Timeless Renaissance looks, gently updated. For novels and billboards alike. Allrounder Antiqua is an old-style serif member of the Allrounder superfamily. A timeless typeface based on classical proportions, Allrounder Antiqua is perfectly suitable for advanced book and editorial design well as packaging and branding. True: its main purpose is to set flawless body copy and to generate an evenly textured page—but its refined shapes work fantastically in display applications, too. Some details, such as the small and sharp bowl of the lowercase a, are fully appreciated in large sizes only. If you need a sophisticated serif typeface for packaging, food, fashion, consumer goods, or lifestyle branding, Allrounder Antiqua is up for it. It's also apt as an outstanding corporate typeface, be it for a more conservative venture or the latest hipster start-up. This classy serif typeface comes in four weights with corresponding true italics. Just like its sans-serif counterpart, Allrounder Grotesk, Allrounder Antiqua is equipped with plenty of Opentype Features like small caps, six sets of figures, case-sensitive forms, superiors, fractions and many ligatures. You will find alternate letters with swashes within this extended character set, as well as all the accented glyphs necessary to support more than 200 Latin-based languages. Historical Background The (French) Renaissance-influenced typeface started as Moritz Kleinsorge's graduation project within the "Expert Class Type design" course of the Plantin Institute for Typography, located in the famous Museum Plantin-Moretus in Antwerp, Belgium. There, Moritz Kleinsorge decided to create a revival of Robert Granjon's "Ascendonica Romain", described as "a beautiful face; typical of Granjon's mature style" in the inventory list of available material. "To touch punches and matrices cut by Robert Granjon back in 1567 was an invaluable inspiration", Moritz explains. Over time, the typeface moved away from being a true revival. Rather, it evolved into a Granjon-inspired typeface. That typeface is now available as Allrounder Antiqua. Perfect Pairing: Allrounder Antiqua + Allrounder Grotesk Allrounder Grotesk is the ideal complement to Allrounder Antiqua. They both share common vertical metrics and a common color. This allows you to pair both typefaces within the same layout—even within the same paragraph—without creating visual disruption. Head over to the Family Page of Allrounder Grotesk to get more information about this typeface. Design Trick: Bilingual Design With the Allrounder Superfamily Combining Allrounder Grotesk with Allrounder Antiqua is an ideal approach for bilingual designs, wherein both languages get the same emphasis yet are distinguished with two different typefaces. It's also best practice to set headlines in a different typeface than the body text if they harmonize with each other. Allrounder Grotesk and Allrounder Antiqua provide you with the perfect pair for this purpose.

A gentle breeze caressed his face as his body took on the easy posture of a dancer on break. Flickering sparklets of light sprinkled the glass-smooth surface of the aqua liquid on which he floated. His mind wandered; he was only days away from his scheduled departure date. This day was no different from a hundred other days he had spent melded to his windsurfer, skittering along the breadth of the modest lake, soaking up the sun's rays and forgetting about the entire rest of the world. Lake Quannapowitt, and the town of Wakefield, Massachusetts, were familiar to Steve, a long-time resident of the picturesque New England town. This is where he grew up; this is where he married and lived for many years; and this is the place he was preparing to leave, not one week hence. Not generally prone to nostalgia, it was in just such a state he nonetheless found himself once Zephyrus retreated, as was his custom, periodically, while patrolling the resplendent lake. Steve was going to miss the lake, and he was going to miss the town. How many hours of how many days had he spent exactly like this, standing on his motionless board, waiting for his sail to fill, and staring at the lake's shores, its tiny beach, the town Common with its carefully maintained greenery, and equally well-tended gazebo, the Center church - its spire shadow piercing the water's edge, like a scissor-cut the better to begin a full-fabric tear? Yes, he was going to miss this place - this town which all of a sudden had become a place out of time, just as he was about to become a person out of place. Once this idea struck him, he couldn't shake it. He was transported back in time four score years, now watching his ancestors walk along the shore. Nothing in view belied this belief - not the church's century old architecture, not the gazebo frozen in time, nor the timeless sands of the beach, nor the unchanging Common. Everything belonged exactly where it was, and where it always would be. This, he decided, was how he would remember his hometown. And this is when it occurred to Steve to design a typeface that would evoke these images and musings - a typeface with an old-fashioned look, reflected in high crossbars, an x-height small in size relative to its uppercase, and an intangible quality reminiscent of small-town quaintness. Wakefield, the typeface, was born on Lake Quannapowitt in the town for which it was named, shortly before Steve moved away. It is at once a tribute to his birthplace and a keepsake.

Welcome to the old version of Kage. "Old does not mean obsolete" In April 2022, we updated whole letterforms. We redrew all glyphs and refined the nodes, corners, rounded shapes, flowing tails, etc. Of course, you can still use the update of an older version of Kage, although we highly recommend you move to the Pro version for the full benefits. Kage Pro has massive development, puts forward experimentation on alternate letters, and applies an oblique style to provide diverse style choices. Come with tons of swirly ligatures and advanced opentype features include case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Learn more about Kage Pro here: Kage Pro 2.0 | Type Specimen About Kage The Inspiration: The radical exploration world of fashion inspires us. It leads our minds to the Neo-classical type style created during the age of enlightenment in the 18th century. It has a reasonably extreme contrast from the previous serif style, making the impression that it is emitted more expensive and classy. Organically, this Neo-Classical typeface is closely related to the fashion world, especially in Europe, and even spread across the globe. Fashion and this typeface reflect each other. After, we boldly observed Japanese fashion designer Rei Kawakubo. Famous for radical & deconstructive fashion, which makes the world of fashion more flexible and dynamic. The Design: As well as the typeface that we made, we started it with a cultural foundation of the Didone typeface. We tried to deconstruct the appearance. The decoration that better reflected the dynamic of fashion implemented in the fashionable alternate and calligraphical stylistic set ended with ball terminals. The versatile impression created is like taking off a scarf on the model's hair during a fashion show. The deconstructive image is combined with a legibility structure like the appearance of the Neo-Classical style. Kage is designed to visualize a costly and exclusive image of a thing, product, world clothing brand, famous fashion magazine, etc. The modern transitions of each letterform are softer, so when repositioning and escalating the size of this font, it will remain beautiful without injuring other elements. So, Kage is a bold choice on headlines and more prominent media with a portion of 50% even more. The Feature: Kage has 11 styles, from thin to black; all family-style consist of one variable font with two axes. The total number of glyphs is 748 in each style. She comes with tons of swirly ligatures and stylistic alternates in Advance OpenType features, including: discretionary ligatures, stylistic alternates, ordinals, fractions. Support multi-language including Western European, Central European, Southeastern European, South American, Oceanian, Vietnamese.

NOTE : If you want any specific ligature included, just write me a message and I will add it with next update :) Type Master is a sophisticated and delicate serif font that exudes elegance in every aspect. With its extensive collection of over 100 ligatures and alternate glyphs, this font offers endless possibilities for creative expression. Additionally, its support for 87 languages ensures that it is versatile enough to meet the needs of any project. Whether you are designing a logo, creating marketing materials, or crafting an editorial layout, Type Master is the perfect choice for adding a touch of refinement to your work. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu Ligatures : IS, FO, OD, FA, TY, EX, NN, PI, EY, AY, SS, LL, FU, US, UT, AS, AN, AM, CI, LO, ES, RO, ET, TE, CK, OH, OO, OE, OC, KO, KE, KC, CH, SE, EA, UR, RS, KS, TH, TU, TT, TK, TL, HE, RG, EP, ER, RE, RC, LE, ND, ED, OF, HA, EN, CT, ST, NT, ON, ME, MO, NG, NC, UG, UC, OU, GH, OR, OP, EE, YO, VE, IT, WE, TI, FAS, FAST, CKS, OOD, FOOD, FOO, THEY, HEY, HYP, TYP, OUT, UST, URS, WAS, THE, WES, EST, WEST, ERS, EAST, EAS, LES, ENT, FOR, OUG, OUGH, ERE, TER, YOU, VER, HER, THER, THA, AND, ITH, THI, MENT, WERE, WER, ROM, THE How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. UPDATES : COMING SOON Mock ups and backgrounds used are not included. Thank you! Enjoy!

The Bunken Tech Sans superfamily: A reminiscence of constructed fonts of the modern age designed with considerably cleaner forms. •See other members of the Superfamily: Bunken Tech Sans •For further details, view the Specimen PDF. Bunken Tech Sans Wide follows in the best tradition of the straight-lined and somewhat angular structures of its predecessors while offering a much more open and mild design. The shapes of the letters are therefore reduced to the most essential elements: The spurs on a, b, n and other lower case letters occur just as little as decorative or style details, the lightly rounded inside edges are more pleasing to the eye than certain historic role models and make for a harmonic, flowing style. Use In particular Bunken Tech Sans Wide stands out as an easy, distinctive headline font with its straight-lined, technical design. Open counters and large x-height make it equally suited for use in shorter texts. It is also perfectly complemented by Bunken Sans or Bunken Slab in longer texts (available soon). Features Available in 16 styles with widths ranging from Light to Heavy with associated Italics. All of the styles are very extensive: Support for at least 58 languages, Small Capitals, 9 number sets (e.g. Lining, Oldstyle, Tabular and Small Cap Figures), ligatures, alternate characters, numerous Opentype functions, and lots of other small features that make it more pleasant to work with the font on a daily basis as well as fulfilling typographic desires. Each style contains more than 870 characters! Each style is available in a professional (Pro) standard (Std) and Small Caps (SC) edition with a different range of functions. (Language support, OpenType features and number of glyphs). Details can be found on the respective pages. Bunken Tech Sans Wide is part of the Bunken Tech superfamily and is available in Condensed, Normal and Wide. Also of interest: The slab serif variation Bunken Tech Slab Features in Detail: 16 Weights: -Light -Book -Medium -SemiBold -Bold -ExtraBold -UltraBold -Heavy and corresponding Italics 3 Widths: -Condensed -Normal -Wide Alternate Characters: A, E, F, L, S, e, f, t, s, y, etc. Small Capitals 5 Sets of Figures: -Lining Figures -Old Style Figures -Tabfigures -Old Style Tabfigures -Small Cap Figures Automatic Ordinals Automatic Fractions Extended Language Support and more...

Classic Grotesque by Rod McDonald: a traditional font with a modern face. The growing popularity of grotesque typefaces meant that many new sans serif analogues were published in the early 20th century. Setting machines were not compatible with each other but all foundries wanted to offer up-to-date fonts, and as a result numerous different typeface families appeared that seem almost identical at first glance and yet go their separate ways with regard to details. One of the first fonts created with automatic typesetting in mind was Monotype Grotesque®. Although this typeface that was designed and published by Frank Hinman Pierpont in 1926 has since been digitalised, it has never achieved the status of other grotesque fonts of this period. But Monotype Grotesque was always one of designer Rod McDonald’s favourites, and he was overjoyed when he finally got the go-ahead from Monotype in 2008 to update this “hidden treasure”. The design process lasted four years, with regular interruptions due to the need to complete projects for other clients. In retrospect, McDonald admits that he had no idea at the beginning of just how challenging and complex a task it would be to create Classic Grotesque™. It took him considerable time before he found the right approach. In his initial drafts, he tried to develop Monotype Grotesque only to find that the result was almost identical with Arial®, a typeface that is also derived in many respects from Monotype Grotesque. It was only when he went back a stage, and incorporated elements of Bauer Font’s Venus™ and Ideal Grotesk by the Julius Klinkhardt foundry into the design process, that he found the way forward. Both these typefaces had served as the original inspiration for Monotype Grotesque. The name says it all: Classic Grotesque has all the attributes of the early grotesque fonts of the 20th century: The slightly artificial nature gives the characters a formal appearance. There are very few and only minor variations in line width. The tittles of the ‘i’ and ‘j’, the umlaut diacritic and other diacritic marks are rectangular. Interestingly, it is among the uppercase letters that certain variations from the standard pattern can be found, and it is these that enliven the typeface. Hence the horizontal bars of the “E”, “F” and “L” have bevelled terminals. The chamfered terminal of the bow of the “J” has a particular flamboyance, while the slightly curved descender of the “Q” provides for additional dynamism. The character alternatives available through the OpenType option provide the designer with a wealth of opportunities. These include a closed “a”, a double-counter “g” and an “e” in which the transverse bar deviates slightly from the horizontal. The seven different weights also extend the scope of uses of Classic Grotesque. These range from the delicate Light to the super thick Extrabold. There are genuine italic versions of each weight; these are not only slightly narrower than their counterparts, but also have variant shapes. The “a” is closed, the “f” has a semi-descender while the “e” is rounded. Its neutral appearance and excellent features mean that Classic Grotesque is suitable for use in nearly all imaginable applications. Even during the design phase, McDonald used his new font to set books and in promotional projects. However, he would be pleased to learn of possible applications that he himself has not yet considered. Classic Grotesque, which has its own individual character despite its neutral and restrained appearance, is the ideal partner for your print and web project.

Over the past couple of years I received quite a number of unusual and surprising requests to modify my type designs to suit projects of personal nature, but none top the ones that asked me to typeset and modify tattoos using Burgues Script or Adios. At first the whole idea was amusing to me, kind of like an inside joke. I had worked in corporate branding for a few years before becoming a type designer, and suddenly I was being asked to get involved in personal branding, as literally “personal” and “branding” as the expression can get. After a few such requests I began pondering the whole thing from a professional perspective. It was typography, after all, no matter how unusual the method or medium. A very personal kind of typography, too. The messages being typeset were commemorating friends, family, births, deaths, loves, principles, and things that influenced people in a deep and direct way, so much so that they chose to etch that influence on their bodies and wear it forever. And when you decide to wear something forever, style is of the essence. After digging into the tattooing scene, I have a whole new respect for tattoo artists. Wielding that machine is not easy, and driving pigment into people’s skin is an enormous responsibility. Not to mention that they're some of the very few who still use a crafty, hands-on process that is all but obsolete in other ornamentation methods. Some artists go the extra mile and take the time to develop their own lettering for tattooing purposes, and some are inventive enough to create letters based on the tattoo’s concept. But they are not the norm. Generally speaking, most tattoo artists use generic type designs to typeset words. Even the popular blackletter designs have become quite generic over the past few decades. I still cringe when I see something like Bank Script embedded into people’s skin, turning them into breathing, walking shareholder invitations or government bonds. There’s been quite a few attempts at making fonts out of whatever original tattoo designer typefaces can be found out there - wavy pseudo-comical letters, or rough thick brush scripts, but as far as I could tell a stylish skin script was never attempted in the digital age. And that’s why I decided to design Piel Script. Piel is Spanish for skin. In a way, Piel Script is a removed cousin of Burgues Script. Although the initial sketches were infused with some 1930s showcard lettering ideas (particularly those of B. Boley, whose amazing work was shown in Sign of the Times magazine), most of the important decisions about letter shapes and connectivity were reached by observing whatever strengths and weaknesses can be seen in tattoos using Burgues. Tattoos using Adios also provided some minor input. In retrospect, I suppose Affair exercised some influence as well, albeit in a minor way. I guess what I'm trying to say is there is as much of me in Piel Script as there is in any of the other major scripts I designed, even though the driving vision for it is entirely different from anything else I have ever done. I hope you like Piel Script. If you decide it to use it on your skin, I'll be very flattered. If you decide to use it on your skateboard or book cover, I'll be just as happy. Scripts can't get any more personal than this. Piel Script received the Letter2 award, where they selected the best 53 typefaces of the last decade, organised by ATypI.

If you want to write something sincere and genuine but not too formal then this is the font for you. It is based on real handwriting, not some artificial calligraphy made to be either too haphazard or spiky or have loads of elegant flourishes but an ordinary person's writing, and designed to look as natural and as close to the original lettering as possible. Like any person's writing it is individual and distinctive, but so easy going on the eye those differences sit comfortably with you. It is friendly and open with easy to read glyphs both as lowercase and uppercase. The letters are relatively wide with clearly shaped distinct outlines. This font may be ideal for projects where you expect a wide readership with different reading abilities from young to old. When you are using this font a slightly bigger point size usually gives a better result so for a standard letter or similar you should size up to 15 points or more. Maree has been individually crafted to the smallest detail. To create a realistic handwriting font that looks relatively simple but works in a wide variety of languages requires a complexity and attention to detail most fonts will never require. This font in any ordinary business environment would never have been made, the effort required to make it too great, the length of time too long. There have been no shortcuts in this font, no automatic scanning or tracing, no automatic generation, no class kerning. Not only is each glyph individual but the width of letters, the height, the accents and the positions of the accents are all different. Even the line weight of the letters is designed to have natural variation but yet similar enough that the font appears as though it were written effortlessly in the same pen. And in order to keep the spacing consistent even though the letters have different widths, heights, lengths of descenders and so on, there are a vast number of kerning pairs, letter to letter, number to number, letter to number... All kerning has been individually assessed with an eye to proportionality taking in character shape, size and weight. For instance if you write a telephone number the numbers all sit close together but if you write a number before a letter such as in a UK post code or before a unit of measurement an extra little bit of space has been added which makes the number more distinct and therefore readable. That space is so natural to the eye that you don’t even know it is there. However even in the spacing allowance has been made for the fact it can’t be too perfect because when you write by hand the spacing is inconsistent. There have to be some letters which are too close or far apart otherwise the font would look artificial. For similar reasons if you are going to print out this font for a letter, etc, check the print version before you make any letter spacing changes because with the zoom functions in modern applications that uneven spacing and lettering can seem more pronounced than it actually is. When this font is printed out you will find it is surprisingly neat. This font is what it is, simple clear handwriting. You will not go wow. But if you want something unique and different and looks good on the page you won’t be disappointed. This font is not a work of art but it is a work of love. This font has a soul. How many fonts can you say that about?

INTRODUCING THE GEMINI TYPE FONTPACK, an industrial-strength OpenType font bundle inspired by and optimized for dimensional type. Chank Co is proud to introduce the new “Gemini Type Fontpack,” a collection of ten fonts available for use on your desktop computer or web pages, but also optimized for use as exterior cast-metal signage in bronze or aluminum in collaboration with Gemini, a family-owned industry leader in the wholesale manufacture of dimensional letters, logo and plaques based in Cannon Falls, MN. Gemini collaborated with Chank Co to assemble a line of fonts that would work well as dimensional, cast-letter signage for use on the sides of buildings, in stores, and other public spaces. The fonts included in the “Gemini Type Fontpack” are reinterpretations of previous Chank Fonts, now optimized for dimensional signage display, but then also repackaged and presented for your use as an OpenType desktop computer font collection: GT-Adrianna DemiBold GT-Adrianna Bold GT-Adrianna ExtraBold GT-Fairbanks GT-Forward Thinking GT-Hydropower ExtraCondensed GT-Kegger GT-Shopaganda GT-Shopaganda Condensed GT-Timeless Geometric. This is a multi-purpose collection of heavy-lifting fonts to convey your message strong and clearly, full of legibility and clarity, but also displaying personality and distinction. You can purchase and download these fonts in OpenType format for your desktop computer right now via MyFonts. Get it today and you'll also get a great introductory special sale price. These exclusive typefaces are also available as dimensional letters, manufactured by Gemini in bronze or aluminum, from 6" tall up to 18" tall, with a variety of finish options, for use in public signage and wayfinding systems. Gemini manufacture their products in 20 plants through out the US, Canada and Mexico, and all their products are backed by a lifetime guarantee. Chank Co is excited to offer these ten strong, industrial font designs in durable cast metal format via Gemini. ----- More about the fonts in the Gemini Type Fontpack: GT-Adrianna DemiBold, Bold, and Adrianna ExtraBold Clear, invisible, no-nonsense, multi-purpose. A versatile sans-serif heavy-lifting font family. GT-Fairbanks Vintage, silent film, speedball, old-timey, old-fashioned, retro. Based upon the lettering in the 1914 silent film, “The Good Bad Man.” GT-Forward Thinking Futuristic, semi-serif, clean, distinctive, contemporary, idiosyncratic. A font for tomorrow and the future. GT-Hydropower ExtraCondensed Extra-condensed, compressed, strong, rigid and concise. GT-Kegger Strong, sporty, collegiate, athletic. Nothing says “GO TEAM” quite like a big, bold slab-serif font. GT-Shopaganda and GT-Shopaganda Condensed Industrial, geometric, constructivist, propaganda, oh there’s so much to love about the strength and clarity of these two fonts. Based on Chank’s Liquorstore and Nicotine fonts, which have been married and unified here, with a few new twists and turns to their letterforms. GT-Timeless Geometric Bauhaus, anyone? The geometric and minimalist alphabet here is about as clean and straight-forward as a semi-condensed sans can get. ----- All of the fonts in this package are available individually, or save money when you purchase all ten of them as a collection. Download this digital font package from MyFonts today and you'll receive both OpenType and TrueType formats in your download for your desktop computer. Webfont format is also available. (If you'd like to use these fonts as cast-metal letters for exterior, architectural purposes, visit the Gemini website to learn more about how you can find a signage retailer near you.)

Divina Proportione is based from the original studies from Luca Pacioli. Luca Pacioli was born in 1446 or 1447 in Sansepolcro (Tuscany) where he received an abbaco education. Luca Pacioli was born in 1446 or 1447 in Sansepolcro (Tuscany) where he received an abbaco education. [This was education in the vernacular (i.e. the local tongue) rather than Latin and focused on the knowledge required of merchants.] He moved to Venice around 1464 where he continued his own education while working as a tutor to the three sons of a merchant. It was during this period that he wrote his first book -- a treatise on arithmetic for the three boys he was tutoring. Between 1472 and 1475, he became a Franciscan friar. In 1475, he started teaching in Perugia and wrote a comprehensive abbaco textbook in the vernacular for his students during 1477 and 1478. It is thought that he then started teaching university mathematics (rather than abbaco) and he did so in a number of Italian universities, including Perugia, holding the first chair in mathematics in two of them. He also continued to work as a private abbaco tutor of mathematics and was, in fact, instructed to stop teaching at this level in Sansepolcro in 1491. In 1494, his first book to be printed, Summa de arithmetica, geometria, proportioni et proportionalita, was published in Venice. In 1497, he accepted an invitation from Lodovico Sforza ("Il Moro") to work in Milan. There he met, collaborated with, lived with, and taught mathematics to Leonardo da Vinci. In 1499, Pacioli and Leonardo were forced to flee Milan when Louis XII of France seized the city and drove their patron out. Their paths appear to have finally separated around 1506. Pacioli died aged 70 in 1517, most likely in Sansepolcro where it is thought he had spent much of his final years. De divina proportione (written in Milan in 1496–98, published in Venice in 1509). Two versions of the original manuscript are extant, one in the Biblioteca Ambrosiana in Milan, the other in the Bibliothèque Publique et Universitaire in Geneva. The subject was mathematical and artistic proportion, especially the mathematics of the golden ratio and its application in architecture. Leonardo da Vinci drew the illustrations of the regular solids in De divina proportione while he lived with and took mathematics lessons from Pacioli. Leonardo's drawings are probably the first illustrations of skeletonic solids, an easy distinction between front and back. The work also discusses the use of perspective by painters such as Piero della Francesca, Melozzo da Forlì, and Marco Palmezzano. As a side note, the "M" logo used by the Metropolitan Museum of Art in New York City is taken from De divina proportione. “ The Ancients, having taken into consideration the rigorous construction of the human body, elaborated all their works, as especially their holy temples, according to these proportions; for they found here the two principal figures without which no project is possible: the perfection of the circle, the principle of all regular bodies, and the equilateral square. ” —De divina proportione

Out of a lifelong inner struggle, Philip Bouwsma unleashes a masterpiece that reconciles classic calligraphy with type in a way never before attempted. Maestro takes its cue from the Italian chancery cursive of the early sixteenth century. By this time type ruled the publishing world, but official court documents were still presented in calligraphy, in a new formal style of the high Renaissance that was integrated with Roman letters and matched the refined order of type. The copybooks of Arrighi and others, printed from engraved wood blocks, spread the Italian cancellaresca across Europe, but the medium was too clumsy and the size too small to show what was really happening in the stroke. Arrighi and others also made metal fonts that pushed type in the direction of calligraphy, but again the medium did not support the superb artistry of these masters or sustain the vitality in their work. As the elegant sensitive moving stroke of the broad pen was reduced to a static outline, the human quality, the variety and the excitement of a living act were lost. Because the high level of skill could not be reproduced, the broad pen was largely replaced by the pointed tool. The modern italic handwriting revival is based on a simplified model and does not approach the level of this formal calligraphy with its relationship to the Roman forms. Maestro is the font that Arrighi and his colleagues would have made if they had had digital technology. Like the calligraphic system of the papal chancery on which it is modelled, it was not drawn as a single finished alphabet, but evolved from a confluence of script and Roman; the script is formalized by the Roman to stand proudly in a world of type. Maestro came together on screen over the course of several years, through many versions ranging widely in style, formality, width, slant, weight and other parameters. On one end of the spectrum, looking back to tradition it embodies the formal harmony of the Roman capitals and the minuscule which became the lower case. On the other it is a flowing script letter drawing on the spirit of later pointed pen and engravers scripts. As its original designers intended, it works with simple Roman capitals and serifs or swash capitals and baroque flourishes. The broad pen supplies weight and substance to the stroke which carries energy through tension in balanced s-curves. Above all it is meant to convey the life and motion of formal calligraphy as a worthy counterbalance to the stolid gravity of metal type. The Maestro family consists of forty fonts distributed over two weights. The OpenType version compresses the family considerably down to two fonts, regular and bold, each containing the entire character set of twenty fonts, for a total of more than 3350 characters per font. These include a wide variety of stylistic alternates, ligatures, beginning and ending letters, flourishes, borders, rules, and other extras. The Pro version also includes extended linguistic support for Latin-based scripts (Western, Central and Eastern European, Baltic, Turkish, Welsh/Celtic, Maltese) as well as Greek. For more thoughts on Maestro, its background and character sets, please read the PDF accompanying the family.

‘Thwaites’ typeface is fully dedicated to one of my best Canadian friends who I do cherish and value highly. This great and industrious Canadian friend is ‘James Douglas Thwaites’ who lives along with his good-natured family in British Columbia, Canada. For me, James is like a source of inspiration and I do consider him as an ideal in my life. Our strong friendship has started since 1999 and I hope that it will endure just to the last moment of my life. Sometimes I see him as the writer and poet that I learn a lot from, sometimes I see him as a devoted religious minister that I try to understand more about his teachings, and other times I see him as the educator that I strive to imitate verbatim in my life. When I want to talk more about this Canadian friend, I will not be able to give him his due in full. Thus, I will instead mention some excerpts of his biography that he wrote himself saying that: “James D. Thwaites is a self-accomplished man. Having worked in various fields including restaurant management and cleaning, he has achieved his goals of being a full-time teacher, past-time writer, and volunteer religious minister for the Christian Congregation of Jehovah's Witnesses. His personal and academic pursuits have led him to be published in various magazines, newspapers, self-published books, and websites, including his now defunct ‘poetryofthemonth.com’ website. He continues to learn and augment the craft of writing while working primarily in early literacy and delayed literacy learners, teaching reading and literature to a wide age range of students. He views his religious endeavors as an extension of his academic ones. He teaches others both as a public speaker and in one-on-one situations, teaching about the benefits of submission to God and to His teachings. His future goals include expanding his ministry and continuing his writing.” The name ‘Thwaites’ itself comes from Great Britain and originated from the last Viking raids upon England, being an Anglicized version of a Scandinavian term meaning—depending on the source material—either "a place that is difficult to approach" or "a small thicket of trees." Another recitation mentions that ‘Thwaites’ can be described also as an English surname but one of pre 7th century Norse-Viking origins. It may be either topographical or locational, and is derived from the word "thveit", meaning a clearing or farm. As a locational surname it originates from any one of the various places called "Thwaite", found in several parts of Northern England and East Anglia to the south. The various modern spelling forms include Thwaite, Thwaites, Thwaytes, Thoytes, Twaite, Twatt, Twaites, Tweats and Twite. The name, although often appearing unique to outsiders, can often be found within other famous names like Braithwaite, Goldthwaites, or Misslethwaites. With various spellings, some families not including the ‘e’ or the ‘s’ at the end, Thwaites and its derivations—although not exceedingly common—is a name found worldwide. ‘Thwaites’ typeface is simply a sans-serif streamlined, stylish, and versatile font. It is designed using a combination of thick and thin strokes for its +585 characters. Its character set supports nearly most of the Central, Eastern, and Western European languages using Latin scripts including the Irish language. The typeface is appropriate for any type of typographic and graphic designs in web, print, and other media. It is also absolutely preferable to be used in the wide fields related to publication, press, services, and production industries. It can create a very impressive impact when used in headlines, posters, titles, products’ surfaces, logos, medical packages, product and corporate branding, and also signage. It has also both of lining and old-style numerals which makes it more suitable for any printing or designing purposes. ‘Thwaites’ typeface is really the cannot-miss choice for anyone who wants to possess unique artistic and modern designs produced using this streamlined typeface.

Zebramatic - A Lettering Safari Zebramatic is a font for editorial design use, to create headlines and titles in eye-catching stripes. Constructed to offer flexible and a variety of graphical possibilities, Zebramatic type is easy to use. The font is offered in three styles: POW, SLAM and WHAM. These styles work both as ready-made fonts and as patterns to create unique, individualized type. The font design’s full potential is unleashed by layering glyphs from two or all three styles in different colors or shades. Working with the different styles I was reminded of the late Jackson Pollock poured paintings—in particular the documentation of his painting process by Hanz Namuth and Paul Falkernburg in the film Jackson Pollock 51. In Pollock’s pictures the complex allure arises from how he layered the poured and dripped paint onto the canvas. Similar joyful experience and exciting results emerge by layering the different styles of Zebramatic type. Texture In the heart of the Design is Zebramatics unique texture. It is based on an analog distorted stripe pattern. The distortion is applied to a grade that makes the pattern complex but still consistent and legible. You can view some of the initial stripe patterns in the background of examples in the Gallery. Zebramatic POW, SLAM and WHAM each offer a distinct pallet of stripes—a unique zebra hide. POW and WHAM use different distortions of the same line width. SLAM is cut from a wider pattern with thicker stripes. The letter cut and kerning is consistent throughout styles. Design Concept Attention-grabbing textured or weathered fonts are ideal for headlines, ads, magazines and posters. In these situations rugged individuality, letter flow, and outline features are magnified and exposed. Textured fonts also immediately raise the design questions of how to create alignment across a word and deal with repeated letters. Zebramatic was conceived as an especially flexible font, one that could be used conveniently in a single style or by superimposing, interchanging and layering styles to create a unique type. The different styles are completely interchangeable (identical metrics and kerning). This architecture gives the typographer the freedom to decide which form or forms fit best to the specific project. Alignment and repetition were special concerns in the design process. The striped patterns in Zebramatic are carefully conceived to align horizontally but not to match. Matching patterns would create strong letter-pairs that would “stick out” of the word. For example, take the problematic word “stuff”. If Zebramatic aligned alphabetically, the texture of S T and U would align perfectly. The repeated F is also a problem. Imagine a headline that says »LOOK HERE«. If the letters OO and EE have copied »unique« glyphs - the headline suggests mass production, perhaps even that the designer does not care. Some OpenType features can work automatically around such disenchanting situations by accessing different glyphs from the extended glyph-table. However these automations are also repeated; the generated solutions become patterns themselves. Flip and stack To master the situation described above, Zebramatic offers a different programmatic practice. To eliminate alphabetic alignment, the letters in Zebramatic are developed individually. To avoid repetition, the designer can flip between the three styles (POW, SLAM, WHAM) providing three choices per glyph. Stacking layers in different sequences provides theoretical 27 (3*3*3) unique letterforms. A last variable to play with is color (i.e. red, blue, black). Images illustrating the layering potential of Zebramatic are provided in the Gallery. The design is robust and convenient. The font is easily operated through the main font panel (vs. the hidden sub-sub-menu for OpenType related features). The process of accessing different glyphs is also applicable in programs that do not support OpenType extensively (i.e. Word or older Versions of Illustrator). International Specs Zebramatic is ready for your international typographic safari. The font contains an international character set and additional symbols – useful in editorial and graphic design. The font comes in OpenType PostScript flavored and TrueType Format.

There is plenty of lyric and literature about looking over one's shoulder in contemplation. What would you have done differently if you knew then what you know now? This is the kind of question that comes out of nowhere. When it does and whether its context is personal or professional make very little difference. It's a question that can cause emotions to rise and passions to run hot. It can trigger priority shifts and identity crises. It's never easy to answer. Three years ago, I published a font called Semilla. My aim with that was to distill the work of Bentele, a lettering artist from early 1950s Germany. Picking such an obscure figure back then was my way of pondering the meaning and efficiency of objectivity in a world where real human events and existences are inevitably filtered through decades of unavoidably subjective written, printed and oral history. And maybe to pat myself on the back for surviving surprises mild and pleasant. Having been fortunate enough to follow my professional whims for quite some time now, I took another, longer look at my idea of distilling Bentele's work again. I suppose the concepts of established history and objectivity can become quite malleable when personal experience is added to the mix. I say that because there I was, three years later, second-guessing myself and opining that Bentele's work can be distilled differently, in a manner more suited to current cultural angles. So I embarked on that mission, and Bowling Script is the result. I realize that it's difficult to reconcile this soft and happy calligraphic outcome with the introspection I've blathered about so far, but it is what is. I guess even self-created first world problems need to be resolved somehow, and the resolution can happen in mysterious ways. Bowling Script is what people who like my work would expect from me. It's yet another script loaded with all kinds of alternation, swashing and over-the-top stuff. All of that is in here. These days I think I just do all that stuff without even blinking. But there are two additional twists. The more noticeable one is ornamental: The stroke endings in the main font are of the typical sharp and curly variety found in sign painting, while the other font complements that with ball endings, sometimes with an added-on-afterwards impression rather than an extension of the actual stroke. In the philosophical terms I was mumbling earlier, this is the equivalent of alternate realities in a world of historical reduxes that by their very nature can never properly translate original fact. The second twist has to do with the disruption of angular rhythm in calligraphic alphabets. Of course, this is the kind of lettering where the very concept of rhythm can be quite flexible, but it still counts for something, and experimenting with angular white space in a project of a very dense footprint was irresistible. After playing for a bit, I decided that it would interesting to include the option of using optically back-slanted forms in the fonts. Most scripts out there, including mine, have a rhythm sonically comparable to four-to-the-floor club beats. So the weirdly angled stuff here is your chance to do the occasional drumroll. Everyone knows we need one of those sometimes. Bowling Script and Bowling Script Balls fonts comes with 1600 characters and features extended Latin-based language support. There are also a basic version of both fonts without all the alternates and extra OpenType features. Bowling family ships in cross-platform OpenType format. We also want to present “Mute”, a visual essay narated by Tomás García and Valentín Muro, about digital life created specially to introduce Bowling Script.

ROARRR! THE STYLES -Pantera Pro is the most complete style, and although its default look is mono-rhythmic it gets really playful and crazy like the examples of the posters by just activating the Decorative Ligatures button in the Open-type Panel of Adobe Illustrator. However, I recommend using also the Glyphs Panel because there you'll find much more variants per letter. Pantera Pro is in fact, coded in a way the combination of thicknesses will always look fantastic. -Pantera Black Left, and Pantera Black Right are actually “lite” versions of Pantera Pro: They have very little Open-Type code, so what you see here is what you get. Pantera Black Left has its left strokes thick, while Pantera Black Right has its right strokes thick. -Pantera White is a lovely member in this family that looks lighter and airy, hence its name. With the feature Standard Ligatures activated (liga) the font gets very playful. -Pantera Caps is based on sign painters lettering and since it follows the same pointed brush rules as the other styles, it matches perfectly. -Pantera Claws like its name suggests, is a set of icons that were done by our dear panther. THE STORY It is said that typography can never be as expressive as calligraphy, but sometimes it can get close enough. I tend to think that calligraphic trials, in order to work well as potential fonts, need first to go through very strict filters before going digital: While calligraphy is synonym of freedom (once its rules are mastered), type-design, in the other hand, has its battlefield a little tighter and tougher. When I practice pointed brush lettering, there are so many things happening on the paper. And most of them are delicious. The ones who know my work may see that although many of my fonts are very expressive, my handmade brush trials are much more lively than them. With that in mind, this time I tried to go further and rescue more of those things that are lost in the process of thinking type when first sketches are calligraphic. I wondered if I could create something wild, hence its name Panther, by understanding the randomness that sometimes calligraphy conveys and turning it to something systemic: With Pantera, I created an ordered disorder. Like it happens a lot in many kinds of lettering styles, in order to enrich the written word the scribe mixes the thickness of the strokes and the width of the letters. Like one of my favorite mentors say (1), they make thoughtful gestures Some lively strokes go down with a thick, while some do that with a thin. Some letters are very narrow, meaning some of them will need to be very wide to compensate. Why not?. The calligrapher is always thinking on the following letters, and he/she designs in his head the combination of thicks and thins before he/she executes them. He/she knows the playful rhythm the words will have before writing them. It takes time and skill to master this and achieve graceful results. Going back to the font, in Pantera, this combination of varying thicknesses and widths of letters were Open-Type coded so the user will see satisfactory results by just enabling or disabling some buttons on the glyphs panel. I'm very pleased with the result since it’s not very easy to find fonts which play with the words' rhythm like Pantera does, following of course, a strong calligraphic base. I believe that if you were on the prowl for innovative fonts, this is your chance to go wild and get Pantera! NOTES (1) Phrase by Yves Leterme. In fact, it’s the title of a book by him. EPILOGUE Esta fuente está dedicada a mi panterita

Type Maestro is an exquisite ligature serif font that exudes creativity and elegance. With over 100 meticulously crafted ligatures, this font is the perfect choice for designers looking to elevate their projects to new heights. One of the key features of Type Maestro is its extensive language support, boasting compatibility with 87 different languages. This makes it an incredibly versatile font that can be used for a wide range of projects, no matter where your audience is located. But what truly sets Type Maestro apart are its alternate glyphs. These unique characters add a touch of individuality and personality to your text, allowing you to create truly one-of-a-kind designs. Whether you're designing a logo, a website, or a social media post, Type Maestro has the flexibility and style to help you stand out from the crowd. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu Ligatures : IS, FO, OD, FA, TY, EX, NN, EY, SS, LL, FU, US, UT, AS, AN, AM, CI, LO, ES, RO, ET, TE, CK, OH, OO, OE, OC, KO, KE, KC, CH, SE, EA, UR, RS, KS, TH, TU, TT, TK, TL, HE, RG, EP, ER, RE, RC, LE, ND, ED, OF, HA, EN, CT, ST, NT, ON, ME, MO, NG, NC, UG, UC, OU, GH, OR, OP, EE, YO, VE, IT, WE, TI, VO, WO, SA, MA, OL, VA, YP, YR, OX, XO, BA, OT, TO, BE, RU, KU, TW, EN, NT, FAS, FAST, CKS, OOD, FOOD, FOO, TEE, TOR, TOP, TWE, NTY, TYP, OUT, UST, URS, WAS, THE, WES, EST, EEN, ERS, EAS, LES, ENT, FOR, OUG, ERE, TER, YOU, VER, HER, THER, THA, AND, ITH, THI, MENT, WERE, WER, ROM, THE, ERG, ERE, ERC, ERU, ERO, NTH, FOU, HRO, HRE, HRC, HRU, TWO, GHT, OUR, OUP, STO, VEN, ORT, MEN How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!

TT Mussels useful links: Specimen | Graphic presentation | Customization options About TT Mussels: The TT Mussels font family is the successor of such popular fonts as Bender and TT Squares. At the same time, TT Mussels has a number of fundamental differences that make it a unique font family that stands out from other octagonal typefaces. When designing TT Mussels, we paid great attention to the possibility of imposing large arrays of text, and we can responsibly state that TT Mussels is a rare type of technological text fonts. To go along with the rest, we've created a stencil version of the typeface, in which the location of the incisions changes according to their thickness. In total, the TT Mussels font family consists of 36 faces, which include among other things stylistic alternatives, ligatures, and also implements a broad support for OpenType features: case, frac, ordn, sups, sinf, numr, dnom, onum, tnum, pnum, liga, dlig, salt, ss01. Dynamic contrast is widely implemented in TT Mussels. It is most noticeable in the Black typeface, where the ratio of the thickness of the vertical strokes to the horizontal strokes is approximately two to one. For the Thin typeface, the thickness of the vertical strokes is already consistent with the thickness of the horizontal strokes. You can also find other signs of respect for traditional text fonts in the TT Mussels design, such as the trace of pen movement which is historically typical for antiquas. For example, in the letter M from the Black face, we can first see a thin stroke, then a thick diagonal stroke followed by a thin diagonal stroke, and a finishing bold vertical stroke. As in the case of dynamic contrast, this effect gradually disappears when approaching thin faces. In thick faces, in places such as the “armpits” of the letters MN? or the junctions of the diagonals of WVvw, there are visual compensators that brighten the bold typefaces. As the thickness of typefaces moves from thick to thin, the dimensions and conceptual values of compensators change, and in thin typefaces they completely disappear. TT Mussels language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Mr Eaves is the often requested and finally finished sans-serif companion to Mrs Eaves, one of Emigre’s classic typeface designs. Created by Zuzana Licko, this 2009 addition to the Emigre Type Library expands the versatility of the original Mrs Eaves with two complimentary families: Mr Eaves Sans and Mr Eaves Modern. Mr Eaves was based on the proportions of Mrs Eaves, but Licko took some liberty with its design. One of the main concerns was to avoid creating a typeface that looked like it simply had its serifs cut off. And while it matches Mrs Eaves in weight, color, and armature, Mr Eaves stands as its own typeface with many unique characteristics. The Sans version relates most directly to the original serif version, noticeably in the roman lower case letters a, e, and g, as well as in subtle details such as the angled lead in strokes, the counter forms of the b, d, p, and q, and the flared leg of the capital R, the tail of the Q. The distinctly loose-fitting letter spacing of Mrs Eaves was applied also to the Sans version. This, together with generous built-in line spacing due to a small x-height and extended ascenders and descenders, renders the same kind of lightness and airiness when setting text that is so characteristic of Mrs Eaves. Deviations from the original Mrs Eaves are evident in the overall decrease of contrast, as well as in details such as the flag and tail of the f and j, and the finial of the t, which were shortened to maintain a cleaner, sans serif look. And the lower case c had to be balanced out differently after it lost its top ball terminal. And with the loss of serifs, Mr Eaves set width is slightly narrower. Mr Eaves Italic also carries over many forms from its Mrs Eaves model, most notably the v, w, and z, which are unusually flamboyant for a sans italic design. It also utilizes lead in and terminal tails that are reminiscent of the serif italic. The biggest departure here is the width of the characters. The extra narrow gauge and delicate features seemed more appropriate for the Serif than the Sans. To allow for a comfortable fit, Mr Eaves Italic has a more robust design and wider character width. Meanwhile, the Modern family provides an overall less humanistic look, with simpler and more geometric-looking shapes, most noticeably in the squared-off terminals and symmetric lower case counters. This family has moved furthest from its roots, yet still contains some of Mrs Eaves’ DNA. The Modern Italic is free of tails, and overall the Modern exhibits more repetition of forms, projecting a cleaner look. This provides stronger differentiation from the serif version whenever a more contrasting look is desired. Each version (Sans and Modern) contains its own set of alternates providing unique options for applications such as headlines, word logos, letterheads, pull quotes, and other short text settings. Both the Sans and Modern come in six weights. The simpler forms of a sans-serif provide the opportunity of more weights than do serif letter forms, which are more complex in structure, making it difficult to accommodate additional weight without distortions. Regular and Bold match the original Mrs Eaves weights, while the Heavy provides an additional weight for extra emphasis.

Auchentaller was inspired by a travel poster by Josef Maria Auchentaller in 1906. To our knowledge, it was never cast in type. Grado lies on the northern Adriatic, between Venice and Trieste. At one time the port for the important Roman town of Aquileia. With the decline of the Roman Empire, the upper Adriatic region came under the rule of the Visigoths, the Ostrogoths, the Byzantines, the Lombards, the Franks, the Germans, the Venetians and finally, in 1796, the Austrian Hapsburgs. So it remained until the dissolution of the Austro-Hungarian Monarchy in 1919, following World War I, when the seaport of Trieste was awarded to Italy. With Trieste came Montefalcone, Aquileia and Grado. The area was marked by years of political tension between Italy and Yugoslavia, exemplified by the d'Annunzio expedition to capture Fiume (Rijeka) in September, 1919. Some basic discussion of the period from 1919 to 1939 may be found in Seton-Watson’s Eastern Europe Between The Wars (Cambridge 1945) and Rothschild’s East Central Europe Between The Two World Wars (Seattle 1974). In 1965 I was traveling by train from Venice to Vienna. Crossing the Alps, the train stopped for customs inspection at the rural Italian-Austrian border, just above Slovenia. We were warned not to get off the train because there were still shooting skirmishes in the area. Through all this, Grado remained literally an island of tranquility, connected to the mainland by a only causeway and lines on a map. Auchentaller not only painted the beach scene at Grado, he moved there, living out the rest of his life in this comfortable little island town. His travel illustration contains the text from which the design of our font Auchentaller is drawn. The text translates: "Seaside resort : Grado / Austrian coastal land". Please see our gallery images to see a map locating Grado, as well as Auchentaller’s painting of the resort. Auchentaller is a monoline all-cap font, light and open in design , with a lot of typically art nouveau letter forms. Included in our font are a number of ligatures. As is frequently seen in designs by German speakers, the umlaut is embedded in the O & U below the tops of the letters. This approach led to two whimsies: a happy umlauted O and a sad umlauted U. This font has a clean, crisp look that is very appealing and very distinctive. Auchentaller ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Add glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 336 glyphs. 2. Added OpenType GSUB layout features: pnum, liga, salt & ornm. 3. Added 116 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Revised ‘J’. 6. Minor refinements to various glyph outlines. 7. Inclusion of both tabular & proportional numbers. 8. Inclusion of both standard acute and Polish kreska with choice of alternate accented glyphs for c,n,r,s & z. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Mr Eaves is the sans-serif companion to Mrs Eaves, one of Emigre’s classic typeface designs. Created by Zuzana Licko, this 2009 addition to the Emigre Type Library expands the versatility of the original Mrs Eaves with two complementary families: Mr Eaves Sans and Mr Eaves Modern. Mr Eaves was based on the proportions of Mrs Eaves, but Licko took some liberty with its design. One of the main concerns was to avoid creating a typeface that looked like it simply had its serifs cut off. And while it matches Mrs Eaves in weight, color, and armature, Mr Eaves stands as its own typeface with many unique characteristics. The Sans version relates most directly to the original serif version, noticeably in the roman lower case letters a, e, and g, as well as in subtle details such as the angled lead in strokes, the counter forms of the b, d, p, and q, and the flared leg of the capital R, the tail of the Q. The distinctly loose-fitting letter spacing of Mrs Eaves was applied also to the Sans version. This, together with generous built-in line spacing due to a small x-height and extended ascenders and descenders, renders the same kind of lightness and airiness when setting text that is so characteristic of Mrs Eaves. Deviations from the original Mrs Eaves are evident in the overall decrease of contrast, as well as in details such as the flag and tail of the f and j, and the finial of the t, which were shortened to maintain a cleaner, sans serif look. And the lower case c had to be balanced out differently after it lost its top ball terminal. And with the loss of serifs, Mr Eaves set width is slightly narrower. Mr Eaves Italic also carries over many forms from its Mrs Eaves model, most notably the v, w, and z, which are unusually flamboyant for a sans italic design. It also utilizes lead in and terminal tails that are reminiscent of the serif italic. The biggest departure here is the width of the characters. The extra narrow gauge and delicate features seemed more appropriate for the Serif than the Sans. To allow for a comfortable fit, Mr Eaves Italic has a more robust design and wider character width. Meanwhile, the Modern family provides an overall less humanistic look, with simpler and more geometric-looking shapes, most noticeably in the squared-off terminals and symmetric lower case counters. This family has moved furthest from its roots, yet still contains some of Mrs Eaves' DNA. The Modern Italic is free of tails, and overall the Modern exhibits more repetition of forms, projecting a cleaner look. This provides stronger differentiation from the serif version whenever a more contrasting look is desired. Each version (Sans and Modern) contains its own set of alternates providing unique options for applications such as headlines, word logos, letterheads, pull quotes, and other short text settings. Both the Sans and Modern come in three weights. The simpler forms of a sans-serif provide the opportunity of more weights than do serif letter forms, which are more complex in structure, making it difficult to accommodate additional weight without distortions. Regular and Bold match the original Mrs Eaves weights, while the Heavy provides an additional weight for extra emphasis.

Useful links: Using the variable font TT Alientz in InDesign About TT Alientz: TT Alientz is a variable* typeface that allows the user to make a visual journey from a laconic extraterrestrial grotesque to a very prickly display serif. As part of this project, we decided to investigate the influence of a foreign substance and the consequent transformation of the original forms, which ultimately leads to extreme visual changes. The TT Alientz family consists of 3 fonts: grotesque, serif and variable* font. Each font contains more than 470 glyphs. In addition to broad language support (including Cyrillic), the typeface has stylish ligatures, contextual alternates, and old-style figures. Variability in the typeface affects the changes in the overall style of the font—moving the slider to adjust the variable axis, you can go from a laconic grotesque to an extreme serif. TT Alientz Grotesque is a fairly neat hipster grotesque, but with its own small features. In the design of some letters of the grotesque you can find small sharp elements that add uniqueness and character to the font when used in large inscriptions and headings. At the same time, when you use the font in a small size of the size and in text blocks, sharp elements do not greatly affect its readability. The design of some letters of the grotesque is quite peculiar and is intended to emphasize the initial concept of slight 'alienness'. TT Alientz Serif is an 'infected' TT Alientz Grotesque and the result of changes to it. Unlike the grotesque, the serif is dynamic, viscous, ductile and very prickly. Serif has a lot of smooth lines and not quite standard strokes contrast. It can be noted that most serifs in the antiqua are pointed inward, not outward. Despite its extremeness, the serif will look good both in large and in small body sizes. *An important clarification regarding variable fonts. At the moment, not all graphic editors, programs and browsers support variable fonts. You can check the status of support for the variability of your software here: v-fonts.com/support/ FOLLOW US: Instagram | Facebook | Website TT Alientz supports more than 160+ languages, such as: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (cyr), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Walloon, Xhosa, Zaza, Zulu.

It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there. Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds. Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff. Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well. This is one quill script that no large bird had to die for. A few technical notes The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on. Awards During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.

“A picture is worth a thousand words” and here, that’s more than true. Take a look at Erotica’s Booklet; Erotica’s Poster Design and Erotica’s User’s Guide before reading below. THE STYLES The difference between Pro and Std styles is the quantity of glyphs. Therefore, Pro styles include all the decorative alternates and ligatures while Std styles are a reduced version of Pro ones. Big and Small styles were thought for better printing results. While Big is recommended to be printed in big sizes, Small may be printed in tiny sizes and will still show its hairlines well. INTRODUCTION I have always wondered if the circle could ever be considered as an imperfect shape. Thousands of years have passed and we still consider circles as synonyms of infinite beauty. Some believe that there is something intrinsically “divine” that could be found in them. Sensuality is many times related to perfectly shaped strong curves, exuberant forms and a big contrasts. Erotica is a font created with this in mind. THE PROCESS This story begins one fine day of March in 2012. I was looking for something new. Something which would express the deep love I feel regarding calligraphy in a new way. At that time, I was practicing a lot of roundhand, testing and feeling different kinds of nibs; hearing the sometimes sharp, sometimes soft, sound of them sliding on the paper. This kind of calligraphy has some really strict rules: An even pattern of repetition is required, so you have to be absolutely aware of the pressure of the flexible pen; and of the distance between characters. Also, learning copperplate can be really useful to understand about proportion in letters and how a minimum change of it can drastically affect the look of the word and text. Many times I would forget about type-design and I would let myself go(1): Nothing like making the pen dance when adding some accolades above and below the written word. Once something is mastered, you are able to break some rules. At least, that’s my philosophy. (2) After some research, I found that the world was in need of a really sexy yet formal copperplate. (3) I started Erotica with the idea of taking some rules of this style to the extreme. Some characters were drawn with a pencil first because what I had in mind was impossible to be made with a pen. (4) Finding a graceful way to combine really thick thicks with really thin hairlines with satisfactory results demanded months of tough work: The embryo of Erotica was a lot more bolder than now and had a shorter x-height. Changing proportions of Erotica was crucial for its final look. The taller it became the sexier it looked. Like women again? The result is a font filled with tons of alternates which can make the user think he/she is the actual designer of the word/phrase due to the huge amount of possibilities when choosing glyphs. To make Erotica work well in small sizes too, I designed Erotica Small which can be printed in tiny sizes without any problems. For a more elegant purpose, I designed Erotica Inline, with exactly the same features you can find in the other styles. After finishing these styles, I needed a partner for Erotica. Inspired again in some old calligraphic books I found that Bickham used to accompany his wonderful scripts with some ornated roman caps. Erotica Capitals follows the essentials of those capitals and can be used with or without its alternates to accompany Erotica. In 2013, Erotica received a Certificate of Excellence in Type Design in the 59th TDC Type Directors Club Typeface Design Competition. Meet Erotica, beauty and elegance guaranteed. Notes (1) It is supossed that I'm a typographer rather than a calligrapher, but the truth is that I'm in the middle. Being a graphic designer makes me a little stubborn sometimes. But, I found that the more you don't think of type rules, the more graceful and lively pieces of calligraphy can be done. (2) “Know the forms well before you attempt to make them” used to say E. A. Lupfer, a master of this kind of script a century ago. And I would add “And once you know them, it’s time to fly...” (3) Some script fonts by my compatriots Sabrina Lopez, Ramiro Espinoza and Alejandro Paul deserve a mention here because of their undeniable beauty. The fact that many great copperplate fonts come from Argentina makes me feel really proud. Take a look at: Parfumerie, Medusa, Burgues, Poem and Bellisima. (4) Some calligraphers, graphic and type designer experimented in this field in the mid-to-late 20th century and made a really playful style out of it: Letters show a lot of personality and sometimes they seem drawn rather than written. I want to express my sincere admiration to the fantastic Herb Lubalin, and his friends Tony DiSpigna, Tom Carnase, and of course my fellow countryman Ricardo Rousselot. All of them, amazing.

Tavern is a super font family based on our Algerian Mesa design, with Tavern we've greatly expanded the usability by creating light and bold weights plus all new for 2020 with the introduction of extra bold and black weights Tavern is now a five weight family. The addition of the bold weight made it possible to go further with the design by adding open faced shadowed, outline and fill versions. Please note, the fill fonts are aligned to go with the open faced versions, they may work with the outline versions, however you will have to apply them one letter at a time. The Tavern Fill fonts may also be used a stand alone font, however, the spacing is much wider than the regular solid black weights of Tavern. In the old days of printing, fill fonts rarely lined up perfect with the open or outline font, this created a misprinted look that's much in style today. To create that misprinted look using two different colors, try layering the outline fonts offset over the top of the solid black versions. Next we come to the small caps and X versions, for a font that's mostly seen used in all caps we felt a small caps would come in handy. The X in Tavern X stands for higher X-height, we've taken our standard lowercase and raised it for greater visibility in small text and for signage where you want the look of a lowercase but it needs to be readable from the street. In August of 2016 I started the project of expanding this font into more weights after seeing the font in use where someone tried creating a bold version by adding a stroke fill around the letters. The result didn't look very good, the stroke fill also caused the shadow line to merge with the serifs on some letters. This lead me to experiment to see if a new bold weight was possible for this font and I'm pleased to say that it was. After the bold weight was finished I decided to type the regular and bold weights together in a first word thin second word bold combination, however the weight difference between the two wasn't enough contrast. This lead me to wonder if a lighter weight was possible for this font, as you can see yes it was, so now for the first time in the history of this old 1908 type design you can type a first word thin second word bold combination. So why the name change from Algerian to Tavern? Since the original font was designed in England by the Stephenson Blake type foundry I decided to give this font a name that reminded you of the country it came from, however, there were other more technical reasons. During the creation of the bold weight the engraved shadow line was sticking out too far horizontally on the bottom right of the serifs dramatically throwing the whole font off balance. The original font encountered this problem on the uppercase E, L and Z, their solution was a diagonal cut corner which was now needed across any glyph in the new bold weight with a serif on the bottom right side. In order to make the light and regular weights blend well with the bold weight diagonal cut offs were needed and added as well. This changed the look of the font from the original and why I decided to change the name, additional concerns were, if you're designing a period piece where the font needs to be authentic then this font would be too new. Regular vs. Alt version? The alternate version came about after seeing the regular version used as a logo and secondary text on a major product label. I felt that some of the features of the regular version didn't look good as smaller secondary text, this gave me the idea to create an alternate version that would work well for secondary text in an advertising layout. But don't stop there, the alternate version can be used as a logo too and feel free to exchange letters between both regular and alternate versions. Where are the original alternates from Algerian? Original alternates from Algerian are built into the regular versions of Tavern plus new alternates have been created. We're excited to introduce, for the first time, all new swash capitals for this classic font, you're going to love the way they look in your ad layout, sign or logo. The best way to access alternate letters in Tavern is with the glyph map in Adobe Illustrator and Adobe InDesign products, from Adobe Illustrator you can copy and paste into Photoshop as a smart object and take advantage of all the text layer style features Photoshop has to offer. There may be third party character maps available for accessing alternate glyphs but we can't advise you in that area. I know what you're thinking, will there be a Tavern Condensed? It takes a lot of hours to produce a large font family such as this, a future condensed version will depend on how popular this standard version is. If you love Tavern we're happy to introduce the first weathered edge version of this font called Bay Tavern available in February 2020.

Supernett was originally created in 2013. Now we decided to upgrade it: more styles, more glyphs, more features, more everything. Have fun with Supernett 2019! Supernett 2019 super revised version Supernett is a versatile handmade text- and display-family and is perfect for space-saving headlines. All letters and numerics are available in three variants which alternate randomly with OpenType Contextual Alternates activated. One of Supernetts key features is Wiggling & jumping letters: letters jump around the baseline or tilt forward and backwards without a plan. Combine this with OpenType Contextual Alternates and let Supernett look truly hand-drawn with a maximum effect when applied to big typesetting. Further features include small caps, glyph alternates, case-sensitive forms, fractions, symbols and many more. Supernett is a hand-drawn / handmade / handdrawn Sans-Serif font-family. Supernett is available in three weights, two widths, Uprights and Italics. The handmade family is tailored for large font sizes but also impresses with seamless legibility in small type sizes. Due to its display origin and slightly condensed appearance, make sure to increase the spacing a little when used in text setting. The extensive character set supports 209 Central and Eastern European as well as Western European languages (for details, please see below). Supernett Font and Feature Guide Download it | View it online Supernett OpenType Features Alternating Letters Letters and numerics are available in three variants which alternate randomly → OpenType Contextual Alternates Small Caps Supernetts Small Caps mixes Upper- and Lowercase letter forms. Choose between »Small Caps« or »OpenType All Small Caps«. The latter replaces lower- AND uppercase letters, as well as the dotted i and activates punctuation to match the small caps’ height. Wiggling letters All glyphs tilt slightly and randomly forward and backwards → OpenType Swashes (or OpenType Stylistic Set 06) Jumping letters Each single glyph moves individually up or down → OpenType Titling Alternates (or OpenType Stylistic Set 07) → for a stronger effect, add OpenType Stylistic Set 08 (Jumping Baseline MORE) Case-Sensitive Forms This feature shifts various punctuation marks to a position that works better with all caps typography. → activated when an app’s all-caps styling is applied Slashed Zero Make clear what you’re talking about and work with a slashed zero → OpenType Zero with a Slash Fractions Figures separated by a slash are substituted by proper fraction glyphs. A date however, written like 10/12/2019 will remain unchanged. → OpenType Fractions Alternate Glyph Set 1 → OpenType Stylistic Set 01 Alternate Glyph Set 2 → OpenType Stylistic Set 02 Alternate Glyph Set 3 The default glyph set. Activate it to disable Alternating Letters within OpenType Contextual Alternates. → OpenType Stylistic Set 03 Y Alternate Choose between two different styles of Y → OpenType Stylistic Set 04 Underlined Uppercase O & ordinals → OpenType Stylistic Set 05 → activate OpenType Ordinals to substitute No. by № Uppercase I Alternate There’s an alternate for the isolated ›I‹ (I love you) → included in OpenType Contextual Alternates → or activate OpenType Positional Forms: Automatic Form → substitute every single ›I‹ with OpenType Stylistic Set 09 Bullet Alternate Choose between two different styles of bullet (•) → OpenType Stylistic Set 11 Squares and Circles Type a – z and out pop squares and circles. All symbols are PUA-encoded for easy copy and paste between different applications. → OpenType Stylistic Set 10 → or open your apps’ glyphs panel and double-click the desired symbols Supernett is an organic and decorative hand-drawn / handmade Sans Serif display-family for packaging, posters, book-covers, kids- (children-), food- and logo-design and will best stand out in huge grades. Its handmade / hand-drawn origin is subtle yet visible. Supernett supports 209 languages Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Atayal, Aymara, Bashkir, Basque, Belarusian, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofan, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Inari, Sami Lule, Sami Northern, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Ukrainian, Uzbek, Venetian, Vepsian, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni View other fonts from Georg Herold-Wildfellner Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut

“For those who regret what keyboards and touch screens have done to their penmanship, typographer Harald Geisler has an answer: Sigmund Freud.” — The Wall Street Journal Sigmund Freud was a neurologist who lived from 1856 to 1939. His research and studies led to the foundation of ‘Psychoanalysis’. When I first saw Freud’s century old letters, I was fascinated by the beauty of these historic manuscripts. It made me smile to imagine a person writing his or her shrink a letter set in Freud’s handwriting. I started to plan creating a font based on his manuscripts. I contacted the Sigmund Freud Museum Vienna and Freud Museum London. To start the creation I selected eight handwritten documents from the archive in Vienna – This selection of specimen was my orientation during the design process. The Samples were created between 1883 to 1938 and are of various character such as handwritten scientific papers, personal letters, notes and a telegram. A successful Kickstarter Campaign "The Sigmund Freud Typeface - A Letter to your Shrink" with over 1400 Backers enabled me to visit the archive in Vienna and study the original manuscripts of Sigmund Freud. After a year of preparation and design work, I finished four alphabets based on Freud’s handwriting. What are the different Versions PRO, Kurrent, #1, #2, #3 and #4 about? “This project gives people the convenience afforded by the computer while maintaining the romantic nostalgia, beauty, and character of letter writing with real handwriting.” — Daniel Vahab, The Huffington Post When you write with your hand, every letter looks a little different. When you write a text on your computer every letter looks exactly the same. In order to make type look like handwriting, I chose four different variations of each letter from Freud’s manuscripts, drew and stored them in the font. The font is then programmed to exchange letters while you are typing. This makes the rendered result on your screen or print look like unique handwriting. PRO While you are typing… the PRO Version actively combines all four alphabets and exchanges them automatically. Through this mechanism never the same two o’s will stand next to each other. With every touch a unique look is generated. This works in certain applications i.e. Word 2010(or newer), Pages, TextEdit, Editor(Pre-installed on Windows 7 or newer), InDesign, Illustrator… →Here you can see an animation of what this effect looks like in action. (Please Note: some applications like LibreOffice, OpenOffice do currently not support this feature. Date: December 2013) #1 #2 #3 and #4 The Sigmund Freud Typeface #1, #2, #3 and #4 each hold one individual lowercase alphabet based on Freud’s handwriting. Kurrent Most of Freud’s correspondence was written in German. Until the 1950′s a different handwriting was taught throughout German speaking countries (Switzerland, Austria, Germany). This style is called Kurrent. The name Kurrent and Cursive derive from the Latin word currere - to run, hurry - both styles were designed to write fast. As you can see in the samples above, Freud practiced both Kurrent and when writing english Cursive (Latin script or Joined-up). Kurrent has three significantly different letters (s,h,e). Use Kurrent to render the authentic look of an historic Sigmund Freud letter in German. Bundle On the Top of this page you can get all six fonts of the Sigmund Freud Typeface Family in a bundle. International Typeface All styles of the Sigmund Freud Typeface feature a wide range of accented letters so you can write to all your friends in Sweden (Bjørn) France (Chloé & Zoë), Ireland (Dáirine), Poland (Łucja), Germany (Jörg) and almost everywhere around the globe (Find a complete list in the tech specs). Usage recommendations I hope that this design will be valuable to you and most of all that you have fun with this typeface! 1. Point Size — To reproduce the size of Sigmund Freud’s handwriting adjust the type size between 18-24 point in your word processor. If you are using an imaging software like Photoshop set the resolution to 300dpi and adjust the point size between 18-24. 2. Line Spacing — Narrow the line hight until swashes of capital letters touch the baseline above. This also happens when you write a letter and gives the document a unique handwritten look. 3. Right Aligned — Freud had the habit to write towards the right edge of the page and start loosely on the left. Set your text alignment to ‘right’ to incorporate this dramatic expression also to your documents. What do other People say about the Sigmund Freud Typeface? “Wouldn’t you love to write a letter to your shrink using the Sigmund Freud typeface?” — Dorothy Tan, Design TAXI ''“JUST DON’T WRITE A LETTER TO YOUR MOTHER WITH IT… …until the reader looks a bit closer, and they see 70+ years of modern science weighing in on turn-of-the-century pop psychology."'' — Mark Willson, Fast Company “Doctor, what does it mean if you dream of creating a font of Freud’s handwriting?” — Ayun Halliday, Open Culture “…geekily romantic, at once artistic and scientific” — Edie Jarolim, Freud’s Butcher “…sympathisch” — Jürgen Siebert, Fontblog !WOW! Thank you for reading the complete font description! You are awesome! If you still have a question please contact me through MyFonts or my website haraldgeisler.com. Credits This project was made possible by the help of 1481 Backers on Kickstarter and the kind support of the Sigmund Freud Museum Vienna and the Freud Museum London. Thank you. All of Freud’s Manuscripts shown are © Sigmund Freud Museum Vienna. Poster Image: IN17 - Sigmund Freud, Germany 1932. © Freud Museum London. Flag Image: IN19 - Sigmund Freud 1930’s. © Freud Museum London.

In March 2011, the Society of Typographic Aficionados began organizing a collaborative project that would unite the typographic and design communities. The goal of Font Aid V: Made for Japan was to raise funds to expedite relief efforts after the devastating earthquake and tsunami in Japan. Nearly 300 contributors from 45 countries sent in over 500 glyphs in a single week. Behind the scenes, volunteers Neil Summerour, Silas Dilworth, Delve Withrington, and Grant Hutchinson were up to their elbows in Adobe Illustrator and Fontlab assembling the typeface. The sheer number of submissions coupled with the complexity of some of the designs caused unforeseen delays in completing the typeface. The team not only managed the immense influx of submissions, it also had several technical hurdles and multiple content reviews to mitigate before the final font could be produced. Several months after the project was initiated, Font Aid V: Made for Japan was finally ready for distribution. With the help of Sogo Japan, all proceeds from sales of this typeface will be delivered directly to organizations in Japan, such as Second Hand and AMDA International (Association of Medical Doctors of Asia). Sogo Japan strives to help circumvent regular international charity channels and the inefficiencies associated with them. Thanks to everyone who participated and helped us spread the word about the Font Aid V: Made for Japan project. In particular, we would like to acknowledge the following individuals and groups for their participation and involvement: Jonathan Abbott, Rui Abreu, Frank Adebiaye, Tim Ahrens, Anonymous, Eero Antturi, Leonardo Aranda, Hector Carrillo Aspano, Danielle Atnip, Alejandro Cabrera Avila, Christophe Badani, Joanne Gyo Young Bae, Ben Balvanz, Cynthia Bataille, Priyanka Batra, Donald Beekman, Hannes Beer, David Berlow, Kevin Beronilla, Fabian Bertschinger, Nicole Bittner, Bart Blubaugh, Dathan Boardman, Andrew Boardman, Joel Vilas Boas, Konstantin Boldovskiy, Scott Boms, Michael Browers, Vickie Burns, Matt Burvill, Daniele Capo, Seymour Caprice, Mauro Caramella, Matevž Čas, Eli Castellanos, Sarah Castillo, Tom Censani, Pinar Ceyhan, Ivette Chacon, Hin-Ching Chan, Sarah Charalambides, Karen Charatan, Sinde Cheung, Todd Childers, Justin Chodzko, Felipe Coca, Antonio Coelho, Jefferson Cortinove, Alan Lima Coutinho, Nick Cox, Nick Curtis, Girish Dalvi, Christopher DeCaro, Thomas C Dempsey, Matt Desmond, Chank Diesel, Anum Durvesh, Suzie Eland, Engy Elboreini, Craig Eliason, Emi Eliason, James Elliott, Grace Engels, Exljbris, Hillary Fayle, Carol Fillip, Jeff Fisher, Scott Fisk, John Foley, Stuart Ford, Mathias Forslund, Brock French, Anina Frischknecht, Eric Frisino, Chiyo Fujimori, Kaela Gallo, Ayesha Garrett, Harald Geisler, Alfonso Gómez-Arzola, Adriana Esteve González, Richard Gregory, James Grieshaber, Grupoingenio, Kemie Guaida, Carlos Fabián Camargo Guerrero, Rachel Han, Erin Harris, Stefan Hattenbach, Magnus Hearn, Marissa Heiken, Georg Herold-Wildfellner, Jamie Homer, Ed Hoskin, Dav[id Hubner], Jonathan Hughes, Rian Hughes, Grant Hutchinson, Xerxes Irani, Masayuki Izumi, Jan Janeček, Hyun Kyung Jang, Julien Janiszewski, Dušan Jelesijevic, Cal Jepps, Meghan Jossick, Evamaria Judkins, July Twenty Fourth, Erica Jung, William K, Claes Källarsson, Kapitza, Asutosh Kar, Arno Kathollnig, Sami Kaunisvirta, Hajime Kawakami, Scott Kaye, Richard Kegler, Anna Keroullé, Bizhan Khodabandeh, Lara Assouad Khoury, Ilona Kincses, Becky King, Sean King, Megan Kirby, Max Kisman, Keith Kitz, Romy Klessen, Akira Kobayashi, Kokin, Kozyndan & Silas Dilworth, Atushi Kunimune, Andreas Kuschner, John Langdon, Ray Larabie, Jess Latham, Kelly D Lawrence, Matic Leban, Chien-Hao Lee, Bryan Levay, Enrico Limcaco, Andreas Lindholm, Andrew Loschiavo, Chris Lozos, Ian Lynam, John Lyttle, Gustavo Machado, Jonathan Mak, Ricardo Marcin, Jeannie Mecorney, Steve Mehallo, Cristina Melo, Martin Mendelsberg, The Midnight Umbrella Studio, Goro Mihok, Ojasvi Mohanty, Ahmed Mohtadi, Alixe Monteil, Veronica Monterosso, Dani Montesinos, Masanobu Moriyama, Misa Moriyama, Pedro Moura, John Moy Jr, Marc Marius Mueller, Shoko Mugikura, Joachim Müller-Lancé, Diane Myers, John Nahmias, Yoshihisa Nakai, Hiroshi Nakayama, Reiko Nara, Nathoo, Titus Nemeth, Nathanael Ng, Ngoc Ngo, Antoninus Niemiec, James Ockelford, Kunihiko Okano, Naotatsu Okuda, Toshi Omagari, Onikeiji, Ozlem Ozkal, Jason Pagura, Hrant Papazian, Brian Jongseong Park, John Passafiume, Patrick Griffin, Alejandro Paul, Vian Peanu, Dylan Pech, Rebecca Penmore, Peter Brugger, Jean François Porchez, Carolyn Porter, Andrew Pothecary, James Puckett, Rachel Hernández Pumarejo, James Random, Liam Roberts, Tom Rogers, David Jonathan Ross, Sumio Sakai, Sana, Stuart Sandler, Rafael Saraiva, Riccardo Sartori, Ai Sasaki, Yee Wen Sat, Agnes Schlenke, Giovanna Scolaro, Roland Scriver, Alessandro Segalini, Shawn Semmes, Jane Sheppard, Josh Sherwood, Paulo Silva, Mark Simonson, Luis Siquot, Greg Smith, Owen Song, James L. Stirling, Nina Stössinger, Tanya Turipamwe Stroh, Kevin Strzelczyk, Neil Summerour, Superfried, Shiho Takahashi, Shuji Takahashi, Yusuke Takeda, Naoyuki Takeshita, Bruno Tenan, Chung-Deh Tien, Tom, Ryoichi Tsunekawa, Alex Tye, Matthew Tyndall, TypoVar, Virginia Valdez, Beatriz Valerio, Tom Varisco, Brayden Varr, Catarina Vaz, Andy Veale, Yvette Claudia Velez, Marie-Anne Verougstraete, Abbie Vickress, Ray Villarreal, Pat Vining, Courtney Waite, Hoyle Wang, Viola Wang, Jim Ward, Grace Watling, Terrance Weinzierl, Robert Weiss, Stuart Weston, Kevin Wijaya, Dave Williams, Beau Williamson, Delve Withrington, Katherine Wood, Neil Woodyatt, Jesvin Yeo, Yokokaku, Kazuhi Yoshikawa, YouWorkForThem, Matt Yow, Charlton Yu, Yuriko, Ron Za, Jayson Zaleski, Víctor Zúñiga

TT Ricordi useful links: Specimen | Graphic presentation | Customization options The TT Ricordi font family is a collection of three display heading serifs designed to significantly diversify the traditional font palette. Each font from the TT Ricordi family was drawn by a separate designer and has its own story. With that, all three fonts are close in thickness and similar in their character compositions and are featured in the uppercase set and the small capitals set, which replaces lowercase characters. The fonts have the broad support of Latin languages and support basic Cyrillic. The project originates from the pre-coronavirus tourist trips to Italy, during which our art director Yulia Gonina has accumulated many photographs of historical inscriptions and tablets. Many of these inscriptions had interesting character or unusual character shapes. We wanted to work with them, to try to reinterpret them, and, if possible, make them ultramodern and accessible to the modern font user. The fonts from the TT Ricordi typeface turned out to be quite display and contemporary, but at the same time, they retained subtle references to historic inscriptions. The fonts fit perfectly both on the covers of book classics and in glossy magazine layouts. They can also be used in posters and packaging, or as the main expressive element of company branding. In addition, all three serifs from the TT Ricordi font family go well with functional sans-serifs such as TT Norms Pro or TT Commons. TT Ricordi Nobili is a display serif with a rich Roman ancestry and contemporary world views. It stands out from the crowd with its subtlety and elegance. The font was drawn by Anna Tikhonova and was inspired by an inscription carved into the stone floor of a cathedral in Florence. Because people walked over the inscription, some of the letters got thinner and worn out over time. It is this feeling of disappearing or flickering elements that we wanted to capture and implement in the project. The TT Ricordi Nobili has high contrast, even though the font itself is quite thin. The serifs in the font are not massive at all, but at the same time, they are display serifs. There is a certain tension in TT Ricordi Nobili, and the viewer perceives this tension. We can say that behind the external classic facade lies a rather modern plot. The font has a large set of discrete ligatures which allow to create interesting combinations and expand the capabilities of the font. There are 709 glyphs in the TT Ricordi Nobili font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, ss01, ss02, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi Todi is a wide serif with a classic base and a contemporary nature. The font turned out to be refined yet sharp, and in places even pushy and aggressive. The font was drawn by Yulia Gonina, and the project was based on plaques with engraved street names from the small Italian town of Todi. The main challenge was to decipher the characteristic features of the signs and emphasize them in a modern way. In addition, it was necessary to draw a Cyrillic alphabet that would not be inferior to the Latin alphabet in its expressiveness. The TT Ricordi Todi has fairly wide character proportions, and there is practically no contrast in them. The main feature of the font is the combination of smooth round shapes with deliberately squared shapes. In addition, the font is characterized by crisp and sharp character details, exaggerated ascenders and descenders, and muted contrast. Among the interesting font peculiarities, you can choose between the characteristic long descenders and ascenders and their more tempered versions, you can find a stylistic set with triangular dots, alternative versions of the EF characters and two letter ? shapes, round and squared. There are 876 glyphs in the TT Ricordi Todi font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi Fulmini is a fashionable contemporary serif firmly holding on to its historic roots. The font turned out to be like a thistle flower: bright and catchy, but still subtle and delicate. TT Ricordi Fulmini was drawn by Marina Khodak, and the initial inspiration for the project was the inscription on the altar from the National Gallery of Umbria in Perugia. As the font was pulled into “contemporaneity”, it was completely transformed and revealed its new side. The main catchy detail in the TT Ricordi Fulmini is the aggressive and rather sharp diagonal serifs. In addition, in the process of working on the font, several graphic solutions emerged, for example, the mono-serifs and the very calligraphic connections of diagonal strokes with their historic spirit. We wanted to keep them, and thus 4 thematic stylistic sets appeared in the font, thanks to which we can greatly change the perception of TT Ricordi Fulmini. In addition, the font has a set of interesting discrete ligatures. There are 793 glyphs in the TT Ricordi Fulmini font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi supports more than 180+ languages, such as: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani +, Banjar, Basque +, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Chamorro+, Chichewa, Chiga, Colognian+, Cornish, Corsican +, Cree, Croatian, Czech+, Danish, Dutch+, Embu, English+, Esperanto, Estonian+, Faroese+, Fijian, Filipino+, Finnish, French, Frisian, Friulian+, Gaelic, Gagauz (lat), Galician+, Ganda, German+, Gusii, Haitianm, Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish, Italian+, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Kinyarwanda, Kirundi, Kongo, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda+, Luo, Luxembourgish+, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay+, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau+, Moldavian (lat), Montenegrin (lat), Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish+, Portuguese+, Quechua+, Rheto-Romance, Rohingya, Romanian +, Romansh+, Rombo, Rundi, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (lat)+, Seychellois Creole, Shambala, Shona, Silesian, Slovak+, Slovenian+, Soga, Somali, Sorbian, Sotho+, Spanish+, Sundanese, Swahili, Swazi, Swedish+, Swiss German +, Tagalog+, Tahitian, Taita, Talysh (lat), Tatar+, Teso, Tetum, Tok Pisin, Tongan+, Tsakhur (Azerbaijan), Tsonga, Tswana +, Turkish+, Turkmen (lat), Uyghur, Valencian+, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh+, Wolof, Xhosa, Zaza, Zulu+, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian+, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian.

Hawkes is an extensive handmade typeface family that comes with a bundle of weights, widths and styles, all designed to work cohesively. Here is a breakdown of the Hawkes family. Hawkes Sans: The primary subfamily is a sans-serif typeface that includes nine fonts: three weights (light, medium and bold) and three widths (narrow, regular and wide). Within this set are an array of stylistic features; including small capitals, character style alternatives, discretionary ligatures and contextual alternatives. See details below for more information on OpenType Features. Hawkes Variable Width Sans: The secondary subfamily is the same base sans-serif fonts but combined in variating widths. Essentially, it takes all three widths of each weight and randomly mixes them together. This creates a funky and creative alternative to the more traditional sans-serif set. The variations are for the uppercase, lowercase, small capitals, ligatures and numbers. Hawkes Script: The last subfamily is the script typeface. It’s a quirky script with variations of its own, including ligatures, swashes and contextual alternatives (again, see below for further details.) The script font works great as a complimentary style to the sans-serif, or on it’s own. FEATURES Alright, let’s get into all the extra goodies this typeface has to offer. Small Capitals: Small caps are short capital letters designed to blend with lowercase text. These aren’t just capital letters just scaled down but designed to fit with the weight of both the lowercase and capitals. With Hawkes, small caps can either sit on the baseline (in line with the base of the capital and lowercase) or to be lifted to match the height of the capital letters by applying the discretionary ligature setting in the OpenType panel. These small capitals have a dot underlining them that sit along the baseline. The feature offers a unique display affect that is great for logos, titles and other headline needs. Discretionary Ligatures: A discretionary ligature is more decorative and unique combination than a standard ligature and can be applied at the users discretion (as the name indicates.) The specific styling for these ligatures varies for different fonts. With Hawkes, they are used as an all capital styling feature, or to lift the small capitals to align with the height of the capitals. In the former setting, both lowercase and uppercase letters are first changed to all capitals, then a specialized set of letter combinations are transitioned so small characters are positioned within a main capital letter. These combinations only happen with main characters that include an applicable stem, such as C F K L R T Y. Some of these combinations include two or three characters. When Small Caps is turned ‘on’, this feature will lift the small caps to the height of the capital letter. For more information, please check out the user guide! Stylistic Alternatives: Stylistic alternates are a secondary form of a character, often used to enhance the look or style of a font. For Hawkes, these alternatives provide a slightly more handmade feel. A - the capital and small capital A will lose its pointed apex and become rounded. Think of it more as an upside-down U than an up-side-down V ;-) Oo, G, Ss, Cc- these characters’ topmost terminal becomes a loop. The O is applied automatically, the G S and C need to be turn on individually. Titling Alternatives: This feature does sort of the opposite of what it intends. Instead of being used for titling purposes, this feature makes the text look better in paragraph text settings. Kk Rr h n m - curved terminals on the are straightened e - the counter stroke also gets straightened from a more looping motion y - the shape of y is changed from a rounded character to a sharper apex (think more like a ‘v’ than ‘u’) Contextual Alternatives: Contextual alternates are glyphs designed to work within context of other adjacent glyphs. With Hawkes Sans, there are three slightly different variations per character. The feature rotates the application of each variation. This helps with organic authenticity, so if you have two e’s next to each other, they won’t look identical (reflecting the natural variations in handwriting and lettering.) With Hawkes Variable width fonts, I have created a contextual pattern that randomizes the widths of each character. So, when the feature is turned ‘on’ in the OpenType panel, the widths would alternate in a pattern such as: Narrow, Wide, Regular, Narrow, Regular Wide, Narrow, etc. It happens automatically so the user doesn’t have to think or worry about getting a random seed. With Hawkes Script, contextual alternates allow strokes to connect properly from one character to the next while maintaining a believable, natural flow. Connecting strokes are present for two letters next to each other but are replaced by a shorter stroke when located at the end of a word or sentence. Some characters have in-strokes when located at the start of a word. When a character is preceded by a capital letter that doesn’t connect, it too needs an in-stroke or altered spacing. This feature is complicated and messy, but luckily you don’t really have to think about it! I’ve done all the coding so all you have to do is turn ‘on’ the feature in the OpenType panel and you are off to the races! I’m just letting you know what’s happening behind the scenes. Swashes: These are just for Hawkes Script and provide tail swashes to the start and ends of letters. There are three different options. You can pick the basic option by turning ‘on’ the swash feature in the OpenType panel, or you can pick using the Glyph panel. Stylistic Sets: This feature work in new versions of Illustrator CC and InDesign CC. You can pick specific styling sets instead of turning on an entire feature. For example, let’s say you want to have a loopy S, but not a loopy C or O, you can just turn on the S in the Style Set. It also helps create the little drop box that pops up when you hover over a character, showing you the alternates associated with that character. This makes it easy to pick and choose specific styles you want in a word or headline. ---------- And there it is folks! That’s all the basic info on Hawkes, I know it’s been a lot and I appreciate you hanging on. If you are like me and need more of a visual reference to accessing all these goodies, I’ve made a user guide to help navigate Hawkes and everything it has to offer. Altogether this extensive family boasts 14 total fonts in a wide array of styles, weights and widths, making it a great addition to any handmade type collection. Enjoy!

Johann Michael Fleischmann was born June 15th, 1707 in Wöhrd near Nuremberg. After attending Latinschool he started an apprenticeship as punchcutter in the crafts enterprise of Konstantin Hartwig in Nuremberg, which ought to last six years. For his extraordinary talent Fleischmann completed his apprenticeship after four and a half years, which was very unusual. 1727 his years of travel (very common in these days) began, during which he perfected his handcraft by working in different enterprises as journeyman. First location was Frankfurt/Main where he worked for nearly a year at the renowned type foundery of Luther and Egenolff. Passing Mainz he continued to Holland, where he arrived in November 1728 and stayed till he died in 1768. In Amsterdam he worked for several type founderies, among others some weeks for Izaak van der Putte; in The Hague for Hermanus Uytwerf. Between 1729 and 1732 he created several exquisite alphabets for Uytwerf, which were published under his own name (after his move to Holland Fleischmann abandoned the second n in his name), apparently following the stream of the time. After the two years with Uytwerf, Fleischmann returned to Amsterdam, where he established his own buiseness as punchcutter; following an advice of the bookkeeper and printer from Basel Rudolf Wetstein he opened his own type foundery 1732, which he sold in 1735 to Wetstein for financial reasons. In the following Fleischmann created several types and matrices exclusively for Wetstein. In 1743 after the type foundery was sold by Wetstein’s son Hendrik Floris to the upcoming enterprise of Izaak and Johannes Enschedé, Fleischmann worked as independent punchcutter mostly for this house in Haarlem. Recognizing his exceptional skills soon Fleischmann was consigned to cutting the difficult small-sized font types. The corresponding titling alphabets were mostly done by Jaques-Francois Rosart, who also cut the main part of the ornaments and borders used in the font examples of Enschedé. Fleischmann created for Enschedé numerous fonts. The font example published 1768 by Enschedé contains 3 titling alphabets, 16 antiquacuts, 14 italic cuts, 13 textura- and 2 scriptcuts, 2 greek typesets (upper cases and ligatures), 1 arabic, 1 malayan and 7 armenian font systems, 5 sets of musicnotes and the poliphonian musicnotesystem by Fleischmann. In total he brought into being about 100 alphabets - the fruits of fourty years of creative work as a punchcutter. Fleischmann died May 27th, 1768 at the age of 61. For a long time he was thought one of the leading punchcutters in Europe. A tragedy, that his creating fell into the turning of baroque to classicism. The following generations could not take much pleasure in his imaginative fonts, which were more connected to the sensuous baroque than to the bare rationalism of the upcoming industrialisation. Unfortunately therefore his masterpieces did not survive the 19th century and person and work of Fleischmann sank into oblivion. The impressive re-interpretation of the Fleischmann Antiqua and the corresponding italics by Erhard Kaiser from Leipzig, which were done for the Dutch Type Library from 1993 to 1997, snatched Fleischmann away from being forgotten by history. Therefore we want to place strong emphasis on this beautiful font. Fleischman Gotisch The other fonts by Fleischmann are only known to a small circle of connoisseurs and enthusiasts. So far they are not available in adequat quality for modern systems. Same applies the "Fleischman Gotisch", which has been made available cross platform to modern typeset-systems as CFF Open Type font through the presented sample. The Fleischman Gotisch has been proved to be one of the fonts, on which Fleischmann spent a good deal of his best effort; this font simply was near to his heart. Between 1744 and 1762 he created 13 different sizes of this font. All follow the same principles of forms, but their richness of details has been adapted to the particular sizes. In later times the font was modified more or less sensitive by various type founderies; letters were added, changed to current taste or replaced by others; so that nowadays a unique and binding mastercopy of this font is missing. Likewise the name of the font underwent several changes. Fleischmann himself probably never named his font, as he did with none of his fonts. By Enschedé this textura was named Nederduits, later on Nederduitsch. When the font was offered by the german type foundery Flinsch in Frankfurt/Main, the more convenient name of Fleischmann-Gotisch was chosen. In his "Masterbook of the font" and his "Abstract about the Et-character" Jan Tschichold refered to it as "Duyts" again. To honour the genious of Johann Michael Fleischmann we decided to name the writing "Fleischmann Gotisch PT" (unhyphenated). Developing the digital Fleischman Gotisch I decided not to use one of the thirteen sizes as binding mastercopy, but corresponding to the typical ductus of the font to re-create an independent use of forms strongly based on Fleischmann´s language of forms. All ascenders and descenders were standardised. Some characters, identified as added later on, were eliminated (especially the round lower case-R and several versions of longs- respectively f-ligatures) and others were adjusted to the principles of Fleischmann. Where indicated the diverse characters were integrated as alternative. They can be selected in the corresponding menu. All for the correct german black letter necessary longs and other ligatures were generated. Through the according integration into the feature-code about 85% of all ligatures in the type can be generated automatically. Problematic combinations (Fl, Fk, Fh, ll, lh, lk, lb) were created as ligatures and are likewise constructed automatically. A historically interesting letter is the "round r", which was already designated by Fleischmann; it is used after preceding round letters. Likewise interesting is the inventive form of the &-character, which is mentioned by Tschichold in his corresponding abstract. Nevertheless despite all interpretation it was very important to me to maintain the utmost fidelity to the original. With this digital version of a phantastic texturfont of the late baroque I hope to contribute to a blossoming of interest for this genious master of his kind: Johann Michel Fleischmann. OpenType features: - Unicode (ISO 10646-2) - contains 520 glyphes - Basic Latin - Latin-1 Supplement - Latin Extended-A - Latin Extended-B - Central European Glyhps - Ornaments - Fractions - Standard ligatures - Discretionary ligatures - Historical ligatures - Kerning-Table

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.

To design a text typeface "at the top with, at the bottom without" serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs. The first tests of the design, by which I checked up whether the basic principle could be used also for the then current technology of setting - for double-sign matrices -, were carried out in 1970. During the first half of the seventies I created first the basic design, then also the slanted Roman and the medium types. These drawings were not very successful. My greatest concern during this initial phase was the upper case A. I had to design it in such a way that the basic principle should be adhered to and the new alphabet, at the same time, should not look too complicated. The necessary prerequisite for a design of a new alphabet for double-sign matrices, i.e. to draw each letter of all the three fonts to the same width, did not agree with this typeface. What came to the greatest harm were the two styles used for emphasis: the italics even more than the medium type. That is why I fundamentally remodelled the basic design in 1980. In the course of this work I tried to forget about the previous technological limitations and to respect only the requirements then placed on typefaces intended for photosetting. As a matter of fact, this was not very difficult; this typeface was from the very beginning conceived in such a way as to have a large x-height of lower-case letters and upper serifs that could be joined without any problems in condensed setting. I gave much more thought to the proportional relations of the individual letters, the continuity of their outer and inner silhouettes, than to the requirements of their production. The greatest number of problems arose in the colour balancing of the individual signs, as it was necessary to achieve that the upper half of each letter should have a visual counterbalance in its lower, simpler half. Specifically, this meant to find the correct shape and degree of thickening of the lower parts of the letters. These had to counterbalance the upper parts of the letters emphasized by serifs, yet they should not look too romantic or decorative, for otherwise the typeface might lose its sober character. Also the shape, length and thickness of the upper serifs had to be resolved differently than in the previous design. In the seventies and at the beginning of the eighties a typeface conceived in this way, let alone one intended for setting of common texts in magazines and books, was to all intents and purposes an experiment with an uncertain end. At this time, before typographic postmodernism, it was not the custom to abandon in such typefaces the clear-cut formal categories, let alone to attempt to combine the serif and sans serif principles in a single design. I had already designed the basic, starting, alphabets of lower case and upper case letters with the intention to derive further styles from them, differing in colour and proportions. These fonts were not to serve merely for emphasis in the context of the basic design, but were to function, especially the bold versions, also as independent display alphabets. At this stage of my work it was, for a change, the upper case L that presented the greatest problem. Its lower left part had to counterbalance the symmetrical two-sided serif in the upper half of the letter. The ITC Company submitted this design to text tests, which, in their view, were successful. The director of this company Aaron Burns then invited me to add further styles, in order to create an entire, extensive typeface family. At that time, without the possibility to use a computer and given my other considerable workload, this was a task I could not manage. I tried to come back to this, by then already very large project, several times, but every time some other, at the moment very urgent, work diverted me from it. At the beginning of the nineties several alphabets appeared which were based on the same principle. It seemed to me that to continue working on my semi-finished designs was pointless. They were, therefore, abandoned until the spring of 2005, when František Štorm digitalized the basic design. František gave the typeface the working title Areplos and this name stuck. Then he made me add small capitals and the entire bold type, inducing me at the same time to consider what to do with the italics in order that they might be at least a little italic in character, and not merely slanted Roman alphabets, as was my original intention. In the course of the subsequent summer holidays, when the weather was bad, we met in his little cottage in South Bohemia, between two ponds, and resuscitated this more than twenty-five-years-old typeface. It was like this: We were drinking good tea, František worked on the computer, added accents and some remaining signs, inclined and interpolated, while I was looking over his shoulder. There is hardly any typeface that originated in a more harmonious setting. Solpera, summer 2005 I first encountered this typeface at the exhibition of Contemporary Czech Type Design in 1982. It was there, in the Portheim Summer Palace in Prague, that I, at the age of sixteen, decided to become a typographer. Having no knowledge about the technologies, the rules of construction of an alphabet or about cultural connections, I perceived Jan Solpera's typeface as the acme of excellence. Now, many years after, replete with experience of revitalization of typefaces of both living and deceased Czech type designers, I am able to compare their differing approaches. Jan Solpera put up a fight against the digital technology and exerted creative pressure to counteract my rather loose approach. Jan prepared dozens of fresh pencil drawings on thin sketching paper in which he elaborated in detail all the style-creating elements of the alphabet. I can say with full responsibility that I have never worked on anything as meticulous as the design of the Areplos typeface. I did not invent this name; it is the name of Jan Solpera's miniature publishing house, in which he issued for example an enchanting series of memoirs of a certain shopkeeper of Jindrichuv Hradec. The idea that the publishing house and the typeface might have the same name crossed my mind instinctively as a symbol of the original designation of Areplos - to serve for text setting. What you can see here originated in Trebon and in a cottage outside the village of Domanín - I even wanted to rename my firm to The Trebon Type Foundry. When mists enfold the pond and gloom pervades one's soul, the so-called typographic weather sets in - the time to sit, peer at the monitor and click the mouse, as also our students who were present would attest. Areplos is reminiscent of the essential inspirational period of a whole generation of Czech type designers - of the seventies and eighties, which were, however, at the same time the incubation period of my generation. I believe that this typeface will be received favourably, for it represents the better aspect of the eighties. Today, at the time when the infection by ITC typefaces has not been quite cured yet, it does absolutely no harm to remind ourselves of the high quality and timeless typefaces designed then in this country.In technical terms, this family consists of two times four OpenType designs, with five types of figures, ligatures and small capitals as well as an extensive assortment of both eastern and western diacritics. I can see as a basic text typeface of smaller periodicals and informative job-prints, a typeface usable for posters and programmes of various events, but also for corporate identity. Štorm, summer 2005

Danah” is the first name of a very close and cherished classmate, friend, and peer. Danah is a Palestinian woman who used to study with me in the same university where I was honorably introduced to her several years ago. In fact, I decided to dedicate this typeface wholly to her in return for all the years of friendship that we had spent together as classmates during the late 1990s. She was—and absolutely still—a source of support and inspiration for me in life due to her brilliant, big-hearted, and philanthropic personality. Danah likes different things in life and among them the sea, horses, reading, and also travelling. She lives and works now in Palestine, and yearns for being granted a new life—like many other free Palestinians—full of freedom, peace, and happyness. Danah® is a handwriting and scribbly Arabic display typeface. The main trait of this typeface is the realistic handwriting design of its letters and ligatures. This feature renders it as one of the stylish typefaces used for headlines and also texts. Among the distinguished letters of Danah® typeface are the “Qaaf”, “Kaaf”, “Meem”, “Noon”, and others. Moreover, Danah® typeface has a character set which supports Arabic, Persian, Urdu, and Latin letters/numerals with a limited range of specific Arabic and Latin ligatures. This font comes in a single weight (i.e., regular) with exactly 639 distinctive glyphs. Due to its free and streamlined design, Danah® typeface is appropriate for heading and text in Arabic, Persian, and Urdu. It can be graphically and visually exploited in magazines, posters, and interfaces of different things such as clothes and equipment. Moreover, it can be pleasingly used in writing personal, friendly, and unofficial letters, messages, documents, invoices, notes, dispatches and menus which require a smoothed handwritten touch and trend. It is also elegantly suitable for signs, books’ covers, advertisement light boards, and titles of flyers, pamphlets, novels, and books of children and adults. In brief, Danah® typeface is one of the new hand-drawn typefaces which can be brought into play efficiently in diverse graphic, typographic, calligraphic, and artistic works in different languages and cultures. 2018-09-13 00:00:00.000 10.0000 F25946-S114426 10913 Timeless URW Type Foundry https://www.myfonts.com/collections/timeless-duplicate-font-urw NULL NULL 2016-01-08 00:00:00.000 89.9900 F10913-S42560 54569 Jellofries Maulana Creative https://www.myfonts.com/collections/jellofries-font-maulana-creative https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/JtHgrbkPi7YU282OWix69Tqb_97b690350e4b3ed453d7c27fe0eb6664.png Jellofries is a fancy brush script font. With brush bold contrast stroke, fun character with a bit of ligatures and alternates. To give you an extra creative work. Jellofries font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Jellofries font. Cheers, Maulana Creative 2022-05-06 00:00:00.000 12.0000 F54569-S252887 38361 Alt Moav ALT https://www.myfonts.com/collections/alt-moav-font-andreas-leonidou https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/70046_aa489c02cd589f8f924b405c901a8014.png Moav is a geometric experimental display typeface for use on logos,posters etc. 2011-12-13 00:00:00.000 15.0000 F38361-S179452 42255 M Elle HK Monotype HK https://www.myfonts.com/collections/m-elle-hk-font-monotype-hk NULL HK series fonts are in Unicode encoding and consists of BIG 5 character set and HKSCS characters. The character glyphs are based on the regular Traditional Chinese writing form and style. It is generally used in Taiwan ROC, Hong Kong and Macau. 2011-05-11 00:00:00.000 523.9900 F42255-S193845 71839 Kaerobi Kulokale https://www.myfonts.com/collections/kaerobi-font-kulokale https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10004/ieVtB18gl4EgKrVVDIPLtX8b_33d93ffd2cd339b2544feb3d7a0a3121.png Kaerobi is an condensed display font, and with a style that is very different from the others. This font comes in four styles, Regular, Oblique, Rough, and Outline Version. Kaerobi is well-suited for posters, social media, headlines, magazine titles, clothing, large print formats - and wherever you want to be seen. Inspired by the style of design that is currently popular, and this is the answer to all the needs of every idea that you will pour in this modern era. We highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor / application. Thank You. 2022-08-16 00:00:00.000 17.0000 F71839-S298671 52588 The Heather Romie Creative https://www.myfonts.com/collections/the-heather-font-romie-creative https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/Lc4estBSB0wCiDunz9GNDUcb_097035319875b31f0a18a4bb2e8e675b.png The Heather Script is a formal calligraphy design, including Regular. This font is casual and pretty with a stroke. Can be used for various purposes. such as logos, product packaging, wedding invitations, branding, headlines, signage, labels, signatures, book covers, posters, quotes and much more. Heather Script featuring OpenType style alternatives, ligatures and International support for most Western Languages ​​is included. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. How to access all alternative characters using Adobe Illustrator: *https://www.youtube.com/watch?v=XzwjMkbB-wQ Heather Script is coded with PUA Unicode, which allows full access to all additional characters without having to design special software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any additional characters to paste into your favorite text editor/application. How to access all alternative characters, using the Windows Character Map with Photoshop: *https://www.youtube.com/watch?v=Go9vacoYmBw 2022-02-23 00:00:00.000 19.0000 F52588-S242949 16709 Pastina Lebbad Design https://www.myfonts.com/collections/pastina-font-lebbad-design https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/220264_a574aa9e49d2f9f1da3950f1fef09123.png Pastina is an elegant serif font consisting of caps, lower case, and alternate characters. Soft serifs and the graceful flow of each character add to the classic feel of this font. 2008-07-31 00:00:00.000 24.9500 F16709-S66588 2367 Munira Script Picatype https://www.myfonts.com/collections/munira-script-font-picatype https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/309621_5c93006e7517281c082dc7c75bfd1c2b.png Munira Script is a modern calligraphy design. This font is casual and pretty with swashes. It can be used for various purposes. such as logos, product packaging, wedding invitations, branding, headlines, signage, labels, signature, book covers, posters, quotes and more. Munira Script features OpenType stylistic alternates, ligatures and International support for most Western Languages. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Munira Script is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. If you need help or have any questions, please let me know. I'm happy to help :) Thanks & Happy Designing! 2019-07-05 00:00:00.000 10.0000 F2367-S10062 27004 Ketimun Hanoded https://www.myfonts.com/collections/ketimun-font-hanoded https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/306179_8517cd9a57ccc15cff68737e17de4e85.png Ketimun means ‘cucumber’ in Bahasa Indonesia. At home we eat a lot (A LOT) of Indonesian food, which often includes Acar Ketimun (Sweet/sour cucumber salad). I usually make the simple version, but sometimes I go for the more elaborate cucumber salad (the recipe of which you’ll find on poster 2). Ketimun font is a rather delicious script font; uneven, organic and full of life. Comes with a fresh taste and lots of diacritics. 2019-06-06 00:00:00.000 15.0000 F27004-S120951 38675 Psalterium Alter Littera https://www.myfonts.com/collections/psalterium-font-alter-littera https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/204202_94b78204200645ccd1daa5d5f1a63916.png A clean, smooth adaptation of the magnificent gothic types used by Johann Fust and Peter Schöffer in their famous Mainz Psalter (Psalterium Moguntinum) of 1457, also used in their Canon of the Mass (Canon Missae) of 1458, and in their Benedictine Psalter (Psalterium Benedictinum) of 1459. [Although these works were published after Gutenberg’s break with Fust, it is generally agreed that Gutenberg was working along with Fust and Schöffer on the Mainz Psalter while the 42-line Bible was still being printed.] In addition to the usual standard characters for typesetting modern texts, the font includes a comprehensive set of special characters, uncial initials (adapted from both the Mainz Psalter and early sixteenth-century Dutch types by Henric Pieterszoon), alternates and ligatures, plus Opentype features, that can be used for typesetting (almost) exactly as in the Mainz Psalter and later incunabula. The main historical sources used during the font design process were high-resolution scans from the copy of the Mainz Psalter preserved at the Österreichische Nationalbibliothek, Vienna (the only copy whose colophon includes the famous printer’s mark of Fust and Schöffer). Other sources were as follows: Masson, I. (1954), The Mainz Psalters and Canon Missae, 1457-59, London: Printed for the Bibliographical Society; Kapr, A. (1996), Johann Gutenberg - The Man and his Invention, Aldershot: Scolar Press (ch. 8); Füssel, S. (2005), Gutenberg and the impact of printing, Burlington: Ashgate (ch. 1); and Man, J. (2009), The Gutenberg Revolution, London: Bantam (ch. 8). Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Psalterium” Font Page. Note: Several uncial initials in The Oldtype “Psalterium” Font have been derived from corresponding characters in The Initials “Gothic C” Font, adjusting them to cope with the special (large) x-height and letter spacing of the Psalterium font (so the two sets of initials are not directly interchangeable). 2012-07-06 00:00:00.000 25.0000 F38675-S178340 23791 VLNL Donuts VetteLetters https://www.myfonts.com/collections/vlnl-donuts-font-vetteletters https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10001/190114_ca5047d6d6754375933067862f9328a8.png VLNL Donuts’ first incarnation was designed already in 2005 by DBXL as a logo for Dutch funky house music outfit Hardsoul, and since then has been used for lots of music related projects. Donuts is heavily infused by hip 1970s geometric fonts like Blippo, Pump and ITC Bauhaus, but nonetheless has both feet in this modern day and age. Meticulously designed and tightly spaced, VLNL Donuts is very suitable for logos, headlines and music artwork. We especially recommend using it on big 12 album covers. Oh, and it got its name for obvious reasons (“the O looks like one...’) VLNL Donuts is deep fried, glazed and can be covered in a variety of sweetness: sprinkles, cinnamon, coconut, chopped peanuts, powdered sugar or maple syrup. They also can be filled with cream, custard or jam. As a very sweet and saturated snack should, VLNL Donuts is fitted with a full set of alternate swoosh caps that can be deployed to liven up your already ‘out there’ designs.

Blank Manuscript allows you to produce sophisticated musical scoresheets even on basic Word Processors - anything from simple plain staves to complex full-page orchestral scores of your own design, to write in the notation yourself. The basic stuff is really easy and straightforward, but there's some quite advanced things you can do as well. So Copy and Save these Instructions. • The main stuff is simple and tends to follow the initial letter. Treble, Bass and Alto clefs are on upper case T B A (there are more clefs, below). The 5 Lines for the clefs are on L or l. • A small v will give a small vertical line (like a bar line) and a Big U will give a Big Upright - these can start or end a line or piece. • Time Signatures - type the following letters: Think of W for Waltz and it's easy to remember that 3/4 time is on W. Then from that they go up or down together like this: V=2/4 W=3/4 X=4/4 Y=5/4 Z=6/4 Compound Times are on H I J K like this: H=3/8 I=6/8 J=9/8 K=12/8 Common Time and Cut Common symbols can be found on semi-colon and colon respectively (all begin with Co- ). 2/2 3/2 are on lower case a and b, 7/4 and 7/8 are on lower case c and d, 5/8 is on small k (think POL-k-A) • Flat signs are on the numbers. Flat signs on LINES 1 to 5 are on numbers 1 to 5. Flat signs on SPACES 1 to 5 are on numbers 6 to 0 (space 1 being above line 1, space 5 being above the top line of the stave). Sharp signs are on the letters BELOW the long-row numbers. Which is q w e r t for the sharp signs on Lines 1 to 5, and y u i o p for sharp signs on spaces 1 to 5. Doing it this way means it works the same for all clefs, whether Treble, Bass, Alto, Tenor or any other. Sharp and Flat Signs always go in this order, depending on how many sharps or flats your key signature requires: Treble Clef Sharps t i p r u o e Flats 3 9 7 4 2 8 6 Bass Clef Sharps r u o e t i w Flats 2 8 6 3 1 7 = Alto Clef Sharps o e t i w r u Flats 7 4 2 8 6 3 1 • Guitar Chord Boxes are on G and g (G for Guitar) Upper Case G has a thick line across the top Lower case g has an open top, for chords up the fretboard TAB symbols are available: Six-string Tablature is on s & S for Six. Four-string Tablature is on f & F for Four. (Lower case has the "TAB" symbol on it, Upper Case has just the lines to continue.) Five-string tablature, is on lower case "j" (as in BAN-j-O) and of course L or l will continue the 5 lines. •RARE CLEF SIGNS including Tenor Clef, are on various punctuation marks, i.e. dollar, percent, circumflex, ampersand & asterisk, above the numbers 4 to 8. NOTE: The important symbols were kept on the letter and number keys, which are fairly standard all over, but some of the less important symbols are on various punctuation keys, which in different countries are not the same as on my keyboard. If it comes out wrong on your system, all I can say is it's right on the systems we've tried, and they'll be in here somewhere, probably on a different key. CLOSING THE ENDS OF THE LINES and BAR-LINES is done with the 3 varieties of brackets - brackets, brace and parentheses - Left/Right for the Left/Right end of the line. Parentheses L/R () which are above 9, 0 give a clef with a small vertical upright (the same as a bar line). Brace L/R and Brackets L/R (both on the 2 keys to the right of P on my keyboard) will close off a staff line with tall upright bars. Brace gives a double upright - one thick, one thin. Brackets give a single tall upright. A Big Upright is on Big U, (Big U for Big Upright) and a small vertical line is on small v (small v for small vertical). The Big Upright is the maximum height, and the small vertical is exactly the same height as a stave. And there's a tall upright Bar, on Bar (which is to the left of z on my keyboard, with Shift,) which is the same height as the bar on upper case U but twice as broad. • There's a staff intended for writing melodies, which is a little bit higher up than an ordinary treble clef giving a space underneath to put lyrics in - on m and M for Melody line. Lower case has the Treble Clef on, Upper case M has just the higher-up staff lines with no clef. (Use mMMMMMMM etc.) However this clef will be in the wrong place to put in sharp and flat signs, key signatures and so on, so if you use this clef you'll have to write the sharps, flats and key signature yourself. There's also a clef that's smaller (less tall) than the ordinary clef, but with the same horizontal spacing so it will align with other standard-sized clefs - on slash (a plain clef) and backslash (with a Treble Clef). • There are some large brackets for enclosing groups of staves, such as you'd use on large orchestral scores, on Upper Case N O P Q R, which can aid clarity. N and O on the left, Q and R on the right. P is a Perpendicular line to be used on both sides to increase the height of the enclosure, in this way but with the staff lines in between: N Q P P P P P P O R OTHERS —————————————— • Repeat marks are on comma (left) and period/full stop (right). • Hyphen is left as a sort of hyphen - it's a thin line like a single staff line, with the same horizontal spacing as ordinary staff lines - in case you want to draw a line across for a Percussion Instrument, or a Title or Lyric Line. • Space is a Space, but with HALF the width or horizontal spacing as ordinary staff lines, so 2 space symbols will be the same width as a clef symbol or line. • Grave (to the left of 1 on the long row, or hold down Alt and type 0096 then let go) gives a staff line that is one eighth the width of an ordinary staff line. • If you want manuscript in a clef and key which requires a flat or sharp sign in the space underneath the 5 lines, they’re on = equals and + plus . SYMBOLS • Many of these symbols will only be useful if you have worked out in advance which bars will need them, but they are here in case you've done that and wish to include them. • Symbols for p and f (piano and forte) are on 'less than' and 'greater than' < > (above comma and full stop) and m for mezzo is on Question, next to them. They can be combined to make mp, mf, ff, pp, etc. These signs -- and other signs and symbols like Pedal Sign, Coda Sign and so on -- can be found on various punctuation mark keys, including above 1, 2, 3 in the long row, and others around the keyboard. There's a sort of logic to their layout, but in different countries the keys are likely to give different results to what is stated here, so it's probably best to just try the punctuation and see if there's any you might want to use. (But on my keyboard a Coda sign is on circumflex - because of the visual similarity. Pedal sign is on underscore. A "Sign" symbol is on exclamation mark.) They were only included in case you really need them to be printed rather than handwritten. • However, a Copyright symbol is deemed necessary, and also included are a "Registered" symbol and a TradeMark symbol. They are found in the conventional places, and can be accessed by holding down ALT and typing 0169, 0174 or 0153 respectively in the numberpad section and letting go. • Staff lines with arco and pizz. above are on capital C and D respectively ---C for ar-C-o. • An empty circle above a staff line (to indicate sections by writing letters A, B, C or 1,2,3 inside for rehearsal marks) is on n. The actual signs for an A, B, C and D in a circle above the staff line can be produced by holding down ALT and typing 0188, 0189, 0190 and 0191 respectively and letting go. • The word "Page", for indicating page numbers, is on the numbersign key. • The two quotes keys, (quote single and quote double) have symbols representing "Tempo is", and "play as triplets", respectively. • INSTRUMENT NAMES There's a whole lot of Instrument Names built in (over a hundred) which can be printed out above the clef, and you do it like this. Hold down Alt and type in the given number in the numberpad section, then let go. For Piccolo it's 0130, for Flute it's 0131, Cornet is on 0154, Violin is on 0193, and the numbers go up to over 0250, it's a fairly complete set. There's also a blank which is used to align un-named clefs on 0096. Put them at the very beginning of the line for the best results. Here they are: WOODWIND Piccolo 0130 Flute 0131 Oboe 0132 Clarinet 0133 Eng Horn 0134 Bassoon 0135 Soprano Sax 0137 Alto Sax 0138 Tenor Sax 0139 Baritone Sax 0140 Saxophone 0142 Contrabassoon 0145 Recorder 0146 Alto Flute 0147 Bass Flute 0148 Oboe d'Amore 0149 Cor anglais 0152 Pipes 0241 Whistle 0242 BRASS Cornet 0154 Trumpet 0155 Flugelhorn 0156 Trombone 0158 Euphonium 0159 Tuba 0161 French Horn 0162 Horn 0163 Tenor Trombone 0164 Bass Trombone 0165 Alto Trombone 0166 Piccolo Cornet 0167 Piccolo Trumpet 0168 Bass Trumpet 0170 Bass Tuba 0171 Brass 0172 VOICES Vocal 0175 Melody 0176 Solo 0177 Harmony 0178 Soprano 0179 Alto 0180 Tenor 0181 Baritone 0182 Treble 0183 Bass 0197 (see also PLUCKED STRINGS) Descant 0184 Mezzo Soprano 0185 Contralto 0186 Counter Tenor 0187 Lead 0206 BOWED STRINGS Strings 0192 Violin 0193 Viola 0194 Cello 0195 Contrabass 0196 Bass 0197 Double Bass 0198 Violoncello 0199 Violin 1 0200 Violin 2 0201 Fiddle 0252 PLUCKED STRINGS Harp 0202 Guitar 0203 Ac. Gtr 0204 El. Gtr 0205 Lead 0206 Bass 0197 Ac. Bass 0207 El. Bass 0208 Slide Gtr 0209 Mandolin 0210 Banjo 0211 Ukelele 0212 Zither 0213 Sitar 0214 Lute 0215 Pedal Steel 0216 Nylon Gtr. 0238 Koto 0239 Fretless 0244 KEYBOARDS + ORGAN Piano 0217 El. Piano 0218 Organ 0219 El. Organ 0220 Harpsichord 0221 Celesta 0222 Accordion 0223 Clavinet 0224 Harmonium 0225 Synth 0226 Synth Bass 0227 Keyboards 0228 Sampler 0249 PERCUSSION and TUNED PERCUSSION Percussion 0229 Drums 0230 Vibes 0231 Marimba 0232 Glockenspiel 0233 Xylophone 0234 Bass marimba 0235 Tubular Bells 0236 Steel Drums 0237 Kalimba 0240 OTHERS Harmonica 0246 Mouth Organ 0247 FX 0251 Intro 0243 Verse 0245 Refrain 0248 Chorus 0250 un-named 0096 (this is a small spacer stave for aligning clefs without a name) ALSO copyright 0169 registered 0174 TradeMark 0153 Rehearsal marks 0188-0191 (giving A, B, C, D in a circle, an empty circle is on n ) Clef signs for Treble Bass Alto without any staff lines 0253-0255 An Alphabetic List of all signs: a 2/2 time b 3/2 time c 7/4 time d 7/8 time e sharp sign, centre line f Tab sign for 4-string tab g Guitar Chord Box, no nut h half-width stave I sharp sign, third space up j Tab sign for 5-string tab k 5/8 time l Lines - 5 horizontal lines for a stave m Melody Clef - a standard clef but placed higher up, with Treble sign n Stave with an empty circle above o sharp sign, fourth space up p sharp sign, space above stave q sharp sign, bottom line r sharp sign, fourth line up s Tab sign for 6-string tab t sharp sign, top line (fifth line up) u sharp sign, second space up v vertical line (bar-line) w sharp sign, second line up x Fretboard, four strings y sharp sign, first space up z Fretboard, five strings A Alto Clef B Bass Clef C “arco” above stave D “pizz.” above stave E Double Vertical Lines F Four Horizontal lines (for 4-string tab) G Guitar Chord Box with nut H 3/8 time I 6/8 time J 9/8 time K 12/8 time L Lines - 5 horizontal lines for a stave M Melody Clef - a standard clef but placed higher up, plain N Bounding Line for grouping clefs - top left O Bounding Line for grouping clefs - bottom left P Bounding Line for grouping clefs - Perpendicular Q Bounding Line for grouping clefs - top right R Bounding Line for grouping clefs - bottom right S Six Horizontal lines (for 6-string tab) T Treble Clef U tall, thin Upright line V 2/4 time W 3 / 4 time X 4/4 time Y 5/4 time Z 6/4 time 1 flat sign, first line up (the lowest line) 2 flat sign, second line up 3 flat sign, third line up 4 flat sign, fourth line up 5 flat sign, fifth line up (the top line) 6 flat sign, first space up (the lowest space) 7 flat sign, second space up 8 flat sign, third space up 9 flat sign, fourth space up 0 flat sign, space above stave