TT Fors useful links: Specimen | Graphic presentation | Customization options TT Fors is a modern geometric sans serif with characters and shapes contrasting in width, as close as possible to the basic geometric shapes (circle, square, triangle). TT Fors is a great addition to TypeType's line of functional sans serifs, which already includes such fonts as TT Norms Pro, TT Commons, TT Hoves and TT Interphases. The main inspiration for the creation of TT Fors was the study of geometric grotesques of the early to mid-20th century (Futura, Neuzeit Grotesk, Twentieth Century, Avantgarde Gothic, etc.), and the analysis of the contribution they made to the visual environment of that time. We gave ourselves the task to create the most versatile functional typeface that draws inspiration from the visual environment of the early to mid-20th century, but at the same time is aimed at uninterrupted use in all modern media, from branding and packaging design to work in interfaces and applications. This versatility is reflected in the title TT Fors (for), a typeface for a wide range of uses. The rounded characters in the font family tend to be shaped as the correct circle as much as possible, while the rest of the characters have narrower proportions. For more functionality, the typeface has rather high lowercase characters. Thanks to the correct and precisely selected geometric shapes and uniform construction rules, TT Fors works great both in the format of large headings and in very small text sizes used in book printing and in web design. In addition, the TT Fors family has a display subfamily TT Fors Display, which is a trendy pair for the text fonts. The main feature of the display subfamily is high contrast in horizontal or vertical strokes. When choosing a contrasting stroke, we paid attention that the shape of the letter would not go into reverse contrast and become a stressed sans serif. The subtle strokes in TT Fors Display have added sufficient display vibe to give the font a vibrant character, while remaining intelligent and serious. In total, TT Fors family includes 34 fonts: 9 weights and 9 italic styles in the text subfamily, 6 weights and 6 italic styles in the display subfamily, 2 outline styles and 2 variable fonts for both subfamilies. TT Fors has stylistic alternatives, ligatures, small caps (text family only), numbers in circles, arrows and a set of alternative round full stops and punctuation marks (text family only), slashed zero, and other useful features. More details about all OpenType features can be found in the font specimen. And, by good tradition, TT Fors has two variable fonts, for each of the subfamilies. Each variable font supports two axes of variability—thickness and slant. An important clarification—not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/. To use the variable font with two variable axes on Mac you will need MacOS 10.14 or higher. TT Fors 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+, Bosnian (lat), Breton+, Catalan+, Cebuano+, 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, Haitian 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 (not localization), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian

“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.

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

Dom Loves Mary has a baby brother! Check out Fratello Nick here: http://www.myfonts.com/fonts/correspondence-ink/fratello-nick/ The DomLovesMary font family has all you need to create unique, custom stationery products. THE INSPIRATION BEHIND THE DOMLOVESMARY FONT FAMILY: DomLovesMary is named in memory of Dominic and Mary Sementelli, Debi’s in-laws. Dom and Mary were opposites who were truly “made for each other”. A snazzy dresser, Mary was feisty, loved to dance, sing, and be the life of the party. Dom was cool, calm and collected and was happy to shine the spotlight on the love of his life. They balanced each other out in a really great way. Going through some of her in-laws old photos, Debi found their wedding album. She was struck by the beautiful look on their faces as they got ready to start their life together. She saw the excitement, joy and anticipation of them envisioning “Una Bella Vita!” (A beautiful life!) She decided to create a hand-lettered font with them in mind represented by two totally different lettering styles that were, like Dom and Mary, “made for each other”. It’s her way of honoring them and sharing their beautiful life with all of the couples just starting theirs together. They truly had “Una Bella Vita” and we hope you do too. WHAT'S UNIQUE ABOUT THE DOMLOVESMARY FONT FAMILY: The SCRIPT & TEXT FONTS are lettering styles that were made to compliment each other. With a vintage, classic feel, they will add elegance to your design, while the TEXT serves to offer support with easy to read simplicity. In addition to the standard character set, each of the uniquely styled script fonts includes a collection of flourished ornaments. Use them to create corners, headers or other embellishments to complete the look. And if you really want to fancy things up, we offer two sets of 72 additional flourishes that were specifically made to add to upper and lower case letters for easy customization. Dress them up with one, two or more. It’s like choosing simple pearls or piling on the glitz! Or combine several to create unique flourished ornaments of your own. To add even more panache, we're pleased to present our ready made set of most frequently used ADD-ON WORDS. Created with the wedding client in mind, this set of 66 includes envelope friendly titles: Mr and Mrs, Mr, Mrs, Miss, Ms, Doctor, the Doctors, as well as words to fill out your invitation suite: RSVP, Respond, Save the Date, Accommodations, Directions and more! Easily create Bride and Groom signs or Thank You cards or tags with the click of a key. Or use angled words like “and, at, to, on, for, from and of” to add a special touch to your large groups of copy. PACKAGES: We are pleased to have a variety of customers. From professional invitation designers to DIY brides, publishing companies and website / blog designers among others. So we've created packages to help fit their diverse needs. Purchase just one of our beautiful DomLovesMary SCRIPT fonts, each with its collection of included flourishes or the PRO VERSION complete with ALL THREE script fonts and a combined total of over 100 flourished ornaments. Add our TEXT font, a set of FLOURISHES or ADD-ON WORDS. Love the idea of customizing your letters with all the possible combinations? We offer a special price when you purchase both sets of flourishes. Or choose our Accoutrements Package containing both sets of FLOURISHES for letter customization as well as our ADD-ON WORDS. Want to have it all? The “DomLovesMary Total Design” package is for you. Each of these packages are offered at a 25% savings. WHAT PROGRAM WILL YOU USE?: All of the font options come in both Pro and Standard format fonts. For those with programs that can take advantage of OpenType features (click on the link to see if the program your using is one of them) the Pro fonts are for you. http://www.typotheque.com/fonts/opentype_feature_support/ For others without the ability to use Open Type features, we provide all of the script fonts that comprise the Pro Version as separate versions (Regular, Contextual and Stylistic). If you are using a program like Microsoft Word, and want all three script fonts, you can still purchase the Pro Version (a $50.00 savings), and install the individual fonts bundled in the Standard Fonts folder. We have set it up so they will appear separately as DomLovesMary, DomLovesMary Contextual and DomLovesMary Stylistic in your fonts list. Exciting news! In an effort to help our customers access all the goodies that are normally only available in Open Type Capable programs (like the flourished ornaments that come with our script fonts), we have found a simple application that allows you to do just that. For this reason, we've made sure to unicode all of our characters and glyphs so that they will work in this type of program. There may be others, but we checked this one out and found that it works. Check out PopChar

Roller Poster is named after Alfred Roller. In 1902, Roller created a poster to advertise the 16th exhibit of Austrian Artists and Sculptures Association, representing the Vienna Secession movement. The exhibit was to take place in Vienna during January & February 1903. The location is not mentioned because everyone in Vienna knew it would be held at the exhibit hall in the Secession Building at Friedrichstraþe 12, a few blocks south of the Opernring, near the Naschmarkt. Designed by Joseph Maria Olbrich in 1897, the buiilding has been restored and stands today as one finest of the many fine examples of Art Nouveau architecture in Vienna (see vienna_secession_bldg.jpg). Because of its dome, it is called “the golden cabbage.” The poster itself is unique. The word “secession” is in one type style and takes up two-thirds of the elongated poster. At the bottom of the poster are the details in a different lettering style. It is this second style at the bottom that is the basis for the font Roller Poster. In keeping with our regular naming conventions, we were going to call it Roller Gezeichnete (hand-drawn), but the wonderful play on both words and the shape of the three S’s in secession was too compelling. In November 1965 there was an exhibit of Jugendstil and Expressionist art at the University of California. Alfred Roller’s Secession Poster was part of that exhibit. Wes Wilson was designing promotional material at Contact Printing in San Francisco. Among their clients was a rock promoter named Bill Graham, staging dance-concerts at Fillmore Auditorium. Wilson saw the catalog from the UC exhibit and Roller’s lettering. Wilson adapted Roller’s letter forms to his own fluid style. The result was the poster for the August 12-13, 1966 Jefferson Airplane/Grateful Dead concert at Fillmore put on by Graham (BG23-1). Wilson continued to use Roller’s letter forms on most of the posters he did for Graham through May 1967, when he stopped working for Graham. The posters were extremely successful and the lettering style along with Roller’s letter forms were picked up by other artists, including Bonnie MacLean, Clifford Charles Seeley, James Gardner, and others. The Secession poster and the Fillmore posters have inspired a number of fonts in addition to ours. Among them are JONAH BLACK (& WHITE) by Rececca Alaccari, LOVE SOLID by Leslie Carbarga and MOJO by Jim Parkinson. Each is different and yet each clearly shows its bloodlines. Our font differs in two ways: 1) the general differences in the interpretation of the letter forms and 2) the modification of the basic letter form to incorporate the diacriticals within the implied frame of the letter, after the manner of the original design by Roller. We borrowed Carbarga’s solution to the slashed O and used it, in a modified form, for other characters as well to accomplish the same purpose. We recommend that you buy ours and at least one of the other three. According to Alaccari, a version called URBAN was released by Franklin Lettering in the 70’s (and is shown on page 51 of The Solotype Catalog). For comparison of our font to original design, see image files roller_poster_2s.jpg of original poster and roller_poster_2sx.jpg showing reconstruction using our font for the lower portion (recontructed area indicated by blue bar). Please note the consistency of character width. In the lower case, 23 of the basic 26 letters are 1/2 EM Square wide. The ‘i’ is an eighth narrower, while the ‘m’& ‘w’ are one quarter wider. All the Upper Case letters are 1/8 EM wider than the lower case. This is to make it easier to fill a geometrical shape like a rectangle, allowing you to capture a little of the flavor of Wes Wilson’s Fillmore West poster using only a word processor. We have also included a number of shapes for use as spacers and endcaps. If you have a drawing program that allows you to edit an ‘envelope’ around the letters to distort their shape, you can really get creative. I used Corel Draw for the gallary images, but there are other programs that can accomplish the same thing. The image file “roller_poster_keys.jpg” shows the complete character set with the keystrokes required for each character (see “HiH_Font_readme.txt” for instruction on inserting the non-keyboard characters). The file “roller_poster_widths.jpg” shows the exact width of each character in EM units (based on 1000 units per EM square). You will notice that the font is set wide for readability. However, most programs will allow you to tighten up on the character spacing after the manner of Roller & Wilson. In MS Word, for example, go to the FORMAT menu > FONT > CHARACTER SPACING. Go to the second Drop-Down Menu, labeled ‘Spacing’ and select "condensed' and then set the amount that you want to condense ‘by’ (key on the little arrows); two points (2.0) is a godd place to start. Let your motto be EXPLORE & EXPERIMENT. Art Nouveau has always been one of my favorite movements in art -- I grew up in a home with a couple of Mucha prints hanging on the living room wall. Perhaps because of that and because I lived through the sixties, I have enjoyed researching and designing this font more than any other I have worked on. Let’s face it (pardon the pun), Roller Poster is a FUN font. You owe it to yourself to have fun using it.

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.

“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.

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.

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.