Dream Within a Dream was the title of exhibition of Czech art inspired by the work of Edgar Allan Poe curated by Otto M Urban and Veronika Hulíková. Three dozens of artists exhibited their works in the Czech National Gallery in 2020. The cataloguje was printed with the use of the present typeface. Artists took significant interest in Poe's literary oeuvre only after the writer's untimely death. This was mainly thanks to the poet Charles Baudelaire who translated Poe's works to French. As early as in the second half of the 19th century, prominent artists such as Edouard Manet, Odilon Redon, James Ensor and Gustave Doré created remarkable artworks inspired by Poe. Although the first Czech translations of Poe's woks date to the 1850s, artworks inspired by them only appeared several decades later, at the turn on the 20th century. Poe's poems and short stories inspired František Kupka and soon after him, Josef Váchal, Jan Konůpek and František Kobliha. Alfred Kubin, a German artist born in Bohemia, made illustrations for the German translation of Poe's collected stories. Later on, Alén Diviš and František Tichý created further Poe-inspired artworks. Poe was a source of inspiration for Jan Švankmajer and more recently, František Štorm and Jaroslav Róna.

Rogsant Crisp is a luxurious sans serif typeface that combines contrasting letterforms with delicate and fine features, creating a beautiful and tasteful appearance. Designed by Mans Greback & Delaga, this clean and clear font exudes professionalism and style, making it perfect for fashion, art, and high-end branding projects. The elegance of Rogsant Crisp lies in its attention to detail and carefully crafted letterforms, which allow for a harmonious balance between sophistication and readability. With its refined appearance, Rogsant Crisp is an ideal choice for both print and digital designs that require a touch of luxury and delicacy. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers. Mans Greback is a dedicated typeface designer from Sweden, who continually strives to create innovative and unique fonts. His passion for design and typography shines through in his work, earning him recognition from designers around the globe.

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well. The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995."

RRollie is a typeface family inspired on the proportions of the Roman capital in the Augusto's age, some of them can be seen in inscriptions of Pompeii; in this particular case, it has taken an inscription from a tomb of the year 15 AD. The subtlety of the serif is hardly insinuates, helping to strut the terminals of the stems. Ascenders and descenders are very short. The thickness variation is presented quite delicate, highlighting the light-dark passage and even the agile counterblocks of the typeface. These fonts can be used in many kind of graphic works by its strong personality, visual impact and readability. This font family include OpenType features: Standard and discretionary ligatures, small caps, case sensitive from, old style figures, tabular, diacritics for western languages and many others. Roberto Rollie (1935-2003) was an outstanding professional of Graphic Design, Photography and Visual Artist. He was involved in the creation of the career of Visual Communication Design at the Faculty of Fine Arts (National University of La Plata, Argentina), in the late '60s; he was a pioneer and great teacher too, who loved the Roman Capitals for its subtle and balanced design, especially for high readability and clever design. Those who, like me, knew him as a person and teacher, we are deeply grateful for having received their warmth and enthusiasm for graphic design.

When type historians look back on Jim Rimmer, they will consider him the last type designer who just couldn't let go of metal type, even though he was just as proficient in digital type. Lancelot is one definite case in point: A face designed and produced in digital as late in the game as 1999, only to spring onto the new millenium a couple of years later as a metal type cast in three sizes. That was Jim, a time traveler constantly reminding the craft of its origins. This particular time machine was originally designed as a simple set of attractive caps that emphasize the beauty of the variable conventional dialogue between the drawing tool and the intended final form, and the one exchanged within the totality of the forms themselves. Jim designed two weights, with contrast and counterspace being the main difference between them. In 2013, the Lancelot family was remastered and greatly expanded. Lancelot Pro is now a wonder of over 840 glyphs per font, including smaller versions of the caps in the minuscule slots, and alternates and ligatures that can transform the historic spirit of the original design into anything from half-uncial to outright gothic. Language support goes beyond the extended Latin stuff, to cover Cyrillic and Greek as well. 20% of the Lancelot Pro family's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

Originally drawn in 1985, Jovica Veljović had intended to add a few kerning pairs and make some minor refinements to the letterforms. However, his work lead him to take a fresh look at the family. Veljović recalls, … I soon realized that some characters could benefit by more refined shapes and proportions. By the time I was done, I had worked on just about every character in the original design." In fact the end result is two systems: one optimized for extended texts; the other for display settings. The original elegance of the design is not lost, but the new design brings with it letterforms that are altogether more harmonious and balanced. The roman is dynamic and spirited, just oozing character. The italic by contrast is a little more restrained, but nonetheless an elegant and fitting accompaniment. The text-optimized fonts come with a generous x-height, and slightly less contrast; though its marginally wider proportions let in the light, making it very legible even at small sizes. ITC New Esprit ® is a versatile family, brought to you in four weights from regular to black. OpenType features like small caps, alternates, and a broad character set make this a welcome addition to everyone's font library. Whether you want elegant and legible text, or dynamic and personable headlines, then you'll want to click through to see more of ITC New Esprit. "

ITC Chivalry is a calligraphic hybrid that honors the tradition of combining Roman capitals with italic lowercase letters. Drawn by Missouri lettering artist Rob Leuschke, who used a flat-nib pen on textured watercolor stock and then converted the drawings into a digital font, the design combines an old world" feel with "new world" legibility. A companion set of black letter caps completes the suite of characters. "I've loved drawing letters for as long as I can remember," says Leuschke. "Even in kindergarten, I tried to draw letters like my teacher." After graduating from college, Leuschke worked for a short time at a sign company in St. Louis, and in the early 1980s began working at Hallmark Cards in Kansas City. His talent as a calligrapher and lettering artist eventually brought him back to St. Louis to begin a freelance career. Since then Leuschke has created over 250 fonts, primarily for the greeting card industry, that are now being used on work for his clients all over the world. Leuschke first conceived of the face as just the black letter caps; he later added the Roman letters to give the design more versatility. The Roman caps of ITC Chivalry combined with the lowercase are well suited to blocks of copy, while the more decorative black letter caps are ideal for showcasing short text of just a few words. Both sets of capitals also make great initial letters."

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura , Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to ExtraBlack.

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

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

P22 Klauss Kursiv is the first ever digital revival and expansion of the last face Karl Klauß designed for the Genzsch & Heyse foundry in Stuttgart before he died in 1956. Karl Klauß’s classical training in the graphic arts gave him solid chops to use as a springboard for design ideas that remained relevant among the countless trends fleeting around the turmoil of two world wars. By the mid-1950s, a kind of ornamental deco aesthetic was well on its way into mainstream design in post-war Europe, and demand was high for unique, lively and non-minimal ad faces. Klauß, a reliable designer with a proven track record of calligraphic faces, pushed the envelope on his own calligraphy and designed something that packages elegance in a boldness seldom seen before in luxury scripts. Quite a bit of talent is on display in Klauss Kursiv. In spite of the restraint this kind of design imposes on itself almost by default, the interplay between thick and thin never seems forced or challenging. Clear, natural strokes build a compact alphabet that demonstrates the wrist control of a veteran calligrapher. Creative nib angling segues into very clever start-and-stop constructs to make attractive forms that work quite well together, yet stand well to individual scrutiny. P22 Klauss Kursiv comes with a load of built-in alternates and ligatures in a font of over 470 glyphs, providing extended support for Latin languages.

Extraordinary impact and visual conspicuousness. Dr Slab is a super 3D serif family for posters, logos and all display. The basic idea is not a brand new. Stacking type system have been used since before wood type age. As you imagined, colored wood type(woodcut), many other engravings and contemporary printer machine print many colors separately with different printing plates for each colors. Dr Slab uses the same system for 3d effect. Please use Photoshop or Illustrator, or your favorite graphic design apps that can handle layers. Layers are the printing plates of wood type. You should be able to change text color for each layers. Dr Slab "Base" style is the core of this font family. You can add effects by using the other styles(Rim, Shadow, Ext). Instruction 1. Type your text as you like. 2. Set font-name "Dr Slab" and font-style "Base" 3. Set color for "Base". 4. Duplicate the layer which includes "Base" text. 5. Set font-style and color for new layers. 6. Stacked layers in different font-style and color make the text in 3D. For further detail, https://www.dropbox.com/s/9p9083zv2855bcq/DrSlab.pdf Dr Slab "Base" style can be used solely. Rounded slabs add soft, cute and casual impressions to your design. Spec: OpenType Format (.otf) with over 500 glyphs! Basic Latin ✓ Western Europe ✓ Central Europe ✓ South Eastern Europe ✓ Mac Roman ✓ Windows 1252 ✓ Adobe Latin 1 ✓ Adobe Latin 2 ✓ Adobe Latin 3 ✓ Almost all Latins are covered.

Father's Day, or June 17 of this year, is in the middle of Argentinian winter. And like people do on wintery Sunday mornings, I was bundled up in bed with too many covers, pillows and comforters. Feeling good and not thinking about anything in particular, Father's Day was nowhere in the vicinity of my mind. My eleven year old son, Matías, came into the room with a handmade present for me. Up to this point, my Father's Day gift history was nothing unusual. Books, socks, hand-painted wooden spoons, the kind of thing any father would expect from his pre-teen son. So you can understand when I say I was bracing myself to fake excitement at my son's present. But this Father's Day was special. I didn't have to fake excitement. I was in fact excited beyond my own belief. Matí's handmade present was a complete alphabet drawn on an A4 paper. Grungy, childish, and sweeter than a ton of honey. He'd spent days making it, three-dimensioning the letters, wiggle-shadowing them. Incredible. A common annoyance for graphic designers is explaining to people, even those close to them, what they do for a living. You have to somehow make it understandable that you are a visual communicator, not an artist. Part of the problem is the fact that "graphic designer" and "visual communicator" are just not in the dictionary of standard professions out there. If you're a plumber, you can wrap all the duties of your job with 3.5 words: I'm a plumber. If you're a graphic designer, no wrapper, 3.5 or 300 words, will ever cover it. I've spent many hours throughout the years explaining to my own family and friends what I do for a living, but most of them still come back and ask what it is exactly that I do for dough. When you're a type designer, that problem magnifies itself considerably. When someone asks you what you do for a living, you start looking for the nearest exit, but none of the ones you can find is any good. All the one-line descriptions are vague, and every single one of them queues a long, one-sided conversation that usually ends with someone getting too drunk listening, or too tired of talking. Now imagine being a type designer, with a curious eleven year old son. The kid is curious as to why daddy keeps writing huge letters on the computer screen. Let's go play some ball, dad. As soon as I finish working, son. He looks over my shoulder and sees a big twirly H on the screen. To him it looks like a game, like I'm not working. And I have to explain it to him again. This Father's Day, my son gave me the one present that tells me he finally understands what I do for a living. Perhaps he is even comfortable with it, or curious enough about that he wants to try it out himself. Either way, it was the happiest Father's Day I've ever had, and I'm prouder of my son than of everything else I've done in my life. This is Matí's font. I hope you find it useful.

ITC Astro is the typeface that proves you can get your work done while watching cartoons. “It all started as a series of doodles while I was watching The Jetsons,” recalls Sasa Petricic. “The show's impossibly simplistic vision of the twenty-first century cried out for a font that fit into that world -- a world where everyday objects can carry far more fun and personality than they should.” ITC Astro is the first commercial typeface design from Petricic, whose “day job” is working as a reporter for the Canadian Broadcasting Corporation. Petricic has filed stories from across Canada and around the world for CBC's flagship evening newscast, The National. His reports have also appeared on CNN and BBC Television. Petricic's work as a correspondent and video journalist have taken him to six continents, covering everything from famine and genocide in Africa to the war in Iraq. With such serious matters filling the hours of Petricic's day as a journalist, it's not hard to see why he conceived Astro as a welcome blast of whimsy. “As I began to draw the design,” he says, “I decided that every part of Astro should be a cartoon character unto itself.” Each character has its own baseline shadow (or coaster, or circular antigravity generator, depending on how you look at things). The angular caps dance jauntily, rocking from left to right, while a suite of companion small caps provide backup. The end result is a design quite unlike any other, with surprising charm and versatility. ITC Astro comes in a two-weight family of White and Black.

I loved this monster font the second I saw it - it reminded me of Franquins Idées Noires... Reworking it and adding the missing glyphs and diacritics was quite time-consuming - but a lot of fun! Lots of details. The Lupineless variant is Lupine with eyes, decorations and stray hairs removed - which leaves just a very usable fuzzy font for your monster-related headline. Kevin King says: "I love fantasy writing and my favorite author is Terry Pratchett. In Reaper man, my favorite book, there is a werewolf character called Lupine, I wanted to make a font for him and for Ludmilla... It's a long story, it's a hairy font." All fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. Please Note: these fonts include only the latin alphabet; no accented characters, no numbers or punctuation. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Guillermo was born in Argentina. And after crossing four continents and travelling in more than twenty countries, he still has his accent. His luck ran out on the streets of Barcelona. But despite his circumstances, he hasn’t lost a bit of his wit or articulacy. “The worst thing about the street is something that touches your heart, your brain. Not being able to have sex, not having any privacy until it leaves you empty.” On the street he follows his passion for art and writing as best he can, using old cardboard when he can’t find paper and listening to the music that comes to him. His way of thinking and expressing himself leaves people wide-eyed and open-mouthed, but even so he admits he’s a solitary man. “Solitude is an individual word. A solitary type like me can’t bring the word solitude to the whole world.”

Alfie™ is lively, friendly, inviting and easy on the eyes. What more could you want in a script? How about four flavors of the same design? Alfie Script is a delightful connecting script with a touch of comfortable elegance. Use it for everything from social announcements to headlines and packaging. Alfie Casual is a little more laid-back with letters standing on their own. It works great in short blocks of text copy, subheads and navigational links. Alfie Informal has spirited serifs and its own demeanor, while Alfie Small Caps does a fine job of supporting its other siblings. There’s an immediacy to words and messages set in these lighthearted confections. Jim Ford was practicing drawing with a new brush pen when the inspiration for Alfie came to him. He had filled several pages in a notebook with letters and, at one point, realized that there might be a typeface among them. As it turned out, there were four. The process, however, wasn’t choosing one design and modifying it. The makings of all the designs were on the pages. It was just a matter of culling out the right collection of characters to build the foundations for the four flavors of Alfie. Because they share the same family roots, each design in the Alfie family can be paired and intermixed. Ford admits that there’s a hint of Emil Klumpp’s 1950s Murray Hill typeface (https://www.myfonts.com/fonts/bitstream/murray-hill/) in the Alfie family. Just enough to give the design a 50s vibe. (Some fashions never go out of style.)

Merengue Script is the second typeface designed by Panco, once again together with Ale Paul, who supervised the whole development. In this opportunity, the process of shape research and the systematization of signs led him to dive into new waters. The objective was to generate a system of signs in which the construction of such was not directly bound to traditional calligraphy, nor to texts typography. Instead, the point was to create signs inspired in “Brush pen” calligraphy but with their main features drawn or literally illustrated. The result was a font with personality, authenticity and uncommon formal aspects that make Merengue Script an interesting, highly attractive and rather unusual font. From the very beginning, the search was based on creating a font with weight and good presence in big formats, but, at the same time, efficient for brief texts of small formats. The aim was to make it usable mainly in candy, sweets and chocolate packaging. The predominance of round shapes, harmonious modulations and funny and friendly-looking visual rhythms spark a special effect in the usage of Merengue Script. Texts are enhanced with an interesting visual charm, capable of transforming a very simple text into a virtual illustration that semantically reinforces the messages in a simple way, without putting legibility at risk. With a basic set of stylistic alternatives full of frills and flounces for initials, ornamental and final letters, plus a set of disconnected signs, Merengue Script offers a wide and versatile range of options for graphic designers in the process of packaging design.

Besley Clarendon ML is our version of the Clarendon registered by Robert Besley and the Fann Street Foundry in 1845. Besley Clarendon ML represents a significant change from the slab-serif Antiques & Egyptians that had become so popular in the prior three decades. Like Caslon’s Ionic of 1844, it brackets the serifs and strongly differentiates between the thick and thin strokes. Besley Clarendon is also what today is considered a condensed face, as a comparison to the various contemporary Clarendons will show. Robert Besley’s Clarendon was so popular that many foundries quickly copied it, a fact that caused him to complain vigorously. The reason it was so widely copied is simple ó it was extremely useful. It provided the attention-getting boldness to highlight a word or phrase, yet at the same time was compact and easier to read than the fat faces and antiques of the period. It wasn't until sixty years later that the concept of a typeface family of different weights was developed with DeVinne and Cheltenham. Until then, Clarendon served as everyone’s all-purpose bold face. It can be used for ads, flyers, headers or even short text. Don't leave home without it. Besley Clarendon ML includes the following features: 1. Glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 353 glyphs. 158 kerning pairs. 2. OpenType GSUB layout features: pnum, salt, liga, dlig, hist and ornm. 3. Inclusion of tabular (std) and proportional (opt) numbers. 4. Kreska-accented letters.

This type of Richard Gans, has always seemed very striking, despite having the complexity of the sources extrusion, has its own personality, and readability unusual for this type of letters. Use it for composing posters, programs or logos was very common at the time. My father, Antonio Lage Parapar, typographer by profession, who composed the texts, which not only had it for profession, but he liked to do, always he spoke of sources and decorative elements of the type foundry Richard Gans, as well as other foundries, especially those that required the mender of them, exercised creator, many of these types they have already been recovered by professionals and companies with excellent results. I've been surrounded by these movable type, and the occasional catalog unfortunately lost. One of those guys that has always struck me visually speaking was the type IMAN Richard Gans, the typographer and more of German origin arrived in Spain, back in 1874, also a pioneer. This work to revive the type mentioned, as well as create non existing glyphs between documents and parts I've been finding, is and has been a personal pleasure all I want serve as a tribute to my father (of aopodo curiously "Richard"), the only sadness it has not been completed. Richard Gans, arrived in Spain in 1874 as a representative of several European factories. then liaised with journalistic and publishing companies, which led him knowledge required of the first sector art. In 1878 he created a center importer gadgets graphic arts and three years later he created his own type foundry. The first rotary newspaper ABC, very famous and the most advanced of the time, the brand manufactured Richard Gans.

Few projects are outside the range of PMN Caecilia® Sans. Drawn specifically for on-screen imaging, the family benefits from a large suite of weights, each with several stylistic variations. This is a design ideally suited to building digital interfaces, complex websites, apps, games, kiosks, HTML ads and large-scale brand identities. “My goal was to create a, friendly, versatile, ageless, yet discerning typeface family that will serve the needs of many users,” says Peter Matthias Noordzij. the typeface’s designer. “It is not intended to be eye-catching, but generous: enabling numerous visual and typographical expressions.” The use of Noordzij’s earlier design, PMN Caecilia, in Amazon’s Kindle® wireless reading devices, gave him the opportunity to study the behavior of the slab serif typeface in an on-screen environment. Although based on his earlier design, Noordzij incorporated fundamental changes to optimize PMN Caecilia® Sans’ digital performance. While PMN Caecilia has proven to be a steadfast serif typeface in print and on screen, the addition of a sans serif counterpart gives designers more flexibility when creating complex hierarchies. The combination of serif and sans serif makes the PMN Caecilia family a good choice for everything from print editorial projects to complicated web sites. A broad range of typefaces pair well with PMN Caecilia Sans. Humanist serif typefaces, such as Agmena™, Dante®, and Frutiger® Serif, set up dynamic typographic harmony, while designs like ITC New Veljovic™ Masqualero™ and Perpetua®, will create a striking counterpoint. And, of course, PMN Caecilia is a natural design partner – as are other slab serif typefaces, like the Aptifer™ Slab, Joanna® Nova and Soho® families.

Now here's a font with an unusual backstory. You may recall that a while ago we discovered that Tim Burton was using an outdated version of one of our fonts for the interior titles in his The Corpse Bride. Well, our quest to get hold of him didn't bear any immediate fruit, but in a totally unrelated event we were contacted by the graphic arts company working with the overseas distributors for The Corpse Bride and it turned out that they needed a font based on the main title of the movie so they could keep the same style when they retitled it into other languages. The original title was either hand lettered or a heavily modified font, bearing some resemblance to our Ligeia and Tuscarora fonts, so we had to create a whole font more or less from scratch and extrapolate most of the letters from the very limited sample in the original title by identifying certain consistent characteristics and building new characters around them. It was a lot of work, but the good news is that they didn't want exclusivity, so we've got the font to add to our collection. We ended up calling it Beynkales which means 'Bone Bride' in Yiddish, which makes sense given the context of the movie. So here it is, in all its tattered glory, and bound to end up in our Halloween font selection later this year as well. Beynkales Alternate is a companion font that includes a full set of alternative upper and lower case characters which can be used on their own or in combination with the characters from Beynkales to create a more varied and handwritten look.

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...

Art into type In 2008, Fontsmith were approached by their friend, Jon Scott, to investigate whether a typeface could assume the aesthetic of one artist’s body of work. Jon’s not-for-profit charity, Measure, was organising an event for the artist, Conrad Shawcross, whose giant mechanical installation, entitled Chord, was going on public display in the long-disused Kingsway tram tunnel in Holborn. Chord explores the way we perceive time, as either a line or a cycle. Two enormous machines with dozens of rotating arms and moving in opposite directions, weave rope with almost infinite slowness. An unusual brief Phil Garnham visited Conrad in his Hackney studio to get a feel for his work and ideas. “Conrad is a very clever and philosophical guy. He struggled to see how typeface design had any relevance to him and his art. This was going to be a challenge.” The artist presented the type designer with a pile of rope and a huge diagram of sketches and mathematical workings. “This was, in essence, my brief.” Phil developed three concepts, the simplest of which ticked all the boxes. “The idea of the strokes in the letterforms appearing and ending at peaks or points of origin fitted perfectly with Conrad’s idea of time occurring and ending at two ends of the sculpture.” Two versions Phil planned modules for two versions of the typeface: one with five lines in the letterforms and one with seven. He then drew the modules on-screen and twisted and turned them to build the machine that is FS Conrad. “This is not a simple headline typeface,” says Phil. “It’s not a rigid structure. It has varying character widths, and it’s informed by real typographic insight and proportions so that it actually works as piece of functioning, harmonious type.”

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

Madrigalle was seven months in the making and may be described as a contemporary copperplate. When designers look for a font that is both elaborate and strong, they generally have to go back to styles of a previous period, possibly produced recently but not contemporary in their look and feel. In Madrigalle, I believe that I've produced a font that is contemporary but has the boldness and delicacy that mark the fonts of previous generations. I feel that most fonts that derive their style from the complexity of their characters place too much emphasis on upper case characters, and that lower case characters are very conservatively treated. I have tried, with Madrigalle, to redress this imbalance and to introduce informality and vigor to the genre. Madrigalle comes in three options: Two simpler options, Madrigalle Nocturne - slightly less elaborate, and Madrigalle Minuet - slightly more elaborate. Each of these options may be easily used in packages that don't support the Character Map OpenType feature. The Professional Option, Madrigalle Expert, combines all the features of Nocturne and Minuet and has a large number of additional opentype character alternatives. It takes full advantage of Opentype features to provide the designer with a wide range of options, enabling him to give an individual stamp to his work. I recommend that packages such as InDesign and Illustrator, which support Character maps, be used with Madrigalle Expert in order to make full use of this font’s OpenType features. (Just select GLYPHS from the TYPE palette, and set your creativity free!) All Madrigalle styles contain the accented characters used in the major European languages. Try Madrigalle, use it for invitations, advertising media, fashion media, music media, contemporary cosmetics, anything romantic... the list is endless!

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

Classica Pro by Bernd Möllenstädt A real alternative for letterpress printing A masterpiece It was only after many years, shortly before the end of his life, Bernd Möllenstädt brought out these early drafts of his Classica Light and Light Italic from his drawer, and asked me to produce for him on the computer a Bold and Bold Italic, from which we later wanted to interpolate further cuts like Regular and so on. The boldening of letters with an oblique axis and with hairlines which should not grow to the same extent as the general line widths, is hard to cope with perfectly, even for the smartest computer program, and even more so, when it concerns an as complicated set of data as those conceived by Bernd. The automatically generated result could therefore only be a first step that had to be improved manually later. This was about the stage that we had reached when Bernd died in March 2013, leaving me behind with comprehensive corrections on proofs of this automatically generated Bold. Although I was aware that it would mean a lot of work to complete the project, I did not want to leave it unfinished and decided to finalize and publish the Classica, also in Bernd‘s honor. In the course of the two years that I worked on this font family it somewhat naturally became also my own. New details were added and some of the existing changed. A book typeface requires the supreme and forgives rarely, it represents a true masterpiece. My intention and my ambition were to create a real alternative for letterpress printing, with a font family that contains all the typographic options for an excellent typesetting, and is better readable and has a better appearance than other existing typefaces. Whether this was achieved, the reader may decide. Volker Schnebel, Hamburg, december 2014

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

Born on May 8, 1892 in Reno Nevada, Lewis Franklin (“Lew” ) Hymers left an indelible mark as a caricaturist, cartoonist and graphic artist. At the age of twenty [in 1912] he worked for the San Francisco Chronicle. During World War I he worked for the Washington Post. He even was employed for a time by Walt Disney as an animator - but most of his life was spent in either Tujunga, California or his birthplace of Reno, Nevada as a self-employed illustrator. Hymers inked a feature for the Nevada State Journal called “Seen About Town”, which was published during the 1930s and 1940s. In this panel, he caricaturized many of the familiar faces around Reno. He also designed signs, logos, post cards and numerous other commercial illustrations for clients, but what has endeared him to a number of fans was his vast library of stock cuts (the predecessor to paper and electronic clip art) which feature his humorous characters in various professions and life situations. So popular is his work amongst those “in the know” that a clip art book collection of over seven hundred of his drawings that was issued by Dover Publications [but long out of print] commands asking prices ranging from just under $15 to well over $100 for a single copy. Lew Hymers passed away on February 5, 1953 just a few months shy of his 61st birthday. Although his artwork depicts the 1930s and 1940s lifestyles, equipment and conveniences, more than sixty years after his death they stand up amazingly well as cheerful pieces of nostalgia. The twenty-seven images (and some variants) in Hymers JNL were painstakingly re-drawn from scans of one of his catalogs and is but just a tiny fraction of the hundreds upon hundreds of illustrations from the pen of this prolific artist.