporary, while feeling familiar. This typeface is a high contrast sans serif typeface family and was designed for contemporary typography, especially for use in headlines and on posters, but also for reading purposes. A flexible, medium to high contrast, sans serif less about designing a stylish decorative design and more about applying contrast onto a neo-grotesk skeleton. Instance is more than just chopping off the serifs. The classical proportions of the capitals and x-heights were maintained, but the letterforms were rebalanced for use without serifs. Contemporary modifications were made to some widths, as well as an all new Light weight was created. Please note: Instance STD Office Packages is only as TrueType (* .ttf) and Standard-Version. Also, the character set has been reduced to Standard (without OpenType-Features, SmallCaps, old style figures, etc.). Ideal for testing and for Microsoft Office applications.

News Gothic No. 2 is an enhanced version of News Gothic produced by the D. Stempel AG type foundry in 1984. It added more weights to the News Gothic family than were available in other versions, increasing its use in contemporary design and communication. The lighter weights of the original News Gothic were designed by Morris Fuller Benton in 1908 for American Typefounders (ATF). News Gothic typeface is quite similar to Benton's other sans serifs from the early twentieth century, including Franklin Gothic and Lightline Gothic. The bold weights were added to the News Gothic scheme in 1958. The capital letters in News Gothic No. 2, just like those found in News Gothic, have a similar visual width to each other. The lowercase is compact and powerful. These design attributes contributed to Benton's strong handle on the sans serif genre, and for years his types have been popular for newspaper headlines and many other uses. Still a popular presence on the font charts, News Gothic has proven its ability to get the job done right.

Geometron has its origin in a custom typeface that I was commissioned to design for an architectural project. The concept was a "back to basics", minimalist typeface constructed mainly with straight lines and circles or circular arcs, but without departing from the classical style of Roman & Greek lettering. Notable requirements were: an extensive character set needed for multi-language documentation, as well as a full collection of symbols and alternate glyph forms (e.g. superiors & inferiors) for scientific use. Special care was taken to obviate the almost identical similarities that were prone to appear between letters like uppercase "i" and lowercase "L" or between Latin and Greek letters such as "a" and "alpha". This was also a prerequisite for scientific notation where ambiguity is not acceptable. All in all, the font would have to blend a modern design with a wealth of functional features. Consequently, all of these were made possible by choosing the OpenType format for development, resulting in a comprehensive and feature-rich font family specifically targeted for use in high-end design/typesetting applications.

Grunge Formal started out as a more upright, formal version of one of my fonts, Figment. A most versatile contemporary typeface, Grunge Formal works equally well from funky to formal, from giant size headers to pint size body text, from movie posters to wedding invitations. If you've ever needed a font that has a grungy, deconstructed look but works well for all sizes, a font that you can use for funky, gritty designs, and also for formal wedding stationery, Grunge Formal is a perfect choice. From the formal viewpoint, the font presents as a regular serif typeface with deconstructed edges, giving the antique look popular in wedding stationery design. Here it can be used from header to body size. For in-your-face design, Grunge Formal, when oversized, is really powerful and its deconstructed outline provides a raw, rough contrast to your background images. Grunge Formal has all the features usually included in a fully professional font. Language support includes all European character sets, Greek symbols and all punctuation.

Geometron has its origin in a custom typeface that I was commissioned to design for an architectural project. The concept was a "back to basics", minimalist typeface constructed mainly with straight lines and circles or circular arcs, but without departing from the classical style of Roman & Greek lettering. Notable requirements were: an extensive character set needed for multilanguage documentation, as well as a full collection of symbols and alternate glyph forms (e.g. superiors & inferiors) for scientific use. Special care was taken to obviate the almost identical similarities that were prone to appear between letters like uppercase "i" and lowercase "L" or between Latin and Greek letters such as "a" and "alpha". This was also a prerequisite for scientific notation where ambiguity is not acceptable. All in all, the font would have to blend a modern design with a wealth of functional features. Consequently, all of these were made possible by choosing the OpenTypeÆ format for development, resulting in a comprehensive and feature-rich font family specifically targeted for use in high-end design/typesetting applications.

Temet Nosce - Serif font family - Multilingual - 6 Styles Temet Nosce Serif font family help you develop your creative projects with its 6 styles and multilingual supports. It was inspired by the famous saying from ancient Greek mythology. The characters that make up its structure were influenced by the carved letters in the old stone inscriptions. According to ancient Greek and Roman authors, there were three maxims prominently inscribed upon the Temple of Apollo at Delphi: "know thyself", "nothing too much" and "give a pledge and trouble is at hand". Their exact location is uncertain; they are variously stated to have been on the wall of the pronaos (forecourt), on a column, on a doorpost, on the temple front, or on the propylaea (gateway). The date of their inscription is also unknown, but they were present at least as early as the 5th century BC. Although the temple was destroyed and rebuilt several times over the years, the maxims appear to have persisted into the Roman era (1st century AD), at which time, according to Pliny the Elder, they were written in letters of gold. This font comes with uppercase, lowercase, punctuation, symbols and numbers, ligatures and multilingual supports. Ideal for books and magazines, editorials, headlines, websites, logos, branding, advertising and more. This font family can meet your needs in all creative projects, modern and classic. With this font you can create your unique designs. Have a good time.

Designed from the perspective of a multi-purpose font family, comprehending the slab-serif and humanist-sans subtypes, the Distéfano typefaces were specifically developed and subsequently tested considering the needs of editorial products, for both print and digital media.   Includes a comprehensive program where formal, style, thickness and slant attributes are especially indicated for the composition of text and headings in newspapers, journals and magazines. For that reason, in addition to the more traditional weights, others, ranging from Light to Black were added. The identity and systemic criteria of this font family doesn’t fall short on diversity of specific solutions, flair and quirks for each variant, especially noticeable in the contrast of the italics to the roman styles. The original drawings of Distéfano date back to 1983; embodied in pencil on paper, provided only the alphabetical characters and punctuation signs for Spanish, and the Sans Serif family. By digitalizing them, their possibilities of use were widened, the set of characters of each typeface were considerably completed considering the current requirements for the majority of the latin and germanic languages, and the slab-serif family was developed. This type family bears the name of the most notable argentinian designer, and it is a homage to his work, that influenced the youth of the 50’s decade of the 20th century, and especially to him, whom I have always recognized as a friend, and a teacher.

Designed from the perspective of a multi-purpose font family, comprehending the slab-serif and humanist-sans subtypes, the Distéfano typefaces were specifically developed and subsequently tested considering the needs of editorial products, for both print and digital media.    Includes a comprehensive program where formal, style, thickness and slant attributes are especially indicated for the composition of text and headings in newspapers, journals and magazines. For that reason, in addition to the more traditional weights, others, ranging from Light to Black were added. The identity and systemic criteria of this font family doesn’t fall short on diversity of specific solutions, flair and quirks for each variant, especially noticeable in the contrast of the italics to the roman styles. The original drawings of Distéfano date back to 1983; embodied in pencil on paper, provided only the alphabetical characters and punctuation signs for Spanish, and the Sans Serif family. By digitalizing them, their possibilities of use were widened, the set of characters of each typeface were considerably completed considering the current requirements for the majority of the latin and germanic languages, and the slab-serif family was developed. This type family bears the name of the most notable argentinian designer, and it is a homage to his work, that influenced the youth of the 50’s decade of the 20th century, and especially to him, whom I have always recognized as a friend, and a teacher.