There is plenty of lyric and literature about looking over one's shoulder in contemplation. What would you have done differently if you knew then what you know now? This is the kind of question that comes out of nowhere. When it does and whether its context is personal or professional make very little difference. It's a question that can cause emotions to rise and passions to run hot. It can trigger priority shifts and identity crises. It's never easy to answer. Three years ago, I published a font called Semilla. My aim with that was to distill the work of Bentele, a lettering artist from early 1950s Germany. Picking such an obscure figure back then was my way of pondering the meaning and efficiency of objectivity in a world where real human events and existences are inevitably filtered through decades of unavoidably subjective written, printed and oral history. And maybe to pat myself on the back for surviving surprises mild and pleasant. Having been fortunate enough to follow my professional whims for quite some time now, I took another, longer look at my idea of distilling Bentele's work again. I suppose the concepts of established history and objectivity can become quite malleable when personal experience is added to the mix. I say that because there I was, three years later, second-guessing myself and opining that Bentele's work can be distilled differently, in a manner more suited to current cultural angles. So I embarked on that mission, and Bowling Script is the result. I realize that it's difficult to reconcile this soft and happy calligraphic outcome with the introspection I've blathered about so far, but it is what is. I guess even self-created first world problems need to be resolved somehow, and the resolution can happen in mysterious ways. Bowling Script is what people who like my work would expect from me. It's yet another script loaded with all kinds of alternation, swashing and over-the-top stuff. All of that is in here. These days I think I just do all that stuff without even blinking. But there are two additional twists. The more noticeable one is ornamental: The stroke endings in the main font are of the typical sharp and curly variety found in sign painting, while the other font complements that with ball endings, sometimes with an added-on-afterwards impression rather than an extension of the actual stroke. In the philosophical terms I was mumbling earlier, this is the equivalent of alternate realities in a world of historical reduxes that by their very nature can never properly translate original fact. The second twist has to do with the disruption of angular rhythm in calligraphic alphabets. Of course, this is the kind of lettering where the very concept of rhythm can be quite flexible, but it still counts for something, and experimenting with angular white space in a project of a very dense footprint was irresistible. After playing for a bit, I decided that it would interesting to include the option of using optically back-slanted forms in the fonts. Most scripts out there, including mine, have a rhythm sonically comparable to four-to-the-floor club beats. So the weirdly angled stuff here is your chance to do the occasional drumroll. Everyone knows we need one of those sometimes. Bowling Script and Bowling Script Balls fonts comes with 1600 characters and features extended Latin-based language support. There are also a basic version of both fonts without all the alternates and extra OpenType features. Bowling family ships in cross-platform OpenType format. We also want to present “Mute”, a visual essay narated by Tomás García and Valentín Muro, about digital life created specially to introduce Bowling Script.

Designed to be set in big, large and huge sizes in classic TNT (tight-not-touching) style, Benguiat Caslon is dynamite for a wide range of display demands. We also included outline and drop-shadow versions as well as numerous swash caps, ligatures, contextual alternates and automatically-shifting punctuation. Ed Benguiat originally designed this alphabet for the Photo-Lettering library during his tenure as the legendary type house’s art director. When we purchased Photo-Lettering in 2003, one of the first things we did was start picking some of our favorite films to digitize as fonts. Photo-Lettering partner Christian Schwartz chose this expressive serif specimen for its high contrast strokes that stand up to the most vigorous display typography demands without withering against pesky design limitations like screen resolution, ink spread and dot gain. FEATURES: Alternate characters, ligatures and contextual substitutions add an unexpected flair to words and phrases. We also provided a drop shadow to add depth and dimension. Shifting punctuation marks take care of those optical tricks so you don't have to. A delicately expressive outline version adds color even in black and white. BENGUIAT CASLON CREDITS: Typeface Design: Ed Benguiat Typeface Digitization: Christian Schwartz, Bas Smidt Typeface Production: Ben Kiel, Jason Campbell Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Brother To create a truly global font family, FS Albert needed an Arabic script sibling. Emanuela Conidi set about the delicate task of creating an alphabet to harmonise visually with its Latin sans serif counterpart so that the two could be used side-by-side in bilingual publications. Working with the Kufic style of script, with its simpler, geometric forms, Emanuela sculpted letters with the a similar optical size, weight and rhythm as FS Albert, with open counters and monolinear strokes. It never hurts to Naskh But there’s more to FS Albert than a simple, geometric structure. To match Albert’s cheery, charming character, FS Albert Arabic needed an injection of warmth and informality. Emanuela incorporated some of the more expressive, calligraphic shapes of the Naskh script style, which lent the letterforms a looser, softer, more handwritten quality, while remaining functional and structured. The Naskh influence is most noticeable in the bowl of characters such as Jim, Qaf and Nun, in the curved tail of Waw and Reh, and the deep joining of Tah. Follow the script The end result is an Arabic script that’s the perfect partner to FS Albert: open counters, monolinear strokes and a friendly, rounded appearance. FS Albert Arabic is available in Opentype format, in five weights from Thin to ExtraBold. It supports Persian and Urdu, with proportional and tabular numerals for both, plus full vocalisation and the Hijra feature.

Floro is a typographic family with 3 members designed by Carlos Fabian Camargo. Its idea combines medieval ideas, grotesque, stencil and grunge for T-shirts, stickers, advertising material design. More specifically the concept of Floro join several DNAís coordinating X height, ascendant, descendant and wide, in which proportions and adaptive optics were determined to inject great visual impact when composing titles. Its forms and counter forms have imperfections controlled with vitality and consistency. Floro is useful for ranking words and phrases with corroded edges and creases between the lines of his letters. In that vein, Floro refers to improvised design, deletion and copying. For that reason, its determinants seem stencil patterns that attract the attention of the reader. Its inaccurate decisions were planned that way, in which the type of contrast seems made with a flat tip and the amount of contrast between thick and thin is medium. Its sizes, regular and italic shine by their systematic wear and terminations sometimes in pointed forms resembling medieval darkness. In short, we can say that Floro comes from the miscegenation of Gothic calligraphy texture, foundational calligraphy and some refinements of gothic writings with italic sans-serif ideas of late 19th century. Even with the blur appearance, floro has ideal proportions to pile for horizontal and vertical areas when composing titles with striking looks and robust. And finally, floro dingbats are related shields and stamps, to accompany the written resulting useful at the level of visual support and hierarchical.

Inka is the name by which the closest-ones called my partner. Inka is also the name of a text typeface – in its form very friendly and welcoming. The same way as relationships develop through the life, text typefaces develop, too. I had started the work on this typeface about the same time as I met Inka, while reaching the final output has been a long and progressive process. Inka is a modern serif typeface with wide universality in functions (various editorial usages as books, magazines, annual reports…). The concept and the scope of the complete type family are based on the principle of optical sizes of the typeface designed for the particular use of the size of typesetting. Inka consists of several drawing variations for the typesetting of small sizes (Small), text typesetting (Text), larger typesetting sizes (Title), and headlines sizes (Display). Two constructive alternatives, differing in the height of the construction of the font signs, further extend the variability of the usage of the typeface. Inka A has classical proportions ideal for book typesetting. Inka B has lower ascenders and descenders, lower uppercase glyphs and numbers. Typeface with such construction allows us to use the typesetting efficiently while using tighter leading and still looking more contemporary. Each of the font set (Display, Title, Text, Small) consists of four weights (Regular, Medium, Bold, Black), each has wide character set and a lot of OpenType features. “Inka is dedicated to Inka.”

Barberry is a hand-made brush script typeface equipped with some decorative OTF features, made by Zakhar Yaschin (FontaZY). Barberry font contains stylistic alternates, initial and final alternates (which is duplicated by contextual alternates in the case when ini & fina are not supported), ligatures, titling alternates, small caps and large collection of swashes (additional variants - in Stylistic Set). The Barberry font is essential for hand-made lettering and design. The Barberry family also includes Barberry Vigniette font with over 200 icons and vigniettes in it. Barberry Letters supports most of Western languages (including Central Europian, Baltic and Eastern European languages) and also Cyrillic. Each lowercase letter has three positional versions of the design – basic (if the letter is in the middle of a word), initial (if the word starts with it) and the final (in the end of the word) that makes the set look more alive and expressive. Working with Barberry Letters you can enable and disable if needed such typographic tools as swashes, ligatures, small caps, titling alternates, stylistic alternates, additional swashes and the already mentioned initial and final alternates. If your design software does not support the use of the initial and final alternatives, they can be duplicated by contextual substitutions. There are more than 20 Latin and Cyrillic ligatures in the Barberry Letters. It works by default as the standard ligatures, but you can switch it off for design reasons or to select the more appropriate typographic solution in any particular case. Ornamental font Barberry Vigniette has more than 200 pictograms and vignettes that can decorate your typographic layout. All icons are drawn with a brush in the same style as the Barberry Letters. You can use them inside the text lines, or make the ornamental decoration for text, or use separately, without any letters. OpenType extensions of the Barberry Letters significantly expand the choice of typographical tools to design a better, more expressive layout. Choosing the optimal variant of certain letters in each case, you can receive a unique composition. Whether it is lettering for packaging or magazine headline, logotype or the name in the invitation – just one Barberry font-family gives you the very wide typographic possibilities.

The Typorium presents a new optimized and enriched version of ITC Ellipse which first appeared in 1996 in the International Typeface Corporation typeface library. ITC Ellipse Script is a complementary typeface to ITC Ellipse Neo, designed a very legible handwriting style. ITC Ellipse Script is both modern and classic. Modern in the unusual shape based on the geometric ellipse form. And classic in the structure of some letters like the lower cases c, e, g, o, s. These letters alone could come from a traditional typeface, but they fit perfectly with the atypical rest of the alphabet giving it a present-day and traditional mix. Furthermore, the ellipse shape fits naturally in the italic styles, giving the font an organic and fluid feeling. ITC Ellipse Script offers OpenType features such as alternate characters for upper and lower case, and an extended accented character set to support many languages. Five weights have been created for each style to offer a wide range of graphic possibilities in a tidy digital footprint. Designer: Jean-Renaud Cuaz Publisher: Typorium MyFonts debut: Nov 1, 2020 Le Typorium présente une nouvelle version optimisée et enrichie d'ITC Ellipse qui est apparue pour la première fois en 1996 dans la bibliothèque de caractères de l'International Typeface Corporation. ITC Ellipse Script est une police complémentaire à ITC Ellipse Neo, conçue dans un style d'écriture très lisible. ITC Ellipse Script est à la fois moderne et classique. Moderne dans le dessin inhabituel basé sur la forme géométrique de l’ellipse. Et classique dans la structure de certaines lettres comme les minuscules c, e, g, o, s. Ces lettres pourraient provenir d'une police de caractères traditionnelle, mais elles s'intègrent parfaitement avec le reste de l'alphabet plus insolite en lui donnant un mélange de modernité et de tradition. De plus, la forme de l'ellipse s'intègre naturellement dans les styles italiques, donnant à la police une sensation organique et fluide. ITC Ellipse Script offre des fonctionnalités OpenType telles que des caractères alternatifs pour les capitales et les bas de casse, et un jeu de caractères accentués étendu pour prendre en charge de nombreuses langues. Cinq graisses ont été créés pour chaque style afin d'offrir un large éventail de possibilités graphiques pour une empreinte numérique rigoureuse.

Legible, technical, clear—with a hint of retro: Compiler is a no-frills font family straight from the heart of a microprocessor. Inspired by console typefaces, the humanist sans serif typeface combines a large x-height with striking serifs on certain letters such as i and l. Those serifs evoke the aesthetics of monospace typefaces for programming. Even though Compiler is a proportional typeface, this detail improves glyph recognition and helps differentiate between individual letters. Combined with vertical stroke ends, which allow for particularly even spacing, the serifs make for an extremely legible typeface. (Even in small sizes.) Brand recognition guaranteed: Compiler is ideal for applications that require a mechanical flavor without appearing offish. You can use it for websites, apps, branding, corporate design, annual reports, signage, and many other areas with perfect results. Compiler consists of two font families; the second one is Compiler Plain. In Compiler Plain, the signature letters lose their serifs and the forms of "a" and "g" are simplified. This way, the shapes are neutralized. The technical impression recedes into the background. Both families can be combined smoothly: you might use the standard Compiler fonts for display sizes and Compiler Plain styles for body copy. For total design control, you can toggle each of the defining design elements individually from Compiler to Compiler Plain and vice versa. Just use Stylistic Sets to fine-tune your Compiler fonts. Compiler provides you with 8 weights in 4 variations: Upright, Italics, Plain Upright and Plain Italics. That's a total of 32 fonts. Each style contains more than 860 glyphs, including advanced typographic tools such as proportional and tabular figures (both lining and old-style) or small caps—something you'll rarely find in this genre. Other glyphs are optimized for display sizes, such as circled figures and various arrows. There's also a set of glyphs designed for web use: with symbols for shopping carts, hamburger menus or checkboxes, you can implement your web projects elegantly and consistently without relying on third-party tools (like an external icon font). Powered by highly productive OpenType functions, Compiler is an intermedia workhorse straight from cyberspace.

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

Beauty Club is a modern font collection that includes four serif weights, a thin signature brush script and free marketing words. Beauty Club Brush is a hand-painted script that includes 7 ligatures and 26 alternates. The brush script works great paired with the serif fonts. Try the Beauty Club free font for beauty marketing and social media. It’s a great font for promoting your beauty brands. Fonts and posters designed by Cindy Kinash. See font details below. VERSIONS: American (US) and Extended Latin Pro (Standard) FREE WORDS FEATURES: 57 free words useful for beauty marketing and social media promoting. Keyword examples include beauty, makeup, free, love and sale. Intended use for: beauty, fashion, apparel, marketing, music, social media, websites, magazines, sales, film and packaging. BRUSH SCRIPT AMERICAN (US) Shorter version Thin hand-painted brush script 7 ligatures and 26 alternates OpenType Includes the common alphabet, numbers, American symbols and punctuation. BRUSH SCRIPT EXTENDED LATIN PRO (Standard) Extended version of the American (US) version. Thin hand-painted brush script 7 ligatures and 26 alternates OpenType Includes Latin Pro characters for Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Feroese, 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. SERIF AMERICAN (US) Shorter version OpenType Includes the common alphabet, numbers, American symbols and punctuation. SERIF EXTENDED LATIN PRO (Standard) Extended version of the American (US) version. OpenType Includes Latin Pro characters for Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Feroese, 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. TIPS: Try the OpenType brush script alternates/ligatures by turning on the feature in your preferred program that supports ligatures. DISPLAY- Pair the Beauty Club brush script with the serif fonts as large headline text for optimization. FONT USE- Use Beauty Club for beauty, fashion, apparel, marketing, music, social media, websites, magazines, sales, film and packaging."

First, the important information…Nori is a hand-lettered typeface that contains over 1100 glyphs, 250 ligatures, 487 alternate characters, 125+ swash and titling alternates, lining and old style numerals. To make sure it is perfectly clear—Nori is the result of brush and ink on paper. The textures produced in each glyph are real and the imperfections are intentional and add to the sincerity of the letters. I say this to be as blunt as possible in order to avoid confusion and to frame what this typeface represents—calligraphic, handwritten letters captured digitally for their warmth and poetic variation for print and screen. Like my handwritten, calligraphic or brush-driven faces before it (the Baka series and the TDC2 2010 winning typeface, Fugu), Nori is a product of my analog and digital hand. To view the words and sentences formed by this typeface is to look at how my hands, yes hands, make letters. The fluidity, as well as the irregularity, is human, honest and intentional—to do so lets the brush I am holding breathe life into each letter. Once digital, any number of points and repetitive processes can’t mask its influences—and I like that. The brush, a simple instrument, my tool, my friend designed to emulate traditional Japanese sumi-e brushes... the Pilot Japan Kanji Fude brush pen. Each letter, each variation was written over and over again until I found the right combination. From there, each was scanned, digitized and optimized. Points were removed in order to ‘clean’ the glyphs up some but I did not want to compromise the integrity of the actual brush stroke. Once this base set of characters (about 350) were completed, the thoughtful manipulation of the glyphs, their gestures and forms were further expanded to solidify the embellishments used within the ligatures, alternates, swashes and additional features. This process was admittedly self-indulgent to an extent. I wanted the words created with this typeface to have the flexibility of variation and cohesiveness of movement that someone fluidly producing these letters by hand might have.  I hope you enjoy this typeface as much as I did during the six months working on it. A specimen and style guide is included with the purchased of Nori.

Introducing Meritocracy, a full-featured handwritten font with tons of alternate characters and OpenType features. My goal with this font was to make you a typeface that will look as much like hand lettering as possible. Using the built-in OpenType pseudo-random contextual alternates and over 300 individually drawn ligatures, you can infuse your typography with personality and variety.** OpenType Features Meritocracy comes with more than 900 glyphs! Specific OpenType features include contextual alternates, stylistic alternates, a second stylistic set for variety, multiple alternate glyphs for many letters (accessed through the glyphs panel), multilingual support (including multiple currency symbols), standard numbers, and seven ampersand styles. It also includes 325+ standard and discretionary ligatures, all of them individually hand-drawn to be different from all other glyphs in the font. These ligatures allow you to give a super-realistic hand-lettered look to your typography. You can write the same word in so many different ways if you combine the default set, stylistic set 01, and standard and discretionary ligatures in different ways. SPECIAL OPENTYPE FEATURE: If you are using OpenType-capable software like Adobe Illustrator, Photoshop, InDesign, or CorelDraw and you have contextual alternates turned on, you can see the letters randomize themselves as you type, mixing from the default character set and stylistic set 01. (You can always turn on contextual alternates after you have already typed your passage and it will randomize all at once, or you can choose to turn off contextual alternates and substitute specific glyphs yourself - I find that if I'm typing a word or two, I prefer to control the individual glyphs myself; if I'm typing a paragraph, I like to use the built-in randomness of the contextual alternates feature). Note that this pseudo-randomization (aka contextual alternate feature) is ON by default in Apple's Pages app and OFF by default in Microsoft Word, but it can be turned on. The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access most of these awesome features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word's font menu. If you have questions about this, ask me!) Files included: Meritocracy-Regular.otf Please note: there is only one file for this font. That's the magic of OpenType - all of the alternates, ligatures, etc. are built right into the .otf file! Mail support : julie@upupcreative.com --- Find inspiration (and sneak peeks at my next font-in-progress) on - Instagram: http://instagram.com/julieatupupcreative - Facebook : https://www.facebook.com/upupcreative - Pinterest: https://www.pinterest.com/upupcreative - My website: http://upupcreative.com --- **PLEASE ENJOY! I can't wait to see what you make with Meritocracy! Feel free to use the #upupcreative and #meritocracyfont tags to show me what you've been up to!**

The ITC Franklin™ typeface design marks the next phase in the evolution of one of the most important American gothic typefaces. Morris Fuller Benton drew the original design in 1902 for American Type Founders (ATF); it was the first significant modernization of a nineteenth-century grotesque. Named in honor of Benjamin Franklin, the design not only became a best seller, it also served as a model for several other sans serif typefaces that followed it. Originally issued in just one weight, the ATF Franklin Gothic family was expanded over several years to include an italic, a condensed, a condensed shaded, an extra condensed and, finally, a wide. No light or intermediate weights were ever created for the metal type family. In 1980, under license from American Type Founders, ITC commissioned Victor Caruso to create four new weights in roman and italic - book, medium, demi and heavy - while preserving the characteristics of the original ATF design. This series was followed in 1991 by a suite of twelve condensed and compressed designs drawn by David Berlow. ITC Franklin Gothic was originally released as two designs: one for display type and one for text. However, in early digital interpretations, a combined text and display solution meant the same fonts were used to set type in any size, from tiny six-point text to billboard-size letters. The problem was that the typeface design was almost always compromised and this hampered its performance at any size. David Berlow, president of Font Bureau, approached ITC with a proposal to solve this problem that would be mutually beneficial. Font Bureau would rework the ITC Franklin Gothic family, enlarge and separate it into distinct text and display designs, then offer it as part of its library as well. ITC saw the obvious value in the collaboration, and work began in early 2004. The project was supposed to end with the release of new text and display designs the following year. But, like so many design projects, the ITC Franklin venture became more extensive, more complicated and more time consuming than originally intended. The 22-font ITC Franklin Gothic family has now grown to 48 designs and is called simply ITC Franklin. The new designs range from the very willowy Thin to the robust Ultra -- with Light, Medium, Bold and Black weights in between. Each weight is also available in Narrow, Condensed and Compressed variants, and each design has a complementary Italic. In addition to a suite of new biform characters (lowercase characters drawn with the height and weight of capitals), the new ITC Franklin Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages. ITC Franklin Text is currently under development.