Designed by Les Usherwood. Digitally engineered by Steve Jackaman. This beautiful version of Century Old Style by Les may be superior to any existing versions.

Neue Haas Unica by Toshi Omagari: The original purpose behind the creation of the typeface Haas Unica was to provide a sympathetic update of Helvetica. But now the font designer Toshi Omagari has decided to make this typeface his own and has thus significantly supplemented and extended it. In the late 1970s, at the same time at which hot metal typesetting was being replaced by phototypesetting, the Haas Type Foundry commissioned a group of specialists known as "Team '77" consists of Andre Gurtler, Christian Mengelt and Erich Gschwind to adapt Max Miedinger's font The characters of Haas Unica are somewhat narrower than those of Helvetica so that the larger bowls, such as those of the "b" and "d", appear more delicate and have a slightly more pleasing effect. In general, the spacing of Haas Unica was increased to provide for improved kerning and thus enhance the legibility of the typeface in smaller point sizes. Major changes were made to the lowercase "a", in that the curve of the upper bowl became rounder and its spur was eliminated. The form of the "k" was additionally modified to remove the offset leg so that both diagonals originate from the main stem. The outstroke of the uppercase "J" was also significantly curtailed. In addition to many minor alterations, such as to the length of the horizontal bars of the "E", "F" and "G" and to the angle of the tail of the "Q", the leg of the "R" was extended and made more diagonal. In the case of the numerals, the upper curve of the "2" was reduced and the lower loops of the "5" and "6" were correspondingly adapted. The sweep of the diagonal of the "7" was also reduced. Several decades later, Toshi Omagari returned to the original sketches with the objective of reinvigorating this almost totally forgotten typeface. First, however, he needed to revise the drafts prepared by Team '77 to adapt them for digital typesetting. So Omagari carefully adjusted the proportions of the glyphs, achieving a more uniform overall effect across all line weights and removed details that had become redundant for contemporary typefaces. It was also apparent from the old drafts that it had been the case that the original plan was to create more than the four weights that were published. Omagari has added five additional styles, giving his Neue Haas Unica? a total of nine weights, from Ultra Light to Extra Black. He has also greatly extended the range of glyphs. Providing as it does typographic support for Central and European languages, Greek and Cyrillic texts, Neue Haas Unica is now ready to be used for major international projects. In addition, it has been supplied with small caps and various sets of numerals. With its resolute clarity and excellent typographic support, Neue Haas Unica is suitable for use in a wide range of new contexts. The light and elegant characters can be employed in the large point sizes to create, for example, titling and logos while the very bold styles come into their own where the typography needs to be powerful and expressive. The medium weights can be used anywhere, for setting block text and headlines.

Freehand 471 is the Bitstream version of Cascade Script by Matthew Carter. Released by Mergenthaler Linotype in 1965, this design is based on an earlier type by the Ludlow foundry. It's a dark, disconnected script with angular forms. It seems written by heavy marker and thus suitable for informal posters and signage and for advertising and display typography as well. Central European, Cyrillic, and Greek Monotonic characters were designed by Oleg Karpinsky. Released by ParaType in 2011.

Designed at ParaType in 1989 by Vladimir Yefimov based on Advertisers Gothic, 1917, by Robert Wiebking, inspired by Art Nouveau lettering. For use in advertising and display typography.

“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.

The typeface was designed by Gennady Baryshnikov. Bold Italic is based on Flash typeface, 1939, by Edwin W. Sharr. Additional styles were developed at ParaType (ParaGraph) in 1992 by Vladimir Yefimov and Alexander Tarbeev. Inspired by non-joining brush calligraphy. For use in advertising and display typography.

Although Andi AW. Masry designed his Coomeec typeface with one eye on comic books, this is more than just another cartoon font. Even in our short profile of the font below, we're sure you'll find enough to be surprised by the calligraphic aesthetic and the wide range of potential uses of Coomeec. Typography had been one of Andy AW. Masry's hobbies before he turned professional in 2008 and formed his own agency in Jakarta in Indonesia. The former construction engineer had already spent many hours of his leisure time in following his pastimes of designing, photography and Latin typography. Fascinated by the close interaction between text and image in comic books, one of his first projects was the development of his font Coomeec™. The condensed letters of Coomeec seem to have more in common with a calligraphic brush typeface than a more conventional cartoon font. With the characteristic line forms of a brush font, the not unextensive variations in line thickness and numerous small embellishments to the glyphs, Coomeec can be used to enhance your projects with animated effects. You can achieve this not just in the larger font sizes; the font is also very legible in small sizes thanks to its large x-height. There are certain unusual letter forms, such as that of lowercase 'g', 's' and uppercase 'Y', that provide Coomeec with a touch of the exotic. As Coomeec has numerous character alternatives, you can use it not only to create diverse designs but also to ring the changes with the character of the text itself. There are variants for most lowercase letters, some of which exhibit only minor differences, such as the lack of a curlicue on the 'b', a modified downstroke on the 'h' and an elongated base for the 'k'. In the case of other letters, such as the 'q' and the 'r', there are significant disparities between variants. The uppercase characters are also available in a lively swash style with significantly extended terminals. Among the range of characters of Coomeec are oldstyle and lining figures designed for proportional and tabular setting. All alternatives are available in the form of the corresponding OpenType versions. Coomeec comes in two weights; Regular and Bold, each with its Italic version. The form of the slightly inclined Italic characters is identical to that of their upright counterparts with the exception of the lowercase 'f', which has an ascender in its Italic version. As an OpenType Pro font, the glyphs available for Coomeec ensure that it can be used to set not only western European but also central European texts. Coomeec is not just at home when used to set headlines. The excellent legibility of this individual and vibrant typeface means that it's also ideal for setting shorter texts. The various alternative letters provide the designer with the opportunity to vary the textual appearance, and to choose between creating a more formal or more light-hearted effect. Coomeec is not only available in an OpenType version but is also obtainable as a web font, so that you can employ its exotic features to good effect when creating internet pages.

INTRODUCTION When I started the first Selfie back in 2014 I was aware that I was designing something innovative at some point, because at that time there were not too many, (if any) fonts which rescued so many calligraphy features being at the same time a monolinear sans. I took inspiration from the galerías’ neon signs of my home city, Buenos Aires, and incorporated the logic and ductus of the spencerian style. The result was a very versatile font with many ligatures, swashes and a friendly look. But… I wasn’t cognizant of how successful the font would become! Selfie is maybe the font of my library that I see the most when I finally go out, (type-designers tend to be their entire lives glued to a screen), when I travel, and also the font that I mostly get emails about, asking for little tweaks, new capitals, new swashes. Selfie was used by several renowned clients, became part of many ‘top fonts of the year’ lists and was published in many magazines and books about type-design. These recognitions were, at the same time, cuddles for me and my Selfie and functioned as a driving force in 2020 to start this project which I called Selfie Neue. THE FONT "Selfie for everything" Selfie Neue, because it’s totally new: All its glyphs were re-drawn, all the proportions changed for better, and the old and somehow naive forms of the first Selfie were redesigned. Selfie Neue is now a family of many members (you can choose between a Rounded or a Sharp look), from Thin to Black, and from Short to Tall (because I noticed the feel of the font changed notoriously when altering its proportions). It also includes swashy Caps, which will serve as a perfect match for the lowercase and some incredibly cute icons/dingbats (designed by the talented Melissa Cronenbold, see also Selfie Neue Rounded for more!) which, as you see in the posters, make the font even more attractive and easy to use. You'll find tons of alternates per glyph. It's impossible to get tired with Selfie! Like it happened with the old Selfie, Selfie Neue Sharp was thought for a really wide range of uses. Magazines, Book-covers, digital media, restaurants, logos, clothing, etc. Hey! The font is also a VF (Variable Font)! So you can have fun with its two axes: x-height and weight, in applications that support them. Let me take a New Sharp Selfie! TECHNICAL If you plan to print Selfie Neue VF (Rounded or Sharp), please remember to convert it to outlines first. The majority of the posters above have the "contextual" alternates activated, and this makes the capitals a little smaller. I'd recommend deactivating it if you plan to use Selfie for just one word. Use the font always with the "fi" feature activated so everything ligatures properly. The slant of the font is 24,7 degrees, so if you plan to have its stems vertical, you may use Selfie with that rotation in mind. THANKS FOR READING

Bondoluo is a geometric font family developed by Álvaro Thomáz in 2012, The creation process was inspired by 3 geometric forms - triangle, circles and squares - and 2 amazing fonts - Futura® and URW Gothic. The Bondoluo Display font was inspired by Diamonds by HVD. Be fashionable with Bondoluo fonts!

Historical Background Old South Arabian Script (OSA) was used before the Islamic era not only in the southwest corner of the Arabian Peninsula, but actually in the entire Peninsula. In addition, samples of OSA have been found as far as Uruk in Mesopotamia, Delos in Greece, and Giza in Egypt. Archaeological finds show that as far back as the 8th century BCE, OSA was used in trade, religious writing, and in civil records. Following the spread of Islam in Yemen, the decline of OSA began in the 7th century CE as it was gradually supplanted by Arabic script. OSA was typically known by the name of the then-dominant peoples in the Southern Peninsula. At various times, it was known as Sabaean, Qatabani, or Hadramite, among others. Although it was used for a variety of languages, OSA is most strongly associated with Sabaean. Many Peninsular languages borrowed OSA before introducing further changes of their own. Prime examples are the Thamudic, Safaitic, and Lihyanite scripts which eventually developed into independent scripts. The westward migration of the Sabaean people into the Horn of Africa introduced the South Arabian consonantal alphabet into the region. The transplanted script formed the roots of the Geez script of Ethiopia, which, in time and under presumably external influences, developed into a rich syllabary unlike any other Semitic script in history. Even a cursory examination of the letter forms of Modern Ethiopic writing reveal a striking similarity to South Arabian Script. OSA inscriptions typically reveal a dominant right-to-left directionality, although there are also many cases of alternating directions, known as boustrophedon writing. Figure 1 is a fine example of this style of writing. OSA inscriptions were discovered early in the 19th century. Soon thereafter, two orientalists, Gesenius and Rödiger, made great strides towards deciphering the script. Styles of Writing Old South Arabian inscriptions have survived primarily on stone, ceramic, and metallic surfaces. Hundreds of artifacts have been found and, to this day, continue to be discovered. Some of the best examples number of inscriptions on softer materials, such as wood and leather, have also been discovered. Although there is a significant difference between the styles of letters on the hard surfaces and those on the soft. Old South Arabian (Musnad) is composed of 29 letters , that is one letter more than the Arabic alphabet, which is between “S” and “Sh”, and names “Samekh”. Aspects of difference between Musnad and the present Arabic writing is that Musnad is written in separate letters, and the shape of the letters do not change according to its place in the word. However, some letters change according to the beginning of the writing. Musnad is either prominent, or deep. Prominent writings are for important writings and deep writings are for ordinary. The material on which the Musnad was written were stones, rocks, wood, and metal. In the course of its development the Musnad use appeared in the “Lehyanite’, “Thamudic”, “Safaitic”, pen to which many changes and amendments were made. And from it “Habashi’ writing was born. As regards his place among the Arabs of the Peninsula , when we look at the internet and its role in cultural dialogue , the Arabs of the Peninsula considered Musnad inscription which was indisputably their national writing until the dawn of Islam. It was used by people in all parts of Arabia in their homeland and abroad . It was their means of chronology and record of their glories and history.2- Features of Musnad Script: 1. It is written from right to left and vice versa. 2. Its letters are not joined. 3. Shape of letters are uniform despite their positions in the word. 4. Words are separated by vertical lines. 5. A letter is doubled in case of assertion. 6. No points and punctuations. 7. Easy to be learned by beginners. My OSA Musnad Font My design and technical work is only a treatment of the OSA Musnad as a symbol of writing. And it is possible to use in computer.. My design is not aimed at demonstrating the linguistic and intellectual structure of the Old South Arabian (Musnad). It is so simple that it could be easy to learn by learners and those who are interested in the OSA Musnad letters in computer. The basis of such importance is that it spares a lot of time and effort for researchers and students in this field. Formerly they used to write the Musnad texts either by handwriting or scan them , But now they can easily write its texts in OSA Musnad by using keyboard directly, so that they can change , amend and fulfill easily and accurately . So, we made use of speed, easiness and accuracy. And anyone interested in the South Arabian history in any part of the world can due to this design read and write OSA Musnad letters most easily. This design will also be used by historians and archeologists. , as well as specialist linguistics . The design also demonstrates the aesthetics of the Himyarit writing. About this font family Old South Arabian is An Arabic, Old South Arabian and Latin typeface for desktop applications ,for websites, and for digital ads. Old South Arabian font family contains two types: Old South Arabian and Old South Arabian serif. The font includes a design that supports Arabic, Old South Arabian and Latin languages. Old South Arabian typeface comes with many opentype features.

Designed by R.H. Middleton for Ludlow, circa 1930. Digitally engineered by Steve Jackaman.

The typeface was designed by Alexey Chekulaev inspired by artwork of Grigory Klikushin.

Designed by R.H. Middleton for Ludlow, circa 1937. Digitally engineered by Steve Jackaman.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman. This beautiful recreation by Les of the Frederick Goudy typeface, Kennerley Old Style, circa 1911-24, may be superior to any other.

Designed at ParaType in 1990 by Tagir Safayev. Based on Courier typewriter face of International Business Machines, 1956, by Howard Kettler. The decorative styles were added in 1997 by Alexander Tarbeev.

Designed at Polygraphmash Type Design Bureau in 1988 by Svetlana Yermolaeva. Based on Kirillitsa (1982), inspired by typographic poluustav of the Printing Office of the Russian Empire Academy of Science (late 19th century). Shadow style was added by Alexander Tarbeev in 1994. Latin alphabet was added by Oleg Karpinsky in 2009.