Hermann Zehnpfundt’s Enge Journal Antiqua, released by the Emil Gursch Foundry, Berlin, in 1910, revived and redesigned. This font contains also a long s, which can be reached by typing option + b, or turning the round s into the long one by using the OT feature historical forms. It is recommended to also use the OT feature discretionary ligatures to get access to all ligatures in this font.

I remember a tea ceremony I attended in Fukuoka, Japan. The teahouse was set in a small, but beautiful garden and the whole idea of the ceremony was to appreciate the view from the porch. I thought the tea was quite bitter, but the view was unsurpassed. From time to time these memories pop up and I have to use them - that is why I named this font Teacup. Teacup is a slightly eroded all caps font, made entirely by hand with a Japanese marker pen and some high quality textured paper. It comes in a romantic open style and a more solid closed style. Teacup is filled to the brim with diacritics.

The Heat is On! Comicraft's ace lettering artists Richard Starkings and John 'JG' Roshell created this font for Marvel's Fantastic Four title. Now, you don't have to be Johnny Storm to light up, but we would like to remind you that The Human Torch is a comic book character and you are not! Also, smoking is bad for your health.

Kedem is a multilingual serif font inspired by heritage posters from the time of Israel’s national founding. The font is characterized by wide letters set at unusual angles, distinctive negative spaces, an upbeat cadence and a free and nostalgic spirit. Kedem spans five weights, including “Ultralight” – a monoline inline style. As the weight of Kedem increases, the contrast between its serifs and the shape of its letters is magnified. Kedem supports Hebrew, English and Russian (designed by Anna Khorash), as well as 181 additional Latin and Cyrillic languages.

Alizarine is an elegant and luxurious serif font with flowing embellishments. This posh typeface features medium weight with a matching italic, and includes many capital ligature pairs. Excellent for high fashion couture, jewelry, boutique logos, perfume branding, arts organizations, museums, book titles, web banners, and much more.

I like posh English words - the ones you read in books, but actually never use. Erstwhile is such a word; it means ‘former’, but if you use it while talking to someone, it sounds quite odd. Erstwhile is a classy font family - crafted in Holland (with love!).

Font designed from that used by Gutenberg in Mayence to print the 42-line bible in 1456. The original font has too many characters for a true type font. Many of them have - in 2008 - no more utility. This font include "long s", naturally, as typicaly medieval, but also a lot of ligatures and abbreviations as "...us", "...rum" "...s" "...r...". A render sheet, added, help to identify them on keyboard. Uses include web-site titles, posters and flier designs, editing ancient texts or greeting cards as a very decorative font... This font support easily as enlargement as small size, remaining clear and easy to read.

NovaSans is a modern geometric sans-serif font which captures the spirit of Bossa Nova, a noble Brazilian music style. Music and typography presents several things in commom, so the idea behind the font is show some of bossa nova’s characteristics, like melody, cadence, softness, metric, simplicity, waves, subtleties. Some gaps in representing the source of irregular alignment scores. NovaSans also was selected for Tipos Latinos Bienal, in the Display faces category. NovaSans was built with a modular system. Its whole set offers almost 280 glyphs with alternates, dingbats and ornaments. Conceived to be used as a display typeface, NovaSans is recommended for use at large sizes.

Font Makenn01 is inspired by Asen Petrov’s Perfograma font , based on in the IBM Harvard Mark 1 machines the first electromagnetic computer presented by Howard Aiken this november 84 years ago ,in fact this basic technology received its instructions and data trough punched tapes . It is therefore an interpretation in wich circumferences have been used instead of circles linked with a line , and the name used also refers to Mark 1 calling it Makenn 01 , giving a touch of identity since this name resembles , Carmen my name , the 01, is like a restart of 0 , with the 1 of the Mark 1. It has Greek and Cyrillic characters.

I discovered GrocersScript on the market Cours Saleya in Nice. I always buy my foodstuff there when I am in the area. I developed the whole font from some fragments. If you ever come to Nice, you must absolutely visit that market as well as the one in Cannes. Yours very hungry Gert Wiescher

Attaboy is a posh word for ‘well done’. It was made with a broken marker pen to give it that ‘eroded’ look. It is an all caps typeface, but upper and lower case can be mixed. Attaboy comes with stylistic alternates for the lower case glyphs and all the diacritics you need.

Simple - The Bilingual Font. The process of Simple began with the usual alphabets followed by a series of icons and soon it was an avalanche of Chinese characters. The pool of proposed Chinese characters were loosely determined by the needs of a lunar calender. In a nutshell, Simple is a single-weight, minimal, grid-based Sans-serif display. Prudent with details and sturdy in form, the geometrically-driven structure marks the foundation of a cross-cultural assortment of Latin alphabets, Chinese characters and thematic icons. After months of extensive typesetting, Simple is also realized to be well-catered for use in graphical information design in games and tournaments, logotypes, advertisements and headlines. http://www.behance.net/gallery/Simple/847905

Drummer is a large futuristic font family inspired by the Expansion TV series, old science fiction book covers and Honda Prelude and Porsche logos. The family contains a large number of styles and a lot of language support. 54 styles, 6 in width (Ultra Condensed, Condensed, Normal, Expanded, Extra Expanded, Ultra Expanded) and 9 in weight (Thin, Extra Light, Light, Regular, Medium, Semi Bold, Bold, ExtraBold, Black). The font also has a variable version. 573 glyphs, including 40 alternate characters. A lot of work has been done on the font. The fillets on the symbols have been well worked out and tested for a better visual and practical experience. The font combines the monospacing of many characters combined with kerning, which makes it very convenient for many purposes, such as vertical typography. The font is good in all sizes, both small and large, which makes it possible to use it anywhere. Branding, logos, titles, posters, texts, covers, merch, prints, web, titles, banners, games and design in games and much more. In the near future, it is planned to add another axis of variability - the slant. Consequently, the family itself will increase. It is also planned to add a small case (capital). If you want to say something about the font or get a font in other formats, then write to the mail: bunineugene@gmail.com .

Patricia Pothin-Roesch's Tendria typeface bases its letterforms on the logo for the French “Tendriade” mark. Clearly inspired by writing and hand lettering, Patricia Pothin-Roesch began her work on Tendria in Adobe Illustrator. After a few letters, she went back to designing the old-fashioned way: drawing by hand on layers of tracing paper. Tendria is a sturdy upright script face with a warm, childlike feeling. Its letters are like the typefaces often used in primary schools; the counterforms are large and open. The name Tendria is reminiscent of the French word for tender, “tendre.” Designers who set Tendria lovingly will reap rewards; this is an excellent addition to a display heading toolkit.

High Society, upper class and very posh indeed! Magnifique is a modern, elegant, stiff upper lipped serif typeface. Classy, luxurious and opulent, Magnifique is ideal for markets such as fashion, jewellery, perfumes and grand events. The typeface contains uppercase and small caps. The glyph set includes all languages covered in Basic Latin, Latin-1 Supplement and Latin Extended-A scripts.

Organic Brush, the epitome of green design, seamlessly blends handwritten finesse with organic charm. Its strokes mimic flow of nature, creating an unmistakable authenticity that resonates with eco-conscious consumers. Each letter exudes a raw, unprocessed feel, making Organic Brush the go-to font for brands committed to conveying an earthy aesthetic. With Organic Brush, the typography becomes a celebration of sustainability, mirroring the values of eco-friendly and natural product lines. The font's organic cadence is like a visual symphony of growth, perfectly harmonizing with labels, packaging, and promotional materials, as it weaves a narrative of authenticity and environmental consciousness. Elevate your brand's identity with Organic Brush, where the language of design speaks fluently in the dialect of the earth."

A ‘Brochette’ in French is a skewer. I used to be a tour guide and some years ago, I guided a couple of tours in Mali. Every night at dinner we had the choice of a ‘Brochette de Capitaine’ (grilled Nile perch on a skewer) or a ‘Brochette de Bœuf’ (grilled beef on a skewer). Of course, every night the Brochette came with French fries and ‘petits pois’ (peas). It was really nice, but after 4 months of eating Brochettes, I longed for something different! Brochette is a very nice rounded font. It comes with curls, swirls and swashes.

The other day I drank a glass of white wine, which was partly made with Colombard grapes. When I created this font, I needed a bit of a ‘posh’ name, so I settled on Colombard. Colombard is a nice, handwritten font. Quite elegant, but cheeky at the same time. It comes with extensive language support and a full set of Discretionary Ligatures for double letter combinations.

How should an authentic baudelairean type look like? Aesthetically beautiful, that’s for sure. Intellectual, neurotic. Uptight — oh, the conventions of the time. Easily readable — still 20 years to go until the age of art nouveau with its outrage of typefaces. It may have a vibe of a Paris salon - salute to the Parnassiens. Such a modern-class (don’t mix it with the modern-styled) pharmaceutical Antiqua. Contrasts, thin serifs, the integrity of the operating theatre. But Baudelaire is not Heredia. «Une charogne» is not that much a vivid metaphor as a drawing from nature. The baudelairean typeface should have its cavern, flow, dark side. Not to demonstrate the fragile romantic profile of a cursed poet, as Baudelaire was seen 130 years ago, but to express the real pain. A true, unattractive, egoistic, suicidal passion.

Since 1985, Cartoonists Across America & The World have been promoting literacy, creativity, the arts, and other positive issues using cartoons and humor. Founder Phil Yeh and his band of artists -- including Comicraft President and First (Flying) Tiger, Richard Starkings -- create books, paint murals, take part in school assemblies, conventions, conferences and other public events for all ages throughout the world! Cartoonists Across America & The World have worked in partnership with the Center for The Book in The Library of Congress and other organizations all over the world. They have painted more than 1000 murals in 49 of the United States as well as in Canada, Mexico, Italy, England, France, Germany, Hungary, The Netherlands, China, Taiwan, Singapore, and the Cayman Islands. So we made Phil a font 'cause he's a noble soul. Avoid Extinction -- Read, Reuse, Reduce and Recycle!

RARE BIRD SPECIMEN I From the the doyenne of modern calligraphy - Maybelle Imasa-Stukuls - we bring you Specimen I, a charming script lettered in Ms. Imasa-Stukuls' signature hand. OBSERVATIONS Specimen I stands on its own. Its subtle nuances make it stand out in a flock of fonts. It is easily recognizable, but it is never one to be too showy. Give it plenty of white space, so every quirk and curve can be noted. DEFINING CHARACTERISTICS Opentype programming, old style numerals, in and out-stroked letter forms at beginning and end of words, six alternate lowercase t cross-strokes, Roman numerals, seamlessly connecting script ligatures, alternate lowercase letters, realistic double-letter ligatures, basic Latin encoding. POTENTIAL SIGHTINGS Book covers, children's literature, broadcast titling, unique product designs, website titles, logo designs, restaurant menus, and gourmet food labels.

Alfina is a chancery typeface that shows a modern temperament, but is inspired by the eponymous town of Torre Alfina, one of the most beautiful medieval villages of Italy, situated on the edge of the plateau Alfina, a few miles from of Orvieto. The place where is the castle is steeped in history. Its roots date back to the Lombard kingdom (seventh century); later it was under the rule of Monaldeschi (1200-1700) and more recently (1880) the property of the rich French banker Count Edoardo Cahen of Antwerp, who was responsible for the present aspect of the Castle. Alfina has soft lines, very slender upper cases and thin overlapping strokes; The stylistic alternates are particularly important, and the type is enriched by many, different OpenType features.

Au Revoir - saying goodbye is one of the hardest things in life, but in a sense it is also beautiful: there is a promise of seeing each other again, as 'Au revoir' literally means: 'to the next time we see one another'. Au Revoir font is slightly cursive, elegant without being posh, simple and legible. You could write a poem or a farewell letter with it, but I guess its simplicity lets you use it in various other, less dramatic, designs.

Jheronimus is a neo-humanistic grotesque. A font with an open aperture. It has straight terminals and a moderated height of the lowercase characters. Jheronimus is a font with a uniform ordered rhythm. Well readable on the screen in small size. Consistent letter proportions. The rounded elements are pill shaped and the font has pronounced connections strokes. Punctuation marks are well decorated. Jheronimus will satisfy the demanding typographer. There are oldstyle figures in the best traditions of humanism. The bright recognizable character is combined with a clear form. This creates a sharp, crystal impression. Jheronimus is suitable for the design of an ambitious, temperamental text. It is stylistically similar to the paintings of the Dutch artist Hieronymus Bosch. From this comes its name.

"Shinobu" is an elegant psychedelic display font that combines characteristics of Art Nouveau and Modren San serif types. The name "Shinobu" comes from the anime character " Shinobu Kocho" from an anime called "Demon Slayer". Like "Shinobu's" characteristics, This exudes elegance and poshness while still having that quirkiness. This display font is intended to be used in big-scale designs such as headlines, posters, flyers, apparel, quotes, greeting cards, product packaging, album covers, movies, and more. *This font includes letters, numbers, alternates, and all essential marks needed.

A Blocky Geometric Techical typestyle Modulate began as a digitization of a film typeface from LetterGraphics in the early 70's known as "Cadence". The original specimen included standard Capitals and Lowercase, Numerals and minimal Punctuation, a bare bones character set, previous only available on film and only in an upright stance. We've fleshed out the Modulate typeface to include a full standard character set, an extended international set, and a handful of alternate character styles. We've also added an oblique style that suits its techno design. Both vintage and modern feeling, with a dynamic techno presence, Modulate draws attention without being outlandish. See the 5th graphic for a comprehensive character map preview. Bare Bones Opentype features include: - Standard fi and fl ligatures - Stylistic Alternates Letterforms for: EFLTZ and ftz characters - Approx. 411 Character Glyph Set: Modulate comes with a glyphset that includes standard & punctuation, international language support, and minimal additional features.

Velo leads layouts with a grand tour champion’s panache but is also a hard-working design domestique for text-heavy applications. Superelliptical shapes and sturdy serifs will keep pace with contemporary culture with an aesthetic agility that will never go out of style. Velo Serif includes sixteen fonts: Twelve display styles ranging from thin to black with complementary italics and four text styles designed for longer settings. Velo Serif Display features an increased x-height for more illustrative headlines while Velo Serif Text maintains a readable cadence in high word count environments. Typeface design by House Industries, Christian Schwartz, Mitja Miklavčič and Ben Kiel. FEATURES Text vs Display: Velo Text maintains the distinctive style of its Display siblings, but is enhanced for optimum legibility in running text settings. Key ligature combinations keep headlines and running text flowing smoothly. Velo Serif Text includes a complete small cap alphabet to add another typographic dimension to your layouts. Select Velo Serif figures include illustrative alternates to display numerical superiority.

Bengala is a font based on Calligraphy & Geometry designed by Carlos Fabián Camargo. Its purpose is to be an innovative typographic system combining Script letters with geometric and hard Caps letters. The contradictory styles are ideal for designing covers, posters, branding and packaging. Its smooth calligraphic look meticulously incorporates characters to design logos and phrases that communicate dynamism and strategy. Bengala Script was inspired by Mistral by R. Excoffon. Bengala Script provides violent and unstable lines with generous spacing between the letters and tight horizontal proportions, producing showy upper and lower case italics inspired by French Gothic calligraphy late fifteenth century. For this reason, Bengala Script retains some uninterrupted calligraphic logic, up and down sometimes higher or shorter than the height of the lowercase, creating dynamism through a variable amount of contrast between thick and thin strokes. Bengala Dingbats has 62 drawings designed to accompany the designs. Script and Caps Bengala have different gender and the similar X height produces more visual appeal. This way Bengala Caps - inspired by the Porshe logo, due to its geometric uppercase Roman construction, extended horizontal proportions, light caliber, rounded strokes terminations and generous spacing between letters. Special thanks to John Moore and Manuel Corradine for their help with Open Type.

A few fonts ago I mentioned the fact that I like posh English words; words you don’t really use in conversation. As I am busy expanding my ‘halloween’ font collection, I came across the beautiful word Nefarious. It means wicked or evil and when you say the word, it even sounds evil! Fantastic! Nefarious is a halloween/witches font. It looks like my Griezelig font, but it is rougher and spikier. Use Nefarious for your halloween invitations, posters and books about evil geniuses. Comes with all diacritics and a bunch of swashes as well.

Swansea font is an ornate and elegant serif typeface providing both roman and italic variants. The old world strokes and flourish embellishments are fused with a modern uniformity that makes this type versatile and useful in many contexts. A collection of two character ligatures bring out additional possibilities (It's easy to override these ligatures in the Glyphs menu of most design software packages.) It's excellent for posh specialty branding applications, antique themes, fine art publications, fashion, and much more. This font also includes the complete Cyrillic character set for Russian, Belarusian, and Ukrainian.

Alfina Notte is a chancery typeface that shows a modern temperament, but is inspired by the eponymous town of Torre Alfina, one of the most beautiful medieval villages of Italy, situated on the edge of the plateau Alfina, a few miles from of Orvieto. The place where is the castle is steeped in history. Its roots date back to the Lombard kingdom (seventh century); later it was under the rule of Monaldeschi (1200-1700) and more recently (1880) the property of the rich French banker Count Edoardo Cahen of Antwerp, who was responsible for the present aspect of the Castle. Alfina Notte is the bold version of Alfina, a type with soft lines, very slender upper cases and thin overlapping strokes; The stylistic alternates are particularly important, and the type is enriched by many, different OpenType features.

Solingen is an elegant display serif font well suited to logo design applications. The capital letter set features many unique double-letter pairings which serve as inspirational design features when creating posh, delicate, and luxurious logos. Suggested uses for Solingen might include high-end branding for boutique apparel, accessories, jewelry, or cosmetics; unique wedding invitation headlines; packaging for personal care items, and much more. In many applications, the ligatures feature is turned on by default as Standard Ligature alternates, but these can generally be easily overridden in the Glyphs panel when you prefer to use the standard characters instead.

From the abyss and the quarantine hell, drawn in absolute lonelyness, and finished during the darkest hours of confinement… "Guau" is born, the type that barks directly at your face! "Guau" is a high-contrast display font with as many weights and versions as there are types of puppies in this fantastic world. It is thought to bring up glances in middle and heavy boxing weights, although you can also take its compressed and italic styles just for a walk. "Guau" is a font with three axes (italic, weight and width) and 20 instances, and it also contains thousands of glyphs and Opentype features that means a "guaorld of posibilities". This name comes from the time when you could only go to the street to take a walk to your pooch. Definitely, "Guau!, your new best friend!".

Young, playful, loopy, flirty. Flirt Script® carves out a niche for itself by concentrating on natural writing tendencies and not the simplified mechanics of script-to-font type design. A free-flowing monoline, the two weight typeface exploits the common letter-to-letter transitions of the typical cursive hand by utilizing three variable-height strike points controlled within the machinations of OpenType Contextual Alternates. The ease of writing (and the decisions made from letter to letter) is reflected as the structure and cadence of the writing evolves as the user types. To see it in action, click here USE CONTEXTUAL ALTS Flirt Script® is equipped for complex, conscientious, professional typography. As an exclusively OpenType release, these fonts feature over 2700 glyphs and an extended character set to support Central and Eastern European as well as Western European languages. So, to really let the font perform for you, be sure to have Contextual Alternates activated. Flirt Script® received the “Certificate of Excellence in Type Design” at the TDC2 (2014).

Velo leads layouts with a grand tour champion’s panache but is also a hard-working design domestique for text-heavy applications. Superelliptical shapes and sturdy serifs will keep pace with contemporary culture with an aesthetic agility that will never go out of style. Velo Serif includes sixteen fonts: Twelve display styles ranging from thin to black with complementary italics and four text styles designed for longer settings. Velo Serif Display features an increased x-height for more illustrative headlines while Velo Serif Text maintains a readable cadence in high word count environments. Designed by House Industries, Christian Schwartz, Mitja Miklavčič and Ben Kiel. FEATURES Text vs Display: Velo Text maintains the distinctive style of its Display siblings, but is enhanced for optimum legibility in running text settings. Key ligature combinations keep headlines and running text flowing smoothly. Velo Serif Text includes a complete small cap alphabet to add another typographic dimension to your layouts. Select Velo Serif figures include illustrative alternates to display numerical superiority. 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.

American Spirit STF is a glorious collection of contemporary patriotic symbols: US Flags (traditional and contemporary), a variety of stars, eagles, torches, and combinations of them all. Designed for print and web, this collection is useful for embellishing your designs with a subtle (or not-so-subtle) patriotic touch. The flags have been designed for easy ungrouping in a drawing program, in order to colorize the union and stripes. And as a special feature, American Spirit™ splits the flags into two characters (the union and the stripes) that can be separately colored and will kern together based on the character chosen. Suggestions for doing this are included in every package. This versatile collection also contains a special contemporary version of the US Flag, with rounded corners on the union and stripes, and a five-pointed asterisk-like shape as the stars. (This allows the stars to appear as stars at smaller sizes.) Show your American Spirit! Sign up today for this contemporary collection of patriotic symbols!

Sneakers was a typeface that I originally drew all the way back in 2005, with a release in 2006. Its most recent iteration, Sneakers Pro was released in 2009. Since then, the idea of reworking the design has lingered in the back of my head, but I wanted to add additional flexibility and value to anything offered beyond the originals. Sneakers Max does just that and I am happy to see it released and available to everyone. Sneakers Max raises the bar in terms of functionality… incorporating all of the options found in Sneakers Pro (e.g. Small Caps and a biform/unicase located now in Titling Alternates), but it expands the character offering, improves on letter designs (everything was redrawn) and explores more flexible settings by providing 5 distinct counter widths to keep more uniform multi-line settings with mixed letter heights. Special thanks to Potch Auacherdkul for his additions to the original character set and for his engineering skills.

Hortensia, designed around 1900 by Emil Gursch for his own Berlin foundry, is a typeface most expressive of the post-Victorian aesthetic that was all the rage in both Europe and America during the second half of the 19th century and up until the Great War. It is a reduced aesthetic of sharp points and natural curves that almost want to apologize for their own elegance, but clearly embody the simple excitement about the blossoming of industry and crafts during the period. This deco script trend would get a re-run for about a decade on either side of the second World War — especially in the entertainment and financial industries — before giving way to art nouveau and big brush faces. Hortensia was Gursch's most popular typeface, used extensively and prominently in many beautiful type catalogs, and a commonly seen design element in Germany for quite a while after its release. This digital version brings plenty of fixes and additions to the original metal Hortensia design, including many alternates sprinkled throughout the character set, and support for a wide range of Latin-based languages (including Central European, Baltic, Turkish and Welsh).

When you hear that name, you likely ask yourself, ‘why?!’ I did too, but the number of requests could not be ignored. Once I finally decided to move forward with it, the only way to solve the offering would be to adhere to the same theme of indulgence, I planned for the same number of optical weights AND Italics. Yeah, italic stencils… ok, why not? It’s not a new concept. One thing to note and a creative liberty I assumed during the design. Lust Stencil would not be just a redaction or removal of stress to produce a quick stencil. To do that, would just be a cheap solution. Strokes had to resolve themselves correctly and/or uniquely to the concept of the stencil format. And, it had to be heftier. For it it to look correctly, it needed about 8% additional mass to the strokes for it to retain the effervescent flow of the curves and the resolute scalloped lachrymals. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine. It would have taken even longer if not for font engineer and designer, Potch Auacherdkul. Thanks Potch.

Halloween lends itself to graphic images: witches, ghosts, bats, jack-o'lanterns and haunted houses. When we think of a haunted house, we generally think of a large, abandoned, derelict Victorian wood-frame house. The style is usually Second Empire or Queen Anne. There tends to be a lot of decoration. There is usually a porch or two with decorative spindle work. There is probably a tower, either square with a mansard roof such as one might see in Paris or round with a conical roof borrowed from a Loire Valley chateau. These houses were generally built in the United States between 1860 and 1900, products of the exuberance of a time before income tax. It took at least three servants to maintain such a house and was very expensive. Few can afford them today. That is why so many were converted to professional offices, multi-family dwellings or simply abandoned. HAUNTED HOUSE is our typographical contribution to Halloween. Based on our font PETRARKA ML, it features decorative capitol letters that utilize the silhouette of a Second Empire style house complete with a dead tree and a full moon. The font includes 8 ornaments suitable for flyers and party invitations. Revision 2.000 eliminates dual encoding, harmonizes metrics, adds new glyphs, and adds open type features. The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.