Say hello to “Limitless” – A versatile, modern, condensed font family, perfect for creating powerful, beautiful text. This all caps typeface contains 10 individual styles, making "Limitless" super versatile and fun to experiment with. Limitless includes 10 all caps weights: Limitless ExtraLight – Nearly weightless and very delicate Limitless Light – Beautiful and elegant Limitless Regular – A great midground between lights and bolds Limitless Bold – Big, bold and beautiful Limitless ExtraBold – Visually strong and authoritative 5x Limitless Italic (ExtraLight Italic, Light Italic, Regular Italic, Bold Italic, ExtraBold Italic) With its many weights and limitless possibilities, this typeface looks amazing in magazines, on posters, logos, for branding and headlines.

Yonky Display is a really fun hand-drawn font. Consists of two styles namely regular & extrude. Perfect for poster designs, quotes, merchandise, logos and more. Features: Uppercase, Lowercase, Numeral, Punctuation, Multilingual & Ligatures. Multilingual contained: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Zulu. Thanks!

Hi...Thank for your visit :) Back to school (Outline & Inline) a simple handwritten font. It features fun characters that will take your projects to the next level! This font is PUA code which means you can easily access all the glyphs that are full of simple! It also features many special features including glyphs. font designs that are made for various vector designs, printing such as digital wedding blogs, online shops, social media, while printing can be used in the field of product clothing, accessories, bags, pins, logos, business cards, watermarks and many others ... so it can make your product look simple and attractive, and also Multilingual support!!! Happy design ...

Balgino Display - a serif look with simple, clean and visual elegance with smooth curves and beautiful ligatures, A very versatile font that works in both large and small sizes. This font is suitable for a wide variety of projects such as: headlines, logos, labels, branding projects, magazines, homeware designs, product packaging, mugs, quotes, posters, and more. It can also be more expressive and fun, thanks to the many alternatives and binders that combine harmoniously in this font and make it more interesting and versatile. Try to change alternatives, binders and you will get many options for your project which will make it Smooth & beautiful.

Some Talks - Groovy Display Font. Introducing a very fun groovy font. Equipped with alternates and ligatures to enrich your exploration. Suitable for branding design, logo, merchandise etc. Features: Uppercase, Lowercase, Numeral, Punctuation, Multilingual & Ligatures. Multilingual contained: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Zulu. Thanks!

Do you dream of creating headings that stand out and inspire creativity, imagination, and endless fun? Wait no more, we will give you the best choice. Kalecius-A Blackletter Font Kalecius is a blackletter font designed with a modern vibe. This beautiful runic style typeface help you bring the Soul of the North into your design works! It's ideal font for giving your strong touch. Great for typography posters, apparel design, branding and logo, greeting cards and invitations. Our font always includes Multilingual Support to make your branding reach a global audience. Features: PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Natha Studio

Moon Slayer is a display brush script font with fun and pop feel. The strokes make this font outstanding and looks great for title. This type of font perfectly made to be applied especially in logo, headline, signage and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : numbers and punctuation multilingual alternates / swashes and ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

I love my bike, and I couldn't dream of not using it on a daily basis - I use my bike in rain, sun, snow, and windy days...all year, in other words! This font is dedicated to my bike, and is the first in a series of handmade fonts! Play around with the three layers and your favourite colours, for awesome effects. All versions comes with Contextual Alternates, which means several versions of each letter. In this case, every letter has 5 different versions that automatically cycles as you type! A quite awesome thing, because it makes your text more lively and natural looking!

Julia Script is a playful calligraphic font designed by David Harris in 1983. It takes the viewer back to the flower power of the 1970s. Generous capitals with cheerful, rounded stroke beginnings and endings contrast perfectly with the narrower, closer, but nevertheless vibrant lower case letters. Characteristic of this typeface and similar to Candice is the marked increase in stroke width in the lower third of the figures. This detail is reminiscent of the platform shoes typical of the 1970s. Julia Script suggests freedom and fun and can often be found on party fliers and retro advertisements. Used sparingly in headlines and slogans, Julia Script will be sure to attract attention.

The Flinscher family contains twenty display typefaces, in weights that vary from light to black, and widths that extend from condensed to expanded. The family’s design inspiration traces its roots to the early portion of the twentieth century. In essence, it is a calligraphic script typeface family with blackletter influences. The letter forms are decorative and distinctive, yet clear and easy to read, and in use set up a regular rhythm that leads the eye from character to character. The Flinscher typefaces are well suited to design work that needs to combine formality with fun. Just the thing for a certificate or a book cover!

Shubbak Variable is a highly flexible and dynamic Arabic Sans (Kufic) typeface that was designed to work with a wide range of Latin counterparts. A friendly and human typeface family that is very flexible when coupled with many popular fonts you may already use. It includes a full set of Arabic, Farsi (Persian) and Urdu character sets as well as a basic Latin set are included. Designed originally by British designer Ruh Al-Alam, further developed by Mohammed Gabr, Muhammad Hadi and then fully expanded by Abdelrahman Farahat. Archetype Foundry aims to help revolutionise and spread the use of beautiful Arabic and multi-lingual typefaces.

Silver Broom is a display font with fun and playful looks. This type of font perfectly made to be applied especially in storybook children or child theme which is need a standout font, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase and lowercase numbers and punctuation multilingual swashes feature ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Monten is a script font whose letters are designed a bit bold, almost similar to the Sans Serif font. A great choice if you want to add a retro look to your designs. Perfect for titles, logos, or anything your creative brain can think of. This customizable font will look great on a variety of design ideas such as Christmas themes, valentines, posters, invitations, weddings, branding projects, social media posts, magazines, book covers and more! This will add a fun and friendly touch to any of your projects! This font is PUA encoded which means you can access all the glyphs and sweeps easily.

Biscuit Boodle Ornaments are the ornament complement to Biscuit Boodle, a fun and uplifting brush-drawn script. Biscuit Boodle Ornaments offers a total of 72 vignettes, crests, fleurons, frames and many other useful ornaments. These ornaments were brush-drawn by Portland Studios‚ Illustrator Justin Gerard and have just a slight amount of natural texture. These energetic and lively ornaments can be resized and rotated easily without any loss of quality and can easily be converted to outlines and modified. Combine them to form unique compositions or insert them into text to add some excitement to your designs. Please see the sample .pdf to see all 72 ornaments in action.

Ember is an informal script with a judicious sprinkling of ligatures that give it a flowing freehand liveliness. Neither overly formal and stuffy nor cheap and cheerful, Ember is elegant yet friendly, sophisticated yet approachable, fun and frivolous but stylish and well bred. Ligatures are set to be on automatically, and the stylistic alternates and optional final forms for some of the characters can be toggled on and off using the OpenType panel in design applications with advanced OpenType support. Designer Rian Hughes says that he felt he was "possibly channeling the spirit of Roger Excoffon". Neither pastiche nor revival, Ember does seem to evoke the famous French designer's trademark elegance.

Wavespired is a unique font that combines the playful and jazzy lettering of the 1950s cartoon modern style with a modern and sleek design. This font is perfect for creating eye-catching logos and headings that will stand out in any design project. The font is influenced by the retro vibes of the fifties, but with a fresh and modern twist that makes it ideal for today's design needs. The font is legible and easy to read, making it perfect for headlines, titles, and other design elements that need to be easily understood. The font is perfect for any project that requires a fun, retro-inspired design with a modern twist.

I am proud to introduce the new Rombusa Font! This is a unique and fun calligraphy model with feminine and elegant letters, specially made for business cards, wedding events, posters, books, magazines, fashion, etc. Feature; • Full set of uppercase, lowercase letters • 428+ glyphs and 237 alternate characters • Characters with accents • Multiple Languages Supports • PUA encoded This kind of Rombusa has become a work of true love, making it heartwarming and delightful. I can't wait to see what you do with Rombusa! Feel free to use the #Suza Studio tag and the #Rombusa font to show what you've been up to, I really hope you enjoy it! Thank You!

I love my bike, and I couldn't dream of not using it on a daily basis - I use my bike in rain, sun, snow, and windy days...all year, in other words! This font is dedicated to my bike, and is the second in a series of handmade fonts! Play around with the 5 layers and your favourite colours, for awesome effects. All versions comes with Contextual Alternates, which means several versions of each letter. In this case, every letter has 7 different versions that automatically cycles as you type! A quite awesome thing, because it makes your text more lively and natural looking!

Aerogate is a bold rounded script font inspired by our best selling font called aerokids. Aerogate is a bold rounded script font with a bold vintage style inspired by beautiful classic handwriting. made with care and fun without eliminate characteristics of our font. Aerogate created with a tons of opentype features, contextual alternates, ligatures, and stylistic sets. Make forms at the beginning / end of a word are set automatically. It is smart an it is working in adobe software. This font is perfect for your creative projects such as Logotype, printed quotes, invitations, business cards, product packaging, headers, Letterhead, Apparel , Web design, Magazine, Book, Stickers, Labels etc. Thanks

Kъnig – the old Bulgar runes The writing kъnig emerged in the places of ancient Thraco-Bulgarian migrations in ante-deluvial times and developed in stages paralleling the other ancient writings. There have been many interactions and loanings between kъnig and these other writings. The root of the word kъnig (OBg: кънигъı) comes from the Old Chinese k'üen 'scroll' (ModCh: 纸卷 zhǐjuǎn) [57]. The word was loaned directly in the Bulgar language (*kün'ig > *küniv) restoring two individual Old Chuvash forms: 1. *k'ün'čьk > кўнчěк kind of ornament on a woman's garment; *k'ün'-gi / *k'ün'-üg > k'ün'iv book, codex, which is evidenced by the Hungarian könyv book and Mordvinian konov paper borrowings; 2. *k'ün'i- > *k'ün'i-gi > к'әn'iγь > кънигъı. This word has been preserved in Sumerian as kunuku (inscription) and kəniga (writing, knowledge). It is inherited from Bulgar to Slavic: книга (Bulgarian and Russian), књига (Serbian, Croatian and Slovenian), kniha (Czech and Slovak), książka (Polish), and non-Slavic: könyv (Hungarian) languages. Kъnig letters (kъni) have been known from archeological finds for more than 100 years already; however, until recently, no attempt has been made to decipher them, find their phonological value, or connect them to their natural successors: the Glagolitic and Cyrillic alphabets. The oldest mention on the Bulgar runes is found in the mid-9th c. AD work On the Letters by the Bulgarian writer Chernorizets Hrabъr. Being already a Christian, he wrote pejoratively about the pagan Bulgars

HG創英角ポップ体は、水本恵子氏がデザインした「創英ポップ体1」を字母とする書体です。店頭広告用文字のスタイルを模して作られた書体で、楽しく、軽快な書体です。極太角ゴシックのイメージをベースに作られていますが、それをやや崩し、柔らかさも取り入れ、フリーハンドで書いたイメージを残しています。見やすくするため、ふところは可能な限り大きくなっています。店頭のPOP、チラシ、看板などに最適の書体です。 HG Soei Kakupoptai is a typeface with a "fresh pop" designed by Mr. Mizumoto Keiko. It is a typeface made by mimicing the style of letters for party-style, fun and light typefaces. It is made on the basis of the image of thickSoei Kakugothic, but it breaks it open, and incorporates softness, leaving the font looking freehand. To make it easy to see, the boldness has become as thick as possible. It is a typeface best suited for store-front fun, leaflets, signboards and so on.

Elevate your design with the distinctive charm of “Freaky Vibes Font”, a unique font that seamlessly blends rugged textures with contemporary style. This versatile font is meticulously crafted to add character and personality to your projects, making it an ideal choice for various creative applications. Key Features: Unique Texture: The font boasts a captivating rough texture that exudes authenticity and individuality, setting it apart from conventional typefaces. Versatility: “Freaky Vibes Font” is designed to meet diverse design needs. Whether you’re working on branding, logotypes, displays, posters, or even food-related projects, this font is your go-to choice for a touch of rustic elegance. Bold Presence: Make a statement with the bold and impactful presence of “Freaky Vibes Font.” Its strong and confident strokes command attention, ensuring your message is conveyed with style. Perfect for: Branding: Establish a memorable and distinctive brand identity with the unique flair of “Freaky Vibes Font.” Logotypes: Craft logos that stand out and leave a lasting impression with this font’s rugged yet refined aesthetic. Display and Poster Design: Infuse your designs with a bold and eye-catching appeal, perfect for grabbing attention in displays and posters. Food-related Projects: Capture the essence of artisanal and rustic culinary experiences with a font that complements the visual language of the food industry. Embrace the rustic charm and modern appeal of “Freaky Vibes Font” – a font that goes beyond letters and becomes a visual signature for your creative endeavors.

Looking for a way to add a touch of bold, retro charm to your designs that evoke the fun and creativity of the 70s, 80s, and 90s? Look no further than our collection of classic and modern fonts that are perfect for logos, posters, and all kinds of design projects, whether you're going for an old-school vibe or a fresh new twist on retro design. With our carefully curated selection of fonts, you'll have everything you need to create eye-catching and memorable designs that capture the essence of classic design from the past. Whether you're looking to add some vintage flair to a modern design, or you want to create a throwback look that's right at home in the 90s, our fonts are the perfect tool for the job. From bold, geometric designs that harken back to the 80s, to playful, colorful fonts that embody the fun-loving spirit of the 70s, our collection has something for everyone. And with our easy-to-use design tools and resources, you'll have everything you need to bring your creative vision to life in no time. So why wait? Start exploring our collection of classic and modern fonts today, and discover how easy it can be to create stunning logos, posters, and designs that are truly one-of-a-kind. Whether you're a seasoned designer or just starting out, our fonts are the perfect way to add a touch of old-school charm to any project.

🔥 NEW UPDATE - Uppercase characters are now included for the Wild Star blackletter font. Along with 11 new 'flourished' lowercase characters, and 8 new fun icons - that's 45 new glyphs in total! Wild Star is a font duo not to be tamed – this pairing of modern blackletter font & unrestrained script font aren’t afraid to make your message heard loud & clear. It’s a bold choice for merchandise, album artwork, logo designs, quotes & more. This family contains; Wild Star • A modern blackletter font containing upper and lowercase characters, plus numerals and a full range of punctuation. There are 17 alternate stylistic versions for letters g, l, y, p, k, f, h, n, t, m, b, r, h, j which contain a bottom or top flourish. To access these, simply turn on 'Stylistic Alternates', or access them via a Glyphs panel. Type the following characters to generate one of 8 fun icons { } [ ] ( ) . (The standard versions of these characters can be found in the Glyphs panel). Wild Star Outline • A second version of the Wild Star font with an outline effect added. Wild Star Script • A rough, hand-scratched font containing 2 sets of uppercase characters, numerals and a full set of punctuation. Simply turn your caps lock on & off to switch between the 2 sets of characters. Language Support • All Wild Star fonts support the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

Introducing Magent – Display Typeface A Fusion of Style Magent sets itself apart as a striking Display Typeface that seamlessly merges the timeless elegance of serifs with the contemporary allure of sans serifs. This extraordinary fusion not only shatters monotony but also injects a vibrant energy into your designs. Fun and Playful Typography Magent exudes an unmistakable aura of fun and playfulness. It’s the font to choose when you want to infuse your projects with a touch of whimsy and character. The result is content that not only stands out but also leaves a lasting and memorable impression. Endless Creative Versatility An outstanding attribute of Magent is its sheer versatility. This font effortlessly adapts to a multitude of design contexts, spanning from posters to branding and beyond. Its adaptability makes it a true chameleon in the world of creativity. Memorable and Engaging Magent’s dynamic blend of serif and sans serif elements guarantees that your content remains not only memorable but also engaging. It captivates your audience and leaves them with a vivid and enduring impression, ensuring they keep coming back for more. In Conclusion In summary, Magent – Display Typeface is a font that defies conventions. It’s a design masterpiece that harmoniously combines aesthetics with a playful spirit. Whether it’s branding, posters, or an array of creative projects, Magent is a one-of-a-kind font that captivates your audience and infuses your content with vibrancy and charm.

Introduction to Monaz – Bubble Font Monaz – Bubble Font, a playful and airy display font, is inspired by the lightness and roundness of bubbles and balloons. Perfect for creating eye-catching headings, logos, and children’s books, this font not only grabs attention but also serves as an ideal choice for fun and whimsical projects. Design and Aesthetics In its design, Monaz – Bubble Font features characters that resemble bubbles, with rounded edges and a bouncy feel. Furthermore, the letters mimic the floating appearance of balloons, thus adding a cheerful and lighthearted touch to any design. Additionally, its rounded forms are easy on the eyes, ensuring readability while preserving its playful charm. Versatility and Usage Monaz – Bubble Font boasts high versatility, fitting a variety of design needs effortlessly. Not only does it shine in party invitations and product packaging, but it also excels in promotional materials. Moreover, its effectiveness extends to educational materials for children, making learning engaging with its friendly appearance. As a result, its readability and unique style make it a top choice for designers seeking to add a fun element to their projects. Accessibility and Appeal Designed for a wide audience, Monaz – Bubble Font features a simple and clear style that is easy to read. It appeals to all ages, capturing the whimsy of childhood while still being sophisticated enough for adult projects. In summary, this font brings a unique joy and playfulness to any design, making it a valuable addition to any font collection.

In March 2010, Émile Fradin, a modest peasant farmer from central France, died at the age of 103. To his grave he took the secret behind one of the most controversial archaeological discoveries of the 20th century. A discovery which put into question the very origins of the written word and the paternity of European culture. It was the uncovering of peculiar artefacts would come to be known as the Glozel runes. The discovery of the Glozel runes On the first day of March 1924, a not yet 18-year-old Fradin was ploughing his family’s field in the hamlet of Glozel, when his cow stumbled into a hole. When he and his grandfather, Claude, looked closer, they discovered a mass of broken stone, under which lay an underground chamber. Within, they discovered pottery fragments, carved bones, and a peculiar clay tablet covered in bizarre characters that neither of the two could decipher. The family requested a subsidy for excavation works to be carried out, but were refused by the regional authority. With that disappointment, it seemed as though the discovery would fade into obscurity. However, the following year, news of Fradin’s unusual clay tablet reached the ears of the physician and amateur archeologist, Antonin Morlet. By the end of May 1925, Morlet began the first of his excavations.4 Within the first two years alone, he had amassed some 3,000 finds.

Condemned is a light destructive sans typeface created from an old damaged ATF Specimen Book from 1912, and looks reminiscent of poorly transferred rub off type. It contains a complete alternate core character set for a subtly randomized look. Here's what's included with Condemned: 684 glyphs - including Capitals, Lowercase , Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 5th graphic for a preview of the characters included) Contextual Alternates that auto-switches between Capitals & Alternate Capitals, Lowercase and Alternate Lowercase, as well as Numerals and Alternate Numerals for visual randomness. To access the Contextual Alternates feature, you will need to be using software with Opentype compatibility otherwise you can access the alternate glyphs via a Glyphs panel. Stylistic Alternates feature that swaps all standard Capitals, Lowercase, and Numerals with their Alternates Alternate Capitals and Lowercase are complete with all international accented characters Font is provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why Condemned is for you: You're into legible but distressed typestyle that imitates a random distress to it You love condensed gothics, and want to pair them with a distressed condensed gothic You're a fan of old Letraset/Transfertype rub off lettering You're recreating weathered military ephemera and want a typeface with some tooth to it You just like to collect quality fonts to add to your design arsenal

Arcade King is an exciting display font inspired by classic arcade games. Designed in uppercase, this typeface captures the nostalgic essence of retro gaming with its playful style. With consistent letter proportions and high contrast, this font ensures easy readability while immersing you in a world of gaming fun. The consistent letter proportions of Arcade King create a sense of harmony and balance throughout the font. Each uppercase letter is carefully crafted to maintain visual cohesion, ensuring a smooth and enjoyable reading experience. This design choice guarantees that every character complements the others, resulting in a visually appealing and cohesive typographic composition. The stark difference between thick and thin strokes enhances the visibility of each letter, making them easily distinguishable even at smaller sizes. The high contrast design adds a touch of boldness and excitement to the font, capturing the essence of the arcade gaming experience. Enjoy the available features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Arcade King fits in headlines, logos, posters, product packaging, branding materials, print media, editorial layouts, website headers, and any projects that aim to evoke a sense of fun and adventure. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Introducing Arekoy Font: A Playful Game-Inspired Display Font Are you in search of a bold, impactful font with a touch of gaming fun? Welcome to the world of Arekoy! Key Benefits: Arekoy is the perfect solution for various projects that require a strong theme and a bold style. With its striking characteristics, this font ensures your message stands out in movies, games, product titles, or any grand event. What Makes Arekoy Unique: Entertaining Game Style: Arekoy is designed with an entertaining game touch. Every character exudes the spirit of adventure and excitement. Four Different Style Families: Arekoy font comes in four distinct style variations: Regular, Outline, 3D, and Blurry. This provides you with the flexibility to convey various nuances in your designs. Multilingual Support: Arekoy supports multiple languages, allowing you to reach a global audience effortlessly. With Arekoy, you’re not just getting a font; you’re obtaining a tool to infuse creativity, boldness, and fun into every one of your designs. Download the Arekoy Font now and witness how your designs transform into something extraordinary! What’s Included : File font All glyphs and standard Iso Latin 1 We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support Thank you for your purchase!

This is the redrawn and expanded version of an alphabet Rebecca Alaccari made back in 2009 as a bespoke font for a tourism agency looking to recapture the appeal of New Orleans after the hurricane Katrina disaster robbed it of its core industries. The brief back then was to "revive the unique spirit of what always made Nola great for new adults, which is the excellent combination of history, romance, food and music." No word of a lie, the brief actually contained "new adults." Storyville contains two interchangeable sets of forms drawn in the doodly, loose and organic way now conspicuously popular with today's young designers, almost every one of whom thinks they will get to design something for a boutique coffee bar somewhere. Well, this whole thing perhaps means freedom, youth, fun, happiness, good stuff like that. But just in case, a little caution doesn't hurt: Use this font only if you know what you're doing. We don't want to go back to the 1990s. Please. We were nearly done for by that exposure the first time around. The ligatures feature in this font does some pseudo-randomization, so the forms in doubled letters don't repeat. Serious fun can be had by also applying the stylistic alternates feature, or picking a letter in the middle of a setting and disabling the ligatures feature. Or various sequences of all that. If you don't like any of that stuff, just forget about it. Uh, wutever.

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

Gryffensee is designed to be the Futura of blackletter, combining the time-honored gravity and relentlessness of the Gothic script with the clean, contemporary freshness of the geometric sans. Built from a tightly controlled inventory of lines, arcs, sharp cuts, and OpenType features, Gryffensee was born and raised in the digital age, yet retains the powerful charisma and human warmth of its mediaeval blackletter ancestors. As a result, it excels in a wide range of display settings, logotypes, and short text. Unlike most conventional blackletters, it even handles all-caps usage with grace, and includes an extensive Cyrillic character set (in the Pro version). Apart from a generous range of automatic ligatures and contextual alternates, Gryffensee offers stylistic alternates that allow users to customize its appearance to their tastes. The capital letters |AGHIKZ| come in alternate cuts that trade traditional shapes for increased legibility, while the letter |s| appears in three cuts, each with a unique, distinct flavor. All these options are accessible through OpenType stylistic sets in the main Latin font, Gryffensee Eins. For easy use in applications without OpenType support, we provide two additional Latin fonts (Gryffensee Zwei and Drei) in which these options replace the default cuts. Finally, Gryffensee Pro offers all the functionality of Gryffensee Eins, plus Cyrillic support. My intention to devise a contemporary geometric blackletter was inspired by four hand-painted letters, |ABCD|, in Sasha Prood�s online portfolio. I later found out that he had, in turn, taken those letters from an existing font, Bastard, by Jonathan Barnbrook. Luckily, by that time my project had taken on a life of its own. Gryffensee is an original design that bears only the most superficial resemblance to Bastard. Gryffensee is a mediaeval spelling of the lake Greifensee near which I grew up. It is pronounced [?gri?f?n?se?], or "GRIEF-un-say" in English approximation. This font is dedicated to Simone.

A smooth contemplative Antiqua with aspiring to the sky ascenders, inspired by the Quietism philosophy. Clarity of the mind is achieved by bringing the body into a state of calm and contemplation, and this is reflected in the design – the quiet horizontal serifs (body) are opposed to the peaky soaring ascenders (mind). The design also features four optical size subfamilies with different x-height and contrast, oldstyle diagonal stress, oldstyle figures by default, smooth details and slightly dark texture. Variable axes: Weight, Contrast, X-Height. Scripts: Latin, Greek, Cyrillic. Languages: 480+. The complete list of supported languages: michaelrafailyk.com/quietism Kerning: 4553 class-to-class pairs. Hinting: Not applied. Format: TTF – OpenType with TrueType outlines. Variable Font: Quietism Variable provides more options than static versions, and has three axes: Weight (Thin–Black), Contrast (Low-High), and X-Height (Low-High). Variable fonts includes thousands of styles that you can access using a sliders on graphic editor or via CSS on web browser. Mixing different axes gives you extra styles not represented by static fonts. Optical Size: The typeface is represented by four subfamilies: Text (low contrast, high x-height – for paragraph 10-20 pt), Deck (medium contrast, medium x-height – for subheading 20+ pt), Display (high contrast, medium x-height – for heading 72+ pt), Poster (high contrast, low x-height – for big size 120+ pt). Small Caps: Lowercase letters and Oldstyle Figures are replaced with Small Capitals forms. Capitals to Small Caps: Uppercase letters, all figures, and some punctuation are replaced with Small Capitals forms. Case Sensitive Forms: ()[]{}‹›«»-–—•·#%‰@ and Arrows are centered on capitals. Oldstyle figures are replaced with Lining figures. Oldstyle Figures: 0123456789 #%‰. Designed to work with lowercase letters. Used by default. Lining Figures: 0123456789 #%‰. Figures are the same height as uppercase letters (cap height). Proportional Figures: Lining, Oldstyle, Small Caps, Capitals to Small Caps. Tabular Figures: Lining, Oldstyle, Small Caps, Capitals to Small Caps. Ordinals: adehnorst. Superscript, Subscript, Numerator, Denominator: 0123456789. Fractions: ¼½¾⅐⅑⅒⅓⅔⅕⅖⅗⅘⅙⅚⅛⅜⅝⅞⅟ (precomposed). Any other fractions (even those typed through a slash) will also be displayed correctly, with the automatic replacement to Numerator + fraction + Denominator. Slashed Zero: All 0 figures. Contextual Alternates: Number sign character (#) before uppercase letters is replaced by its version centered on capitals. Hyphen character (-) between two uppercase letters is replaced by its version centered on capitals. First of two TT letters is replaced by its alternate form. Letters vwy before the letters fijmnprtuvwxy are replaced with an alternate shorter versions that fits better in the context. Contextual Alternates (Greek): ΆΈΉΊΌΎΏ. Greek uppercase accented characters lose their tonos accent and retain only dieresis in All Caps and Small Caps modes. Turned on by default. If you need tonos accents in All Caps then turn off Contextual Alternates (calt) feature. Stylistic Alternates: FTГТИЦЩцщ and their versions with diacritical marks. Stylistic Set 01 “Arrows”: Left <- Right -> Up Left Right <-> Up Down North West South East \> South West Stylistic Set 02 “Round-Square Cyrillic”: ДИЙЍЛФвгджзийѝклнптцчшщьъю characters are replaced with its Bulgarian or Russian forms. Stylistic Set 03 “Cyrillic Tse Shcha short tails”: ЦЩцщ characters are replaced with its alternate form with short tail. Stylistic Set 04 “Cyrillic I full serifs”: ИЙЍӢ characters are replaced with its alternate form with inner serifs. Stylistic Set 05 “FT bent inward serif”: FTГ characters and their versions with diacritical marks are replaced with its alternate form with right head serif that bent inside. Stylistic Set 06 “Small Caps centered on Capitals”: Small Caps are vertically centered on uppercase letters. Standard Ligatures: fi fl fb ff fh fj fk ffb ffh ffi ffj ffk ffl. Discretionary Ligatures: Th ct st. Localized Forms: 52 character substitutions for Azeri, Bulgarian, Catalan, Dutch, German, Kazakh, Macedonian, Moldavian, Polish, Romanian, Serbian, Tatar, Turkish. Glyph Composition/Decomposition (Diacritics): Full Latin and based Vietnamese set of diacritics (571 characters). Precomposed.

Matthew Carter has been refining his design for Alisal for so long, he says, that when he was asked to complete the design for the Monotype Library, it was almost as if he were doing a historical revival of his own typeface. The illusion even extended to changes in his work process: although he now does all his preliminary and final drawing on screen, the first trial renderings of Alisal were done as pencil renderings. Alisal is best classified as an Italian old style design. Originally created between the late 15th and mid-16th centuries in northern Italy, the true Italian old styles were some of the first roman types. They tend to be the most calligraphic of serifed faces, with the axis of their curved strokes inclined to the left, as if drawn with a flat-tipped pen or brush. These designs offer sturdy, free-flowing and heavily bracketed serifs, short descenders, and a modest contrast in stroke weight. Alisal has nearly all the classic Italian old style character traits, plus a few quirks of its own. It is calligraphic in nature, with more of a pen-drawn quality than faces like Palatino or Goudy Old Style. It is more rough-hewn than either Goudy's Kennerley or Benton's Cloister, and is generally heavier in weight than most of the other Italian old style designs. One place where Alisal makes a clean break with traditional old style designs is in the serifs. While sturdy and clearly reflecting pen-drawn strokes, Alisal's serifs have no bracketing and appear to be straight strokes crossing the main vertical. Like Caslon or Trajanus, Alisal is a handsome design when viewed as a block of copy. Ascenders are tall and elegant, and serve as a counterpoint to the robust strength of the rest of the design. Alisal is available as a small family of roman and bold with a complementary italic for the basic roman weight, providing all that is needed for the majority of text typography. Alisal is not as well-known as some of Carter's other typefaces, but this lovely and long-incubated design was certainly worth the wait.