Introducing vintage label font named Fishman. This font has a multilungual characters support (check out all available characters on previews). The font family has six styles: Regular, Shadow, Light, Shadow FX, Light FX, Aged. This font will look good on any vintage styled designs like a poster, T-shirt, label, logo, etc.

This engaging headline face is based on a rather pudgy typeface named "Bullion Shadow", which was originally released somewhere on the cusp between the hippie and disco eras, and was equally at home in both. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

Better Step is a handmade font with stunning characters. Made with a brush and high-quality water-based ink. Ideal for name tags, handwritten quotes, product packaging, merchandise, social media, greeting cards, etc. To make your designs look even more naturally handwritten, Better Step has 1 extra set of alternate lowercase letters.

With the name Helvetica (Latin for Swiss), this font has the objective and functional style which was associated with Swiss typography in the 1950s and 1960s. It is perfect for international correspondence: no ornament, no emotion, just clear presentation of information. Helvetica is still one of the best selling sans-serif fonts.

Challenge is the work of English designer Martin Wait. The brush lettering gives the typeface a unique, spontaneous quality. Capitals should be set closely and lowercase letters overlapped to produce the look of authentic handwriting. Challenge is at the same time informal and authoritative and good for a variety of display applications.

A cool looking bouncy font, with its unique characters, you can actually mix caps and lowercase letters in the same word. Sugar Shack allows you to be as creative as you want, it has its own designed animation built into the font. Experiment with the characters and you will be quite satisfied.

The Scrivano family was designed by Ricardo Esteves Gomes, inspired by some handwritings from the Middle Ages and Renaissance period. There are four elegant organic font styles (Regular, Italic, Bold & Bold Italic) that can be very useful to compose long or short texts in graphic standards that need some 'old style' feeling.

In Brazil, young people sign their gang names on the top of São Paulo City buildings. Their letters are tall and structured just like the buildings that they have to scale. For them, typography has become an extreme sport. The font Brazil Pixo Reto pays homage to these new athletes of design.

The inspiration for Dotmap came about while researching text size screen fonts for use on LCD and LED displays. Conforming strictly to a matrix there are no kerning pairs and all characters are positioned on a fixed increment providing the user an authentic grid effect. This font is suitable for screen or print.

Pure and not-so-simple Maybe it’s the air of purity, openness and transparency that they transmit, but geometric typefaces are more popular than ever among leading brands. Based on near-perfect circles, triangles and squares, geometric letterforms look uncomplicated, even though making them readable is anything but – something the designers of the first wave of geometric fonts discovered nearly a century ago. Many of the world’s most recognisable brands in technology, retail, travel, food, manufacturing and other industries continue to be drawn to the straightforward, honest character that geometric fonts convey. Fontsmith set out in 2015 to develop a typeface in the same tradition, but optimised for the demands of modern brands – online and offline usage, readability and accessibility. And, of course, with the all-important Fontsmith x-factor built in. FS Lucas is the bold and deceptively simple result. Handle with care The letterforms of FS Lucas are round and generous, along the lines of Trajan Column lettering stripped of its serifs. But beware their thorns. Their designer, Stuart de Rozario, who also crafted the award-winning FS Millbank, wanted a contrast between spiky and soft, giving sharp apexes to the more angular letterforms, such as A, M, N, v, w and z. Among his inspirations were the colourful, geometric compositions of Frank Stella, the 1920s art deco poster designs of AM Cassandre, and the triangular cosmic element symbol, which led him to tackle the capital A first, instead of the usual H. The proportions and angles of the triangular form would set the template for many of the other characters. It was this form, and the light-scattering effects of triangular prisms, that lit the path to a name for the typeface: Lucas is derived from lux, the Latin word for light. Recommended reading Early geometric typefaces were accused of putting mathematical integrity before readability. FS Lucas achieves the trick of appearing geometric, while taking the edge off elements that make reading difficult. Perfectly circlular shapes don’t read well. The way around that is to slightly thicken the vertical strokes, and pull out the curves at the corners to compensate; the O and o of FS Lucas are optical illusions. Pointed apexes aren’t as sharp as they look; the flattened tips are an essential design feature. And distinctive details such as the open terminals of the c, e, f, g, j, r and s, and the x-height bar on the i and j, aid legibility, especially on-screen. These and many other features, the product of sketching the letterforms in the first instance by hand rather than mapping them out mechanically by computer, give FS Lucas the built-in humanity and character that make it a better, easier read all-round. Marks of distinction Unlike some of its more buttoned-up geometric bedfellows, FS Lucas can’t contain its natural personality and quirks: the flick of the foot of the l, for example, and the flattish tail on the g and j. The unusual bar on the J improves character recognition, and the G is circular, without a straight stem. There’s a touch of Fontsmith about the t, too, with the curve across the left cross section in the lighter weights, and the ampersand is one of a kind. There’s a lot to like about Lucas. With its 9 weights, perfect proportions and soft but spiky take on the classic geometric font, it’s a typeface that could light up any brand.

Pure and not-so-simple Maybe it’s the air of purity, openness and transparency that they transmit, but geometric typefaces are more popular than ever among leading brands. Based on near-perfect circles, triangles and squares, geometric letterforms look uncomplicated, even though making them readable is anything but – something the designers of the first wave of geometric fonts discovered nearly a century ago. Many of the world’s most recognisable brands in technology, retail, travel, food, manufacturing and other industries continue to be drawn to the straightforward, honest character that geometric fonts convey. Fontsmith set out in 2015 to develop a typeface in the same tradition, but optimised for the demands of modern brands – online and offline usage, readability and accessibility. And, of course, with the all-important Fontsmith x-factor built in. FS Lucas is the bold and deceptively simple result. Handle with care The letterforms of FS Lucas are round and generous, along the lines of Trajan Column lettering stripped of its serifs. But beware their thorns. Their designer, Stuart de Rozario, who also crafted the award-winning FS Millbank, wanted a contrast between spiky and soft, giving sharp apexes to the more angular letterforms, such as A, M, N, v, w and z. Among his inspirations were the colourful, geometric compositions of Frank Stella, the 1920s art deco poster designs of AM Cassandre, and the triangular cosmic element symbol, which led him to tackle the capital A first, instead of the usual H. The proportions and angles of the triangular form would set the template for many of the other characters. It was this form, and the light-scattering effects of triangular prisms, that lit the path to a name for the typeface: Lucas is derived from lux, the Latin word for light. Recommended reading Early geometric typefaces were accused of putting mathematical integrity before readability. FS Lucas achieves the trick of appearing geometric, while taking the edge off elements that make reading difficult. Perfectly circlular shapes don’t read well. The way around that is to slightly thicken the vertical strokes, and pull out the curves at the corners to compensate; the O and o of FS Lucas are optical illusions. Pointed apexes aren’t as sharp as they look; the flattened tips are an essential design feature. And distinctive details such as the open terminals of the c, e, f, g, j, r and s, and the x-height bar on the i and j, aid legibility, especially on-screen. These and many other features, the product of sketching the letterforms in the first instance by hand rather than mapping them out mechanically by computer, give FS Lucas the built-in humanity and character that make it a better, easier read all-round. Marks of distinction Unlike some of its more buttoned-up geometric bedfellows, FS Lucas can’t contain its natural personality and quirks: the flick of the foot of the l, for example, and the flattish tail on the g and j. The unusual bar on the J improves character recognition, and the G is circular, without a straight stem. There’s a touch of Fontsmith about the t, too, with the curve across the left cross section in the lighter weights, and the ampersand is one of a kind. There’s a lot to like about Lucas. With its 9 weights, perfect proportions and soft but spiky take on the classic geometric font, it’s a typeface that could light up any brand.

Multicolored Fonts Many years ago, when Xerox Corporation still had its own font department, I came to Los Angeles in 1985 to train the IKARUS program. One day Bill Kienzel, head of the Xerox font department at the time, said we should go to the Hollywood Hills together; he knew people there who were experimenting with multicolored fonts. After a little wandering through the winding streets of the many hills, we reached a somewhat overgrown, simple family house standing under trees. A group of very inspired designers were waiting for us there. They immediately showed us the works they created using photomechanical tricks. They were fascinating. The American colors and the whole look seemed noble and enchanting. The problem was that this process was very difficult to implement and required a lot of effort on individual letters. They dreamed of a colored font that could be used for normal typesetting. We thought back and forth about how to save the individually colored letters in a common font, but soon gave up because we didn't see a technical option. So this idea and the memory of the time in Hollywood lay dormant in the back of my mind for many years, until at the beginning of this year 2023 I received an order to produce an outline typeface and the story came back to me. Suddenly I knew how to solve the problem from back then: if only the areas that should have the same color in all letters were saved in their own separate fonts, they could be colored independently of each other and later placed on top of each other. I implemented this in the 5 fonts that are now available with the 3 variants “Outside”, “Middle” and “Inside”. Together with the background, 4 colors can be combined with each other. This method works in text programs such as Word or InDesign. In Photoshop or Illustrator, the individual surfaces can also be colored by converting them into paths if the additional “Complete” variants (which contain all 3 contours) are used. There is also a “Basic” variant that can be used to achieve special effects such as overlay, bleed, etc. The first 5 fonts in this series are all based on the principle of contouring. Anyone who claims that you don't need any special fonts because they can be created automatically from any font using common programs is wrong or is only telling only half the truth. Anyone who has ever dealt with this knows that many individual adjustments to the design are necessary after contouring. This has happened in the 5 fonts that are now available and have very different styles. The dream from back then has come true. The user can set any text, long or short, in multiple colors, freely design the color scheme and apply all the usual typographic settings. Volker Schnebel, November 2023

Motopica was born when I watched a show, namely "the pickers". At that time I realized that there were still many communities or people who really loved Western culture (Cowboy), Vintage Style in the 40s - 60s era and Classic Motorbike style (Caferacer). So I intend to combine these three concepts into a single font, and Motopica was born, which brings the spirit of the three styles, namely Western Cowboy, Vintage, Beer and motorbike. Motopica can be used as a Vintage Poster, Vintage Signage, Vintage badge What's Included Motopica Reguler Motopica Italic Motopica College Motopica Bold How to install your new font This font can be used with all software that can read standard fonts. Check out my instagram for update: https://www.instagram.com/anomalikreatif/ Thanks so much for checking out my shop! All the best, Krisna

Beauchef is a sans serif typeface originally created to meet the needs of Centro de Modelamiento Matemático de la Universidad de Chile (University of Chile Center for Mathematical Modeling). Beauchef is a typeface with rough strokes that features subtle optical compensation and does not strictly follow the laws of perception. This typeface might not be too cheerful, but shows a very particular idiosyncrasy of form. Beauchef is as tough as advanced mathematics; however, it is as legible and exact as numbers themselves. This is an avant-garde typeface that resembles the development of mathematics, but at the same time it is as conservative, calm and respectful as clients who require its services. Beauchef is so astonishing as mathematical formulas that mathematicians work with, but at the same time it is as humble as resulting figures.

This font family has derived from a lettering creation for my wedding stationery. One of the most significant momentos for me and my wife Xana (hence the font name - Xanas Wedding). I hope this typography can give a touch of informal elegance and discreet beauty to your projects. There can be multiple applications, since this font is flexible enough to appear as a custom text or a variable, organic, handwritten work. Initial and final swashes: you select a letter (like "a" of xanas wedding inicial swash) and then you type the other letters, but with another font (like xanas wedding bride, for example). In the final of the phrase/name, you type "a" or "d" and select this final letter and switch the font for xanas wedding final swash.

The basis for Series A Signage JNL is Highway Gothic; a type style design formally known as the FHWA Series. The font was developed by the United States Federal Highway Administration, and originally consisted of only capital letters and figures. Each Letter designation represented a character width from "A" (condensed) to "F" (wide). Due to poor visibility at high speeds, Series "A" was discontinued. At one point lower case characters were added to the various widths of the design, but this typeface revival is based on the original guidelines specified in the 1948 (reprinted 1952) book "Standard Alphabets for Highway Signs" [this was the original name for the FHWA series fonts preceding the eventual name change to Highway Gothic]. Unlike the original, Series A Signage JNL is available in both regular and oblique versions.

Omnibus is one of my absolute favourites. My intention was to design a typeface as easy to read as Baskerville, without being a copy of it. It is easy to see that I was influenced by Baskerville, e.g. in the open lowercase g. I had in mind to design a Baskerville with the looks of the Baskervilles used in earlier typesetting. I put aside those plans for a while (but fulfilled them later on) and dedicated myself to Omnibus. In both cases my aim was to achieve a typeface with darker looks than the most used Baskerville. The name has nothing to do with buses, it is Latin with the meaning of for all". It is also in the name of Omnibus Typografi. Omnibus was released in 1993.

Bramante™ is an original display font by LetterPerfect Fonts, designed by Garrett Boge in 2020. It is modeled after a fifteenth-century inscription in the church of Santa Cecilia in Trastevere, Rome. The name is a tribute to the pre-eminent Renaissance architect Donato Bramante, whose Tempietto (1502, San Pietro in Montorio) marked the beginning of the High Renaissance in Rome. In 1503 he was named lead architect for the new St. Peter's Basilica, which was completed by Michelangelo, Maderno and Bernini a century later. Based on the pervasive use of Adobe Trajan as a classical-inspired titling face, LetterPerfect offers this Renaissance revival of imperial Roman capitals as an alternative with additional refinement and personality. (The full size capitals are complemented with small capitals in the lowercase positions.)

It is still a mystery to us why Martin Wilke's 1968 Konzept design was ignored by the digital age. It certainly has the elements of attractive yet realistic handwriting, as well as a few very distinctive letters that make it very unique in its class. So here it comes digitally under another feline name from Canada Type. We named it Cougar because the top of the C gives off just that impression. Ditto the G's casual descender, and the gorgeous a and g. With casual letters like these, a handwriting font cannot get any more realistic. Cougar is ideal for handwritten notes, both long letters and friendly short sentences. It's also great for use in scrawl design, titling, or any environment where friendly and casual appearance is of importance.

The origin of this font was a frieze in the RAF Chapel in Westminster Abbey which Michael Harvey was commissioned to design and create. It was comprised of the names of the top brass in wartime Bomber Command, namely Dowding, Harris, Newall, Tedder, Portal and Douglas. The Brief was to cut the letters in bronze and gild them. Instead, they were cut in perspex and gilded. To sit comfortably within the long and narrow vertical space available beneath the chapel’s stained glass window, extended letterforms were used with many vertical serifs omitted and with lengthened horizontal serifs. Some twenty years later, the missing upper-case letters were drawn together with the lowercase letters and Frieze, the font, was born. Subsequently, additional weights and styles were added to create a font family of six styles.

Montauk Pro is named after a small village in Suffolk County, New York on the South Shore of Long Island. It is the easternmost area in Long Island, and thus the easternmost area in New York State. It is home to Montauk Point State Park, site of the Montauk Point Lighthouse. It is named after the Montauk Indians. Montauk Pro is a casual, jaunty and quite beautiful handwriting script. It comes with six styles as light, light italic, regular, regular italic, bold and bold italic, each style with about 1.000 characters covering the complete Latin glyph set for West and East including Baltic and Turkish, including a large selection of ligatures, character combinations and alternates to make this beautiful script design a perfect font for OTF-savvy applications like e.g. InDesign or Quark Xpress 7.

The vintage display font family Vernyhora. The typeface is intended to be used in those places where the letters when it is necessary to transmit the strong character, stability and historicity. The font has got 6 weights. It contains extended Cyrillic and Latin alphabets. It also consists of the alternative set of characters from the old Ukrainian alphabet. It can be used for the state institutions names. It was planned to be a font of old cities and towns. From the very beginning the font was created in order to execute signboards at the entrance of towns. For the font creation the author was inspired by the graphic designers of the early 20th century, such as Georgiy Narbut and Fedir Krychevs'kyi. From the Ukrainian language the font name is translated into English as mountains mover.

Anna Gagarin is the loving matriarch of the Gagarin Family. Her life was full of love and passion. She had several affairs with Futurist and Contstructivist artist in the beginning of the 20th century. She was in love with the Russian poet Vladimir Majakovski (born on July 19th, 1893 and died in Moscow on the April 14th, 1930). She gave birth to his son Boris. She called him 'a cloud with trousers'. After this love story, Anna Gagarin met the designer and artist Gustav Klucis in Italy. His radical and political ideas were much too childish for her. After a period of love and passion Anna gave birth to his son. At that time they were in Italy, which explains his italic forms. After her return to Moscow in the beginning of the 1920's Anna was introduced by Alexander Rodchenko. They were heavenly in love but Ilja Stepanova was very jealous on her husband. Anna once said that 'Alexander fills mine construction with love...' That phrase can be an explanation for the term Constructuvism as an art movement. Alexander was the great love of Anna. She gave birth to their love-baby Dimitri Gagarin. That night Alexander designed his most famous poster. A decade before that Anna told it was
'a time for a change'. In a local bar in Sint Petersburg she met Gregory Rasputin. At that time Rasputin was a well known person and a respected member of the Sint Petersburg upper class.His diabolic character influenced Anna and after several months she gave birth to their son Kurt. He inherited the main characteristics of his father. The Gagarin Family wants to give love and wants be loved...

Many current poster artists like to reference the graphic type styles that were popular in the ’60s and ’70s. Zaftig is a contemporary font that takes the geometric and blocky inspiration from that era but then steps off in a modern direction. At first glance, it may appear that the capitals of Zaftig all take up the same amount of space, but certain letters have been designed proportionally for a better flow. However, if the designer would prefer to stack the capital letters in even columns, like blocks, then one can use the Titling Alternates feature. In this feature the metrics of all the capital letters are the same, and certain letters have been designed narrower, allowing for seamless stacking. The space, bullet, asterisk have also been given the same monospaced metrics in this feature to make stacking easy. The Small Caps feature in Zaftig is designed so that the small cap glyphs are the same height as the lowercase. This allows the graphic designer not only the option of small caps, but also the ability to mix and match both kinds of letters to create a distinctive style. There are also alternate numerals in the Small Caps feature that match the height of the small caps. In Stylistic Alternates 1 you will find alternate designs for the Q, A, I, J, L, n, and u glyphs. Or you can find alternates in the Glyph Pallet of your favorite OpenType savvy application. Zaftig is more than it appears on the surface. This OpenType font contains over 1200 glyphs and language support. That makes it an international font which contains letters for most languages that use Latin, Central European, Cyrillic, and Greek scripts.

Nawin is an informal Arabic typeface inspired by handwriting. The idea behind this design is to create a type family attractive and ownable for children but at the same time a design that keeps excellent letter recognition for reading. Handwriting has been a great source of inspiration in this particular typeface. By emulating the movements of the pen, we have obtained letter shapes that express spontaneity. A bright group of letters create a lively and beautiful paragraph of text. To get closer to handwriting and the variety of letter shapes that we draw while writing, this typeface offers a large number of alternative characters, which differ slightly from the default ones. Because we have programed the «Contextual Alternate» feature in the fonts, these alternate characters appear automatically as you set a text on your computer. The proportions and letter shapes are flexible, escaping from tradition to increase expressivity and personality in the design. For instance, variability on vertical proportions between letters Alef and initial Lam, create movement in text and avoid the cold mechanical feel of repetition. Nawin is quirky and elegant at the same time. Letter recognition is relevant when reading continuous text. For this reason, we have added another contextual alternate feature with alternate characters that help to avoid confusion when letters with similar or the same shape repeat inside one word. For instance, this is the case of medial «beh and Yeh» repeated three times continuously in the same word. The alternate characters change in shape and length, facilitating distinction to the reader. Since this typeface is inspired by handwriting and the free movement of the hand while writing, we considered ligatures a good asset for this design. The typeface has a wide range of ligatures that enhance movement and fluidity in text making look text alive.

The Postea font family is Veronika Burian and José Scaglione’s take on German geometric typefaces, reshaped with the right attributes for setting paragraphs and headings, and perfect for branding and text use. Some typefaces are a rough tool, like a pumice rock: abrasive to the senses, unforgiving, and unhelpful for most reading situations. Postea is an obsidian: smooth and classy, with attractive nuances in any light. The classic curves and purposeful details keep its individuality intact while allowing it to fit an incredible range of geometric font needs. Because of these qualities, Postea makes normal reading in paragraphs a cinch and your branding memorable. Compared to midcentury attributes of restraint and a sparse appearance, Postea’s deliberate play between character widths injects life and distinctiveness into its personality. The default ‘t, f’ have lyrical doses akin to a robust evening drink and are rounded out with a serpentine ‘s’ and rotund ‘o, g, b’. Another nice surprise awaits: spacing for the Hairline weight is tighter for optimal use in large headings and titles, while the regular weights have the expected, slightly looser spacing for text. Setting the test word ‘bogarts’ brings all this together nicely, invoking a balance between a constructed and human feel while brushing away the dust from a century of derivatives. Postea is opinionated and its modern stylistic sets allow it to be accommodating with softer, specially-designed alternative characters. SS01 replaces ‘b, f, M, m, t’, while SS02 changes only the lowercase ‘a’ to the round style, and SS03 swaps out the angled ‘y’ for a straight version. The fourth and sixth stylistic sets are packed with wallpaper-worthy geometric patterns, ornaments, arrows, and symbols aplenty. Postea’s 14 styles (seven upright and italic) and two variable fonts are accompanied by an all-new family of icons in three weights, which we developed a new, easy way to activate. Simply bookend the desired icon name with colons (:arrowUp: :chargingStation: :aid: :firstAid:), making sure to capitalise each word after the first word, then highlight and activate SS05. Icons include wayfinding, social interface, sanitary precautions like face masks, thermometers, and hand washing, and much more. Postea is resilient in the number of ways the family can be used, and its recognisable characters make it a prime selection for branding, signage, corporate typefaces, and magazines. Beginning with midcentury virtues, Postea is the rational response for text — a lyrical take on geometric sans serifs.

Our Margarine Pro draws its roots loosely from numerous inspirations, but its unique thick marker weight and deliberate carrying of rounds into regularly straightened letterforms allows this typeface to stand on its own. The lively letterforms are legible yet slightly offbeat, while the SmallCaps and extensive figure sets expand the range of usability and appeal. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

Skapa is all about creation (translation from Old Norse: "to create"). It's simply the font I always needed and wanted. A well balanced, modern with delicate round corners sans serif, comprised of 5 weights with matching italics. Great for varied graphic design projects and perfect for logos and headlines, print art, billboards etc. Extended support for Central, Eastern and Western European languages. OpenType layout features: Fractions, oldstyle figures, ligatures, slashed zero, superscript, subscript, numerator, denominator and combining diacriticals (Mark Positioning) plus tabular figures for standard figures ,oldstyle figures & currency symbols. Think. Design. Create.

Font breeding is much like animal breeding, where stallion and mare, or bull and cow, or boar and sow are carefully matched in hopes of yielding a robust and useful offspring. When typefaces RoundUp with fat, rounded serifs and WyomingSpaghetti with fat, squarish serifs were chosen to be parents, it was clear that their offspring would inherit large serifs. But to discover exactly what the offspring would look like, the pairing needed to be consummated, which was done with the “Blend Fonts” commend in Fontographer. The two styles of RoundWhy are the result.

Candlebright is a gothic calligraphy font with 345 glyphs, including stylistic alternates, swashes, ligatures, and a set of matching ornaments. Candlebright's smooth lines and round corners make it warmer than the average blackletter font, and it can be used for both vintage-inspired and modern designs. Candlebright works particularly well in logotype designs, or as a display font in editorial or website designs. The set of matching ornaments is perfect to add a touch of elegance to any design, and you can use it to achieve eye-catching social media and promotional designs.

I wanted to make something suitable as a bookcover for a something romantic or adventurous - or perhaps even both. As the proces continued, I found that the font was suitable for even more than that. You can easily use Fortunate for your postcards, invitations, menus, posters and many other things. You shouldn’t even be afraid to do your projects in foreign languages, because Fortunate is loaded with international characters. Besides that, every letter has got 5 different versions that automatically cycles as you type. Now that’s something enchanted!

Elegant and idiosyncratic, AB Ticena is a display and extended typeface inspired by the ancient forms of Lombardic capitals. The sometimes quirky and capricious letterforms take their inspiration from medieval forms found in inscriptions and manuscripts where latin Roman capitals were taken to new stylistic and even extreme expressions. The ultra-wide horizontal proportions and its modulated, humanistic strokes gives it a more refined and contemporary edge. AB Ticena works best for logotypes, short and striking headlines, and editorial purposes. A set of ligatures and stylistic alternates is also available for selected characters and pairings.

Tony Wenman designed the display typeface Bottleneck in the early 1970s and its figures reflect the spirit of the times. Its distinguishing characteristic is the extreme heaviness of the serifs in the lower third of the characters, a trait which the viewer could associate with the plateau shoes of the 1970s. Bottleneck is a carefree, playful typeface which can be found even today on entertainment fliers and retro advertisements. When used sparingly in headlines and slogans, it is a real eye-catcher. Similar typefaces are Julia Script, by David Harris, and Candice, by Alan Meeks.

The source of inspiration for Voyeur Monogram is the 1934 "Book of American Types" by American Type Founders. Found in that specimen book was a charmingly sophisticated diagonal monogram alphabet known as “Broadway Monogram Initials”. This wonderful typeface is now digitally recreated, revived, and updated for modern use. Download and view the MFC Voyeur Guidebook if you would like to learn a little more. MFC Voyeur comes complete with Pro format fonts. You will require with programs that can take advantage of OpenType features contained within the Pro fonts.