Type designers are crazy people. Not crazy in the sense that they think we are Napoleon, but in the sense that the sky can be falling, wars tearing the world apart, disasters splitting the very ground we walk on, plagues circling continents to pick victims randomly, yet we will still perform our ever optimistic task of making some little spot of the world more appealing to the human eye. We ought to be proud of ourselves, I believe. Optimism is hard to come by these days. Regardless of our own personal reasons for doing what we do, the very thing we do is in itself an act of optimism and belief in the inherent beauty that exists within humanity. As recently as ten years ago, I wouldn't have been able to choose the amazing obscure profession I now have, wouldn't have been able to be humbled by the history that falls into my hands and slides in front of my eyes every day, wouldn't have been able to live and work across previously impenetrable cultural lines as I do now, and wouldn't have been able to raise my glass of Malbeck wine to toast every type designer who was before me, is with me, and will be after me. As recently as ten years ago, I wouldn't have been able to mean these words as I wrote them: It’s a small world. Yes, it is a small world, and a wonderfully complex one too. With so much information drowning our senses by the minute, it has become difficult to find clear meaning in almost anything. Something throughout the day is bound to make us feel even smaller in this small world. Most of us find comfort in a routine. Some of us find extended families. But in the end we are all Eleanor Rigbys, lonely on the inside and waiting for a miracle to come. If a miracle can make the world small, another one can perhaps give us meaning. And sometimes a miracle happens for a split second, then gets buried until a crazy type designer finds it. I was on my honeymoon in New York City when I first stumbled upon the letters that eventually started this Affair. A simple, content tourist walking down the streets formerly unknown to me except through pop music and film references. Browsing the shops of the city that made Bob Dylan, Lou Reed, and a thousand other artists. Trying to chase away the tourist mentality, wondering what it would be like to actually live in the city of a billion tiny lights. Tourists don't go to libraries in foreign cities. So I walked into one. Two hours later I wasn't in New York anymore. I wasn't anywhere substantial. I was the crazy type designer at the apex of insanity. La La Land, alphabet heaven, curves and twirls and loops and swashes, ribbons and bows and naked letters. I'm probably not the very first person on this planet to be seduced into starting an Affair while on his honeymoon, but it is something to tease my better half about once in a while. To this day I can't decide if I actually found the worn book, or if the book itself called for me. Its spine was nothing special, sitting on a shelf, tightly flanked by similar spines on either side. Yet it was the only one I picked off that shelf. And I looked at only one page in it before walking to the photocopier and cheating it with an Argentine coin, since I didn't have the American quarter it wanted. That was the beginning. I am now writing this after the Affair is over. And it was an Affair to remember, to pull a phrase. Right now, long after I have drawn and digitized and tested this alphabet, and long after I saw what some of this generation’s type designers saw in it, I have the luxury to speculate on what Affair really is, what made me begin and finish it, what cultural expressions it has, and so on. But in all honesty it wasn't like that. Much like in my Ministry Script experience, I was a driven man, a lover walking the ledge, an infatuated student following the instructions of his teacher while seeing her as a perfect angel. I am not exaggerating when I say that the letters themselves told me how to extend them. I was exploited by an alphabet, and it felt great. Unlike my experience with Ministry Script, where the objective was to push the technology to its limits, this Affair felt like the most natural and casual sequence of processions in the world – my hand following the grid, the grid following what my hand had already done – a circle of creation contained in one square computer cell, then doing it all over again. By contrast, it was the lousiest feeling in the world when I finally reached the conclusion that the Affair was done. What would I do now? Would any commitment I make from now on constitute a betrayal of these past precious months? I'm largely over all that now, of course. I like to think I'm a better man now because of the experience. Affair is an enormous, intricately calligraphic OpenType font based on a 9x9 photocopy of a page from a 1950s lettering book. In any calligraphic font, the global parameters for developing the characters are usually quite volatile and hard to pin down, but in this case it was particularly difficult because the photocopy was too gray and the letters were of different sizes, very intertwined and scan-impossible. So finishing the first few characters in order to establish the global rhythm was quite a long process, after which the work became a unique soothing, numbing routine by which I will always remember this Affair. The result of all the work, at least to the eyes of this crazy designer, is 1950s American lettering with a very Argentine wrapper. My Affair is infused with the spirit of filete, dulce de leche, yerba mate, and Carlos Gardel. Upon finishing the font I was fortunate enough that a few of my colleagues, great type designers and probably much saner than I am, agreed to show me how they envision my Affair in action. The beauty they showed me makes me feel small and yearn for the world to be even smaller now – at least small enough so that my international colleagues and I can meet and exchange stories over a good parrilla. These people, whose kindness is very deserving of my gratitude, and whose beautiful art is very deserving of your appreciation, are in no particular order: Corey Holms, Mariano Lopez Hiriart, Xavier Dupré, Alejandro Ros, Rebecca Alaccari, Laura Meseguer, Neil Summerour, Eduardo Manso, and the Doma group. You can see how they envisioned using Affair in the section of this booklet entitled A Foreign Affair. The rest of this booklet contains all the obligatory technical details that should come with a font this massive. I hope this Affair can bring you as much peace and satisfaction as it brought me, and I hope it can help your imagination soar like mine did when I was doing my duty for beauty.

Galavant will take you anywhere you want to go! Enjoy three font looks in one; a fun, chunky lower-case, a bold, animated upper-case, and in all-caps with discretionary ligatures turned on, Galavant is tightly interlocking. To explore the interlocking possibilities, turn some ligatures off and others on until you settle on the best combo. There are over 260 two, three, and four-letter ligatures available. Discover interlocking ligatures featuring lower-case "i" along the road as well. In sentence-case, turn discretionary ligatures off, except to add more handmade variation in double-letter pairs and to access a fine "ft". However you roam, Galavant aims to entertain.

The proudly present an elegant font that always outstanding in every your project design. Garlic font is a versatile typeface that perfect for designing a headline, title, wedding invitations, logotype, quotes, advertisements, and more. Garlic font offered 4 styles set such as regular, italic, outline regular, and outline italic so you can be combining to make a more elegant and beautiful design. What's included Garlic regular and italic (otf, ttf, and web font) Garlic Outline regular and italic (otf, ttf, and web font) Multilingual, support 17 languages If you have any questions don't hesitate to drop me a message. Stay safe, healthy, and have a nice day

The Harler Mixgiter blends retro 70 style with balloon typography combined with simple serifs and modern elegance, The Harler Mixgiter is fully featured, in each letter there are attractive alternatives and added bonuses that make you feel youthful in realizing your designs. want. so what are you waiting for? Harler Mixgiter is suitable for movie titles, posters, logos, quotes, product packaging, clothing designs, book covers and many other uses. What's included? - Uppercase characters - Lowercase characters - Foreign language support: ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÐÑÒÓÔÕÖØÙÚÛÜÝß Bonus FEATURES The Harler Mixgiter (OTF) The Harler Mixgiter Bold (OTF) So what are you waiting for? immediately buy this font, Thank you for seeing it. Regards, IM Studio.

If you're feeling a chill in your bones and the grass is a little crunchy under your feet after looking at this font, you might like to put your feet in warm water when you get home if to stave off a little Frostbite. This remastered font family is a chip off the old block, and will help you thaw out before your skin starts to freeze and flake. We recommend you melt Frostbite cubes in the warm water too to ensure you don't stick to the ice. We also recommend you don't lick the letterforms, as we know our customers are wont to do.

When a type design job needs a bit of snap, yet needs to remain unconventional, think of Quirkley JNL. Its name speaks volumes - a bold, quirky sans serif - great for headlines and display work.

Windevere is a family of display faces designed for easily readible headings and titles that convey a sense of speed and motion. The family includes three faces: Windevere Regular, Windevere Bold and Windevere Rounded.

Retro Boldy, a Bold, classy, contemporary of script font, inspired by 90s Era. Retro Boldy offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

Rickety Stairs is a cute and neat handwritten font. This adaptable font will look great on a variety of design ideas. It will add a fun and friendly touch to each of your projects!

This font is designed to create typographic textures. It's based on Ankara Display but not in the same family because of some of its different forms. Also, its angular forms give a digital impact.

Modeled from a set of individual painting stencils, Mess Hall JNL is named for the armed services cafeteria where thousands of enlisted men endured bland, boring meals day in and day out for years.

This font consists of individual pieces that can be combined to make a wide variety of borders. For each border design, the pieces generally include four corners, a vertical section, and a horizontal section.

Denso is a font family delivering great force using minimum space. It supports 111 languages, features a total of 309 glyphs and includes an outlined and italicized version for each of the 3 weights.

Contra Condensed is the condensed version of my Contra family of fonts. It is very condensed, but not yet narrow. It is well suited in all situations were one needs to save space. Enjoy!

Movieland JNL is a re-working of Jeff Levine's Art Deco-styled Wingate JNL, with more traditional letter shapes; making it perfect for creating (or recreating) the compact look of movie poster production credits.

Copperplate Classic Light Floral is the latest addition to my Copperplate Classic Group of fonts. The floral decorations go perfectly well together with the classic forms of the Copperplate. Your decorative designer Gert Wiescher.

Designed by Les Usherwood. Digitally engineered by Paul Hickson. Les based the design on a turn-of-the-century typeface of the same name. The foundry is believed to be Soldans & Payvers, circa 1904.

South Town is a simple and flowing handwritten font. This adaptable font will look great on a variety of design ideas. It will add a fun and friendly touch to each of your projects!

Mastone was inspired by the bubble typography trends nowadays in the graphic design industry. A fresh mix of y2k culture, streetwear visuals, and brutalism yet an experimental touch of bubble throw-up graffiti styles.

Seindah Cinttya results out of a stunning pairing of a brush pen that makes it look incredibly endearing and authentic. Use this gorgeous and unique script font to bring any DIY project to life!

Zedou was inspired by old Art Deco flavoured signage from the former French colony of Madagascar. It has a mechanical yet organic feel to it, and consists of four display weights covering Latin Pro.

ITC Tiffany font was designed by Edward Benguiat, a highly contemporary blend of two fonts, Ronaldson and Caxton. The best characteristics of both were combined to produce a refined and refreshing font, ITC Tiffany.

Qara is a breathtaking Didot font that exudes elegance, luxury, and an unparalleled sense of fashion. With its sleek and refined design, Qara captures attention and adds a touch of sophistication to any project.

A stencil font you won't find anywhere else. Part of Market LTD, a collection of limited faces, mostly alpha-numeric and some just plain numeric, used primarily in retail and display situations and titling.

St Transmission was one of the first ambitious projects for Stereotypes. Building a complete family with a lot of weights along with the italics. Transmission supports extended Latin character set, plus Cyrillic and Greek.

This is the "Starslang" font, that features a star shape embedded within the letters of the vowels. The theme was designed to enlighten the mood and spirit with a fun mood of urban atmosphere.

Mighty Oaks is a collection of stylized oak leaves. There are 47 oak leaves located under the character set keys. There is a flopped version of each leaf located under the shift+character key.

Anniversary Seals is composed of a seal design reminiscent of the embossed foil seals used in commemorating company anniversaries. The font contains 100 consecutive characters from the first anniversary through the one-hundredth anniversary.

A new Version of Turquoise Roman Capitals. With specials Tuscan Serifs to add more engraving feel. Turquoise Tuscan is full of ligatures and awesome alternates. Perfect for big headlines, logos, branding and wine labels.

Potenciarte is an all-caps display typeface inspired by the facade of old buildings from the era of Nederlandsch-Indie (1900’s) in Surabaya, where Art Deco & Art Nouveau typographic styles were widely used.

Never Give Up is a simple and friendly handwritten font, featuring the perfect amount of trendiness. This original look will appeal to a wide range of crafty ideas, from letterheads and titles to stationery.

Shayan is an interesting display font inspired by the style and feel of the Middle East Arabic. This font is suitable for branding logos, Ramadan themes, and any other projects you can think of.

Inspired by the former hot-metal fonts of Imprimatur, Gmuender Antiqua Pro is a fresh designed versatile and multilingual serif font family. All five styles contain three different forms of numbers and small caps.

Clobber Grotesk is a grotesk typeface family designed for high readability. It includes a range of weights and a stencil variant. The terminals of the letterforms are slightly flared in order to increase legibility.

»Guilloche B« is a set of graphics that join with each other to form very sophisticated, op-art-like borders. Try them on lots of different assignments, they form very surprising bands or patterns.

Gilas is a beautiful script font, carefully created with a touch of romantic essence. This is a beautiful combination of timeless elegance and authentic calligraphy, and includes beginning and ending swashes for the lowercase.

Bomber was inspired by the lettering used on the vehicles of the U.S. military. This font works great as an old-school style of athletic lettering. Also included is a fifteen character dingbat set.

Belagia is a beautiful script font carefully created with a touch of romantic essence. This is a beautiful combination of timeless elegance and authentic calligraphy, and includes beginning and ending swashes for the lowercase.

Donuto is a bold rounded font. It's suitable for create logos and branding of food, children's and eco-products. The font contains a number of alternate characters, which allows you to create unique combinations.

Dujour is an art deco revival of the 1930s typeface Independent from the Collette and Dufour typefoundry. Steve Matteson created Dujour to enhance posters, signs or other documents with a touch of historical boldness.