Macaroni Sans evolved from our search for an extended font family consisting of a range of weights in both uprights and obliques, with a contemporary appeal. The desired character was to be sympathetic with a range of high-tech consumer products so a friendly, soft approach was called for. The resulting mix of geometric shape, rounded terminals, subtle italic angle of just six degrees and a few quirky stroke endings met with an enthusiastic response. As its subject product line exhibits brilliant color and imagery, a style was called for that conveyed contemporary appeal and readability but would not compete with the savvy products. We arrived at a clean, modern, sociable look that would suit a broad subject field in either text, semi display or signage. Its simple lines and monoline strokes fit well with logo usage or screaming posters, enhancing letterheads or websites, for foodstuffs to autos, insurance to swimming pools, lawfirms to babyfood. Macaroni Sans is the perfect typeface for branding, logotypes, may even flatter challenging viewing conditions. Rounded types have been around (pardon the pun) for centuries; numerous examples can be seen on old wood type posters, which in a small way prompted the name: in fashion Macaroni was a term used in mid-eighteenth century Europe to describe a dandy, a chap who displayed flamboyance in dress and hairstyle and spoke outlandishly or in an effeminate manner. Hence the term macaronic verse.

A very cheerful font. This font is very thick and suitable for use in children's games or animations. With this font, write very attractive, happy and comic titles and use it easily in graphic works. The design of this font looks sloppy and messy, but when you write your own text or title, while each letter is messed up, the text is completely connected.

This bouncy beauty was inspired by Walnetto Casual, designed by Dave West for Photo-Lettering, Inc. in the 1970s, and takes its name from a mythical West Texas beastie. This version has been thoughtfully designed to use Contextual Alternates to avoid unsightly serif collisions for best possible visual effect. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets.

Emulating real handwriting has always been an aim of font designers in the digital age. The standard mainstream scripts and doodles that were available for the longest time have not successfully reached that goal. A letter always looked the same wherever you placed it. Some workarounds, such as letter alternates and ligatures, were used in many fonts, but they were a bit inconvenient to use, and in some cases didn't work correctly because they had to be placed in separate fonts from the main character set. Not until now, with OpenType technology, have we been able to emulate real handwriting, by including multiple character sets in the same font and programming it for smart form changes through letter sequence counting. Secret Scrypt was the first Canada Type font to make it to the bestseller list in the summer of 2004. In early 2005 a New York restaurant chain picked Secret Scrypt to use on its menus and internal signage, but they wanted to look even more like real handwriting, where two or three instances of the same letter used in one word would automatically change and look different from each other. Using OpenType technology, Canada Type produced a Secret Scrypt Pro for that restaurant chain under the direction of Mucca Design in New York City. That initial version contained three different character sets in the same font, and some intelligent programming that determines the sequence of the letters and change their shapes accordingly. Now the retail version of Secret Scrypt Pro is available, with four character sets built into the font for even more variety on the real handwriting theme. Make sure to check out the Secret Scrypt Pro PDF in the MyFonts gallery for tips on using Secret Scrypt Pro. Secret Scrypt is perfect for menus, handwritten notes, theater programmes, charity organization posters, and any design that attempts to get close to people with the personal magic of real handwriting.

Xaver Nature is inspired by nature. Thus, it is characterized by curves and dynamic thickness of the stroke. At the same time, all letters are anchored on the baseline, which makes the font look calm despite its organic appearance. The Schrit contains two weights: a basic weight that guarantees great legibility even in small sizes. A decorative cut that integrates plants into the typeface as decorative elements. This is particularly suitable for headlines and titles. Furthermore, it offers language support for the entire European region, the North American region, as well as for South America and Oceania.

LOOK OUT! It's kinda creepy, we know, but we're convinced that this font does whatever a spider can -- in fact, we believe it can actually spin a web of pretty much any size, and even catch thieves as if they were bugs of some sort -- let's say flies. In fact we'd almost go so far as to say that, in the chill of night (perhaps at the scene of a crime) this font may just arrive like a streak of light in the nick of time. We're releasing this font now not for wealth or fame, we ignore those things, action is our reward. Here at Comicraft we think of life as a great big bang up, and whenever there's a hang up, you won't find us climbing -- or crawling -- the walls... well, not without STICKY FINGERS anyway. Find yourself a pair of webshooters and this font is the perfect complement to any Halloween costume.

We at Fontscafe are forever trying to work on conniving up typography that will blend itself into your work space in a manner that will make you wonder how you ever managed without it…and that effort has led us to the birth of yet another all-new font for you! And this one like most of our others has a niche appeal although it is versatile as versatile can be. Now this is a font that can pretty much fit the bill when you want to send out an exclusive appeal but yet not overly formal. It is styled with fonts that cry out ‘eliteness’ and exclusivity, but without the part where it becomes so exclusive and classy that it goes way over people’s heads! The ‘Egregio’ can still connect on a very personal, almost friendly level with your audience while it remains in a class of its very own!

Xylotype guru Rob Roy Kelly identified this specimen from his personal collection as "Phanitalian". This addition to the Whiz-Bang Woodtype series takes its name from a small Texas town in the middle of nowhere which has risen to international prominence—at least for folks interested in such things—as the site of the World Championship Chili Cook-off. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

PRISMATIC INTERLACES TYPEFACE! Prismatic Interlaces is a decorative system and ‘Assembling Game’, itself. Settled in squared pieces modules or tiles, embedded by unprecedented Intertwined Prismatic Structures Design, or intricate interlaced bars that may seem quite “impossible” to shape. Although it originated from the ‘Penrose Square’, it may not look totally as an Impossible Figures Type of Optical Illusions. More an “improbable” Effect in its intertwined Design, that even static can seem like a source of Kinetical Sculptures, or drive eyes into a kind of hypnosis. Prismatic Interlaces has two related families, both as a kind of lighter weight versions Prismatic Spirals Default & Pro. While Default is simpler or easier to use, same way as Prismatic Interlaces, Pro provides a more complex intricate Design that requires typing alternating caps. Instructions: Use the Map Font Reference PDF as a guide to learn the 'tiles' position on the keyboard, then easily type and compose puzzle designs with this font! All alphanumeric keys are intuitive or easy to induce, you may easily memorize it all! Plus, often also need to consult it! *Find the Prismatic Interlaces Font Map Reference Interactive PDF Here! (!) Is recommended to Print it to have the Reference in handy or just open the PDF while composing a design with this typeface to also copy and paste, when consulting is required or when it may be difficult to access, depending on the keyboard script or language. As a Tiles Type-System, the line gap space value is 0, this means that tiles line gaps are invisibly grouted, so the user can compose designs, row by row, descending to each following row by clicking Enter, same as line break, while advances on assembling characters. Background History: The first sketches of my Prismatic Knots or Spirals Designs dates back then from 2010, while started developing hand-drawn Celtic Knots and Geometric Drawings in grid paper, while engage to Typography, Sacred Geometry and the “Impossible Figures” genre… I started doing modulation tests from 2013, until around 2018, I got to unravel it in square modules or tiles from the grid, then idealized it as fonts, along with other Type projects. This took 13 years to come out since the first sketches and 6 months in edition. During the production process some additional tiles or missing pieces were thought of and added to the basic set, which firstly had only the borders, corners, crossings, nets, Trivets connectors or T parts and ends, then added with nets and borders integrations. Usage Suggestions: This type-system enables the user to ornate and generate endless decorative patterns, borders, labyrinthine designs, Mosaics, motifs, etc. It can seem just like a puzzle, but a much greater tool instead for higher purposes as to compose Enigmas and use seriously. As like also to write Real Text by assembling the key characters or pieces, this way you can literarily reproduce any Pixel Design or font to its Prismatic Spirals correspondent form, as Kufic Arabic script and further languages and compose messages easily… This Typeface was made to be contemplated, applied, and manufactured on Infinite Decorative Designs as Pavements, Tapestry, Frames, Prints, Fabrics, Bookplates, Coloring Books, Cards, covers or architectonic frontispieces, storefronts, and Jewelry, for example. Usage Tips: Notice that the line-height must be fixed to 100% or 1,0. In some cases, as on Microsoft Word for example, the line-height default is set to 1,15. So you’ll need to change to 1,0 plus remove space after paragraph, in the same dropdown menu on Paragraph section. Considering Word files too, since the text used for mapping the Designs, won't make any literal orthographical sense, the user must select to ignore the Spellcheck underlined in red, by clicking over each misspelled error or in revision, so it can be better appreciated. Also unfolding environments as Adobe Software’s, the Designer will use the character menu to set body size and line gap to same value, as a calculator to fit a layout for example of 1,000 pts high with 9 tiles high, both body size and line gap will be 111.1111 pts. Further Tips: Whenever an architect picks this decorative system to design pavements floor or walls, a printed instruction version of the layout using the ‘map’ font may be helpful and required to the masons that will lay the tiles, to place the pieces and its directions in the right way. Regarding to export PNGs images in Software’s for layered Typesetting as Adobe Illustrator a final procedure may be required, once the designs are done and can be backup it, expanding and applying merge filter, will remove a few possible line glitches and be perfected. Technical Specifications: With 8 styles and 4 subfamilies with 2 complementary weights each (Regular and Bold) therefore, Original Contour, Filled, Decor, with reticle’s decorations and 2 Map fonts with key captions. *All fonts match perfectly when central pasted for layered typesetting. All fonts have 106 glyphs, in which 49 are different keys repeated twice in both caps and shift, plus few more that were repeated for facilitating. It was settled this way in order for exchanging with Prismatic Spirals Pro font which has 96 different keys or 2 versions of each. Concerning tiles manufacturing and Printed Products as stickers or Stencils, any of its repeated pieces was measured and just rotated in different directions in each key, so when sided by other pieces in any direction will fit perfectly without mispatching errors. Copyright Disclaimer: The Font Software’s are protected by Copyright and its licenses grant the user the right to design, apply contours, plus print and manufacture in flat 2D planes only. In case of the advent of the same structures and set of pieces built in 3D Solid form, Font licenses will not be valid or authorized for casting it. © 2023 André T. A. Corrêa “Dr. Andréground” & MMC-TypEngine.

Moon Phases documents the phases of the moon over time. Great for animation, signs, greeting cards, posters, etc. The phases of the moon follow the alphabetical order. Upper and lower case characters are the same. For a character map, see the gallery.

Gaultier is the result of over 5 years of work on a typeface inspired by my favourite creators in European typography – Claude Garamond, Robert Granjon and Eric Gill. The main idea of the project was to create a sans-serif antiqua with all features reserved for serif typefaces. In addition to the rich set of characters, Neuropa includes: Small Caps, Superscript, Subscript, Ligatures, Discretionary Ligatures, Contextual Alternates, Swash Variants and 5 different styles of digits. Upright styles with delicate contrast corresponds with the expressive form of italics inspired by Granjon italic construction. Gaultier will work wherever we want to emphasize modernity without forgetting tradition. The sharp character of the whole family is perfect for longer texts, visual communications and branding purposes.

Corsham was inspired by traditional stonemason's engraved lettering designs. Designed to be used alone, or in combination with our Corton family, it has wonderfully lively air, with distinctive lively serifs and beautifully swashed downstrokes. Four faces are offered-regular bold and black weights as well as a condensed form. All faces include a range of Opentype features, including ligatures and old-style numerals. The Corsham faces merge 'olde-worlde' charm with fun character, yet remaining clear and legible for text use.

American graphic designer William Addison Dwiggins' (W.A.D. for short) first typefaces were the Metro family, designed from 1927 onward. The project grew out of Dwiggins' dissatisfaction with the new European sans serif typefaces of the day, such as Futura, Erbar, and Kabel, a feeling he expressed in his seminal book Layout in Advertising. Urged by Mergenthaler Linotype to create a solution for the problem, Dwiggins began a professional relationship that would span over the next few decades. The first Metro family typeface to be released was Metroblack, brought to market by Linotype in 1929 (Metroblack #2™ the only one of the two versions that Mergenthaler Linotype eventually put into production which is available in digital form). With more of a humanist quality than the geometric styles popular in Europe at the time, Dwiggins drew what he believed to be the ideal sans serif for headlines and advertising copy. Metroblack has a warmer character than the Modernists' achievements, and the type is full of mannered curves and angled terminals (Metroblack also has an astoundingly beautiful Q). The other weights of the Metro family, Metromedium #2™ and Metrolite #2™, were designed by Mergenthaler Linotype's design office under Dwiggins' supervision. Despite having been created more than three-quarters of a century ago, the Metro family types have aged well, and remain a popular sans serif family. Although spec'd less often than other bestsellers, like Futura, Metro continues to find many diverse uses. The typeface has appeared throughout Europe and the North America for decades in newspapers and magazines, and can even help create a great brand image when used in logos and corporate identity. Dwiggins ranks among the most influential graphic designers and typeface designers of the 20th Century. He has several other quality fonts in the Linotype Originals, including the serif text faces Electra™ and New Caledonia™, as well as Caravan™, a font of typographic ornaments."

Originally I wanted to call this font Chewy Caramel, because I love caramel. But that name was already taken, so I deleted two letters in the name and ended up with Chewy Camel instead. I know that the designer of Chewy Caramel don’t mind - because that is my good friend, David, who made that one! :) Chewy Camel was made with a slightly blurry and inky pen, and is suitable for most things that need a true organic hand lettered font. I have added 6 slightly different versions of each letter, and there is multilingual support as well

This time the font's name is meaningless. Maduki doesn't mean 'cool' in Swahili, nor does it mean 'cup cake' in Sranantongo. It is just a nice name. Maduki is a playful font, created with one of my 2 year old son's marker pens (the 'no stain, wash-out' variety), a couple of cups of coffee and a whole bunch of 'speculaas' cookies. Now you're wondering what speculaas is, right? I'll tell you later - in a couple of fonts... Anyway, there's not much meaningful to say about Maduki font. It is nice, it is cute and it comes with alternates!

Surpassing traditional Antiqua, our new collaborative font family Audela emerges after overcoming time, national borders, language differences, cultural gaps, and professional challenges. Starting off as an exercise project of our very first intern Léa Bruneau in 2018, Audela slowly shaped into a full-fledged elegant serif typeface of 14 styles under the watchful eye of Plamen Motev, Fontfabric’s Type Director. Three years later, Audela is internally regarded as a breaker of limits earning its name from the French “au-delà,” meaning “beyond.” This new rising star features sharp serifs, flowing letterforms, advanced OpenType features, Extended Latin and Cyrillic support, to name a few.

An indomitable woman who traveled a lot, Emily Austin (Bryan) Perry was one of the children of Moses Austin, of Austinville, Virginia. Like her famous brother, Stephen F. Austin, she settled in Texas as one of that region's earliest colonists. While traveling about seeking treatment for a sickly daughter, she wrote many letters home -- letters that show a distinctively compact, legible hand. The challenge for me in designing the face: resisting the temptation to read and re-read her bossy directives and urgent appeals, all packed tightly together on a page. Emily Austin has a complete character set, and then some.

The sister fonts Andron 2 English and Andron 2 Deutsch provide a groundbreaking new possibility to render literature text bodies in a sophisticated traditional and yet modern way of type. In German typographic history there has once been a long-lasting struggle called the Frakturstreit (the blackletter quarrel). It was about wether German text ought to be composed in blackletter or rather in Roman type, a question upon which even Goethe, Schiller and other period celebrities got grey over time. However, blackletter type remained alive and has just recently seen an astonishing renaissance. This is not about a blackletter revisionism or some ‘mixture’ concept arguably bridging the gap between either worlds. Andron 2 English and Andron 2 Deutsch offer a new approach to circumvent that old antagonism. As for the lowercase letters I applied certain features of blackletter type onto the glyphs – but entirely abandoned the principle of the broken stroke as such. The result is a lowercase alphabet in the classical Andron style which may be considered an attractive alternative for text in English, German or even other languages. So it’s no longer entirely about choosing between ‘modern’ Roman or ‘ancient’ blackletter only. Andron 2 English Regular and Andron 2 Deutsch Regular feature the same lowercase glyphs but differ in the majuscules (Andron 2 English has normal Latin capitals). ++++ 2012 + NEW! +++ In response to its growing popularity we now present five new fonts as part of the Andron 2 series. Andron 2 English is completed by an Italic and a Bold font. Andron 2 Deutsch now contains three interesting alternative fonts: Italic, Scriptive and Laendlich. Last but not least – A new set of wonderful classical typographic ornaments is part of the Italic and Scriptive fonts. – You can also purchase these ornaments separately as “Andron Ornamente”.

Ziboulateur is French slang for bottle opener. The word consists of two parts: Zibula (a word from Congo-Brazzaville meaning: ‘to decork’) and the French suffix -ateur. I thought this rather creative word would be a good name for this particular font! Ziboulateur is a handmade, all caps display font. It comes with extensive language support, including Sami and Vietnamese.

This unusual sans typeface was inspired by a serif face called Faust, designed by Albert Kapr for the Institut für Buchgestaltung in 1959. Its mix of medieval, Jugenstil and Bauhaus influences makes it an intriguing choice for your next project. Both versions of this font include the Unicode Latin 1252 and 1250 Central European character sets, with localization for Moldovan and Romanian.

This engaging antique text face is based on Paragon Light, from the 1905 specimen book from Barnhart Brothers & Spindler. Although it is spaced and kerned for text work, it also is suited for headlines if you tighten the tracking. Both versions of this font contain complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

This elegant stencil face is based on an alphabet found in one of the innumerable Dover Books volumes edited by Dan X. Solo. Intended for headline use, it can also be employed effectively for short blocks of body copy. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

In their circa 1900 specimen catalog, Barnhard Brothers and Spindler called this typeface "Samoa", suggesting exotic locales. On the other hand, it also suggests some serious fun, and is named in honor of British artist Dudley Hardy, whose posters used a very similar typeface extensively. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

This quirky little number is based on a typeface originally named Turtle, which made a very brief appearance in Letraset's product line catalog in the 1970s. Admittedly, its uses are limited, but its cryptic and playful nature will reward those with imagination. Both versions of this font include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

This typeface made its first appearance in Schelter & Giesecke's 1915 specimen book. It exhibits the cleanness and crispness one might expect in a sans-serif face, along with a few unexpected grace notes that make it warm and friendly, as well. Both versions of this font include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets.

This rough-hewn offering is patterned after Antikva Margaret, designed by Zoltán Nagy for VGC in the mid-60s. Its energetic and, at times, eccentric letterforms make this face a perfect choice for headlines and subheads that will be noticed. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Moldovan and Romanian.

Introducing, Absolutely Vintage Font! As the name implies, Absolutely Vintage brings a retro and nostalgic feel. This font is made to mimic the typing of a typewriter. With a simple and organic impression, this font is able to create a warm and friendly feel. Absolutely Vintage also brings alternates to each letter to give it a unique feel for display purposes.

Albireo is a typeface for those times when you have more to say than space to say it. It also looks fantastic spread out across the page as though space doesn’t matter. Expertly crafted with a high level of attention to detail, Albireo is an immensely practical and flexible typeface that’s neutral enough to be used almost anywhere a highly condensed, sans-serif face is needed. Despite its down-to-earth functionality, this is a typeface that definitely isn’t lacking in style. It really shines when used for headlines or subheadings in magazines, brochures, posters, newspapers, flyers or on the web. With 42 weights, widths and italics, there’s enough flexibility to make every word fit perfectly. You may buy one font at a time or save money by purchasing packages consisting of the 14 fonts in each width (Extra Condensed, Condensed or Semi Condensed). Save even more by purchasing the entire collection and, in addition to the 42 separate fonts, you'll receive two variable fonts (upright and italic) that cover all the weights, widths and everything in between. So where does the name come from? Well, look upwards at night. Albireo is a binary star in the constellation Cygnus. Through a backyard telescope, Albireo (the star) resolves into two brilliant component stars — one orange and one blue. The beginnings of the typeface were the result of me needing a newspaper feature headline about space exploration. I couldn’t find the right typeface, so I drew my own letters and eventually expanded it out into an entire mega-family. Given its origins, naming it after my favorite star seemed totally appropriate. Check it out. I think you’ll love it. Albireo deserves its place as a shining star in everyone’s font collection. It’s that good — really.

Mediator is a balanced contemporary sans serif typeface that performs well both in display sizes and body text. The family contains 30 fonts in 3 widths: 8 romans with matching italics, of slightly extended proportions, from Thin to Black; 7 narrow and 7 condensed, from Thin to ExtraBold. The character set in normal upright faces was expanded to include small caps and all faces include old style figures. The typeface was designed by Manvel Shmavonyan with the participation of Alexander Lubovenko and released by ParaType in 2016.

Otto Weisert was a German type founder who ran his own foundry in Stuttgart during the early years of the 20th Century. In 1902, he created Kalligraphia, a cursive Art Nouveau display script face. Kalligraphia has a unique stroke contrast model; the tops and bottoms of its letterforms are thicker than the verticals on its sides.

Omnibus is one of my absolute favourites. My intention was to design a typeface as easy to read as Baskerville, without being a copy of it. It is easy to see that I was influenced by Baskerville, e.g. in the open lowercase g. I had in mind to design a Baskerville with the looks of the Baskervilles used in earlier typesetting. I put aside those plans for a while (but fulfilled them later on) and dedicated myself to Omnibus. In both cases my aim was to achieve a typeface with darker looks than the most used Baskerville. The name has nothing to do with buses, it is Latin with the meaning of for all". It is also in the name of Omnibus Typografi. Omnibus was released in 1993.

Beautiful rain made in the rainy season I made an irregular handwritten font at will with beautiful and attractive results full of love and affection in it, making this font very attractive to use in your photos with two words that go hand in hand or also to connect your own name or partner's name because Having a swash heart that can be connected is very suitable for use on greeting cards, wedding invitations, magazines, logos, clothes, stickers, and many more.

Fleete is a modern homage to the many late 19th century typefaces; often used for book titles, posters and newspaper headlines; which have an extreme contrast between hairline horizontal stems and serifs and heavy vertical stems. Greater Albion Typefounders have taken this basic idea, to be found across very many faces of the period and used just that one concept as the basis of a new typeface design, which manages to be elegant yet modern all at once. IF you need something for a section heading which stands out from body text, this is the font family for you. If you need headings on a poster or large scale web-page headings, this is the face you should try. If you need several weights of heading-no problem; Fleete comes in Regular, Bold and Shadowed, as well as a newly designed Sans Serif form.

From an old wood type owned by a San Francisco printer. Wood types were customarily given somewhat generic names (Antique Tuscan) or, more frequently, numbers to identify them. Our clients liked colorful, easily-remembered names better, and so did we.

This one is just for fun. I named it after my cat, Gwendolyn.

Kessel 105 Text is the text specific variation of stablemate, Kessel 105 . With a narrower x-height and longer ascenders and descenders, its more traditional proportions make it more economical with space and better suited to continuous text. It's a versatile, modern sans, highly legible as a text font and with a clean, elegant look as a display font at larger sizes. It has an art deco flavour with sharp points at the apex of many characters. The Kessel 105 Text family comprises of four weights and includes old style non-aligning (lower case) numbers, both proportional and tabular as well as accented characters for Central European languages.

Slurm is a hand-drawn fun font that is ideal for use in headlines, descriptions and logotypes used in product design and similar applications. In longer texts it works well as a complementary font for comics and illustrations. Various sizes and weights for individual characters are derived from the hand-drawn font. Each glyph is an original; no shapes are repeated. Ligatures have been created for double letters and the typeface includes diacritics for languages that use Latin letters. The typeface features two basic styles, Regular and Bold, which can be used separately just as well as combined. Each style also includes pictures that can be used for various occasions.

Earlier this year I visited a bakery in Newport Beach, CA and fell in love with the organic design and typography of the place. Hand-drawn menus, table cards, chalkboards, and wall quotes surrounded the charming spot. It inspired me to create a new font family based on the combination of hand drawn fonts. Included in this package are 5 font families, with 2 graphic ornament fonts. Each font family contains at least a light, medium and bold. Here is a breakdown of what's cookin' at Catalina's Bakery: Catalina Anacapa: Tall and skinny, this font comes in 3 weights for both sans and slab serif styles. It includes contextual alternatives (giving 3 versions of each letter), stylistic alternatives for select letters (A, K, P, Q, R, Y) and also includes Small Caps. Catalina Avalon: Based off Anacapa, this sub family has a high contrasting line weight. It comes in light, regular and bold as well as an inline alternative for both sans and slab serif styles. Avalon also includes opentype features such as contextual alternatives (giving 3 versions of each letter), stylistic alternatives for select letters (A, K, P, Q, R, Y) and small caps for each letter. Catalina Clemente: In a more standard width, Clemente is one of the two sub families that can be used for paragraph text as well as headlines. It's organically geometric in style and comes in ALL CAPS and lowercase, includes upright and custom italics, and has the opentype feature giving 3 versions of each letter. Catalina Script: A great compliment with the display sub-families, Catalina Script rounds out the package with a hand-drawn cursive flair. It includes contextual alternatives (giving 2 variations to each letter) as well as stylistic alternatives for many of the capital and lowercase letters. It has special ligatures for some letter combinations, and titling alternatives for all the capital letters. Catalina Typewriter: The second of the paragraph text sub-families, this typewriter inspired hand-drawn font family works great as either a display or paragraph text. It has contextual alternatives with 3 versions of each letter, and comes in both upright and custom italics versions. Catalina Extras! These two fonts go perfectly with the Catalina Family. They includes borders, frames, arrows, banners, flourishes and more. Catalina Flourish has all of it's options in a light and bold style, to use the light version type all lowercase letters, then to make something bold, used it's uppercase (or shift+) characters. For a breakdown of graphic/letter correlation, see the breakdown PDF. All of Catalina was drawn by the same hand, using the same ink and technique. While they contrast in their type styles, they work together perfectly to create one cohesive font family.