Paquita was my first foray into the turbulent world of typography. Created in full in about three hours drawing directly into the program, technically speaking was a disaster. Once achieved the highest levels of misery I decided to get serious and after a lot of studies and tweaks, is now in its Pro version on sale in this prestigious store.

Holz is the German word for wood, since this font has a woodcut character, I thought that would be the right name.

Handil Pro is a geometric sans-serif font that serves as the perfect complement to the Mustica Pro font family. This font boasts geometric shapes with optical adjustments and enhanced gestures. The name "Handil" is derived from a place where two rare and nearly extinct species reside, the Proboscis Monkey and the Muller's Bornean Gibbon. Hearing the word "Handil" reminds us that amidst the bustling world, there are endangered creatures in the remote forests that we must preserve. Get it now.

This all started with a love for Jenson. I know there're hundreds of variations on that theme. But, that is where I began, several years ago. How far it came, as usual as I wandered through the vagaries of font design, is not unusual. If you've read any of my font design books, you know my design processes are quite loose and spontaneous. I wanted the general feel of a favorite old font, but softer, easier, and more comfortable. I built these on the same vertical metrics as my Librum Publishing Group. However, this family is not part of that group. I used the metrics because that shows my current taste in fonts. This family does work with the Librum group—but to be honest, I haven't experimented enough to come up with a good companion. I suspect I'll need to make another companion family. I may need make a non-modulated bold version also. But, that remains to be seen. I'm pleased with this.

BOXDON is an extra heavy expanded typeface which was especially designed for VERTICAL layout. Each shape looks like a box and has minimum graphical treatment to distinguish each character. It means that the counter space is not enough to use this typeface for small font sizes, however, for titles this typeface should give incredible effects. I highly recommend using it with software that is compatible with vertical layout. (e.g. Adobe illustrator)

Padraig Nua is a font conceptualized and designed by Tony Fahy. It is a European Celtic font, contemporary to many languages, not just of Europe but of the world. It’s origin is influenced by events in Ireland in the 1960s when it was decided that the uncial letterform should not be used further in Irish schools for the Irish language—Gaelic—and that it should be replaced by the Roman letterform—the Cló Romhanach as it was called afterwards. This happened overnight without any apparent discussion. It probably had a lot to do with Ireland joining the EEC, as the EU was called then. It had a massive effect on the Irish language and culture, in that the distinguishing factor that gave the language it’s identity—the half uncial/uncial fonts that were in use in all school, government and society documentation and merchandise—were lost overnight. No one said how or why. It was just done. To this day, all documentation is bi-lingual in government and Gaelic is taught in schools and universities—and decreed so by the European Union—but the presentation for both languages is the Roman letterform. Throughout the world, there are millions of Irish Americans and Irish Canadians, Irish Europeans, Australian Irish, African Irish and many living in the Middle East and Asia—and this new font—Padraig Nua, will appeal to many of them, visually recalling their roots. No one had thought, in those days, of commissioning a design that might update the Gaelic language to a more contemporary appearance that would keep the cultural nature of it intact with a revised and updated font—at one with Europe, the US and the world. Tony Fahy designed Padraig Nua (New Patrick) to address the problem. It keeps an appearance that lends towards the Gaelic language but steers it in the direction of Roman fonts. Some characters reflect letterforms from the Irish/Gaelic manuscripts and uncial fonts.

Merc is a four-letter word that stops just one y short of Mercy. Merc is also the standard street abbreviation for mercenary, or a soldier for hire. Now that the global security business has become a two hundred billion dollar industry, we thought you would like to have your very own affordable merc. Knew you'd be pleased. Merc is based on an all-cap metal face called Agitator, designed by Wolfgang Eickhoff and published by Typoart in 1960. The rough brush letters look like they were made by someone who is capable of elegance but has no time for it. These are letters that live to catch the eyes and warn them loudly: Doom is here, and if you want it screamed out, this Merc is at your service. This font contains more than 460 glyphs, which means quite a few stylistic alternates and support for the majority of Latin languages.

Todos Santos - Slab Serif Font. The baseline of Todos Santos is also not the same, so it makes this font seem irregular, What makes Todos Santos unique is the difference in the height of each character. And Todos Santos is a slab serif inspired by 1970s posters but made flexible enough for everyday use. Todos Santos best uses for title, invitation, heading, cover, poster, logos, quotes, product packaging, merchandise, social media & greeting cards and many more The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. Todos Santos is also support multi language.

A font by Christian Acker (2003), based upon the practice of the Americana folk art tradition of tattoo design. Throughout the late 19th and 20th Centuries sailors would popularize and spread motifs, designs and styles by carrying this art around the world on their sleeves. A family of four fonts representing traditional styles is now available as a digital font. An accompanying collection of over 60 eps illustrations of tattoo "flash" are also available at cubanica.com.

Franko Luin, Marco Polo's designer, on this typeface: Marco Polo is a 'massacrated' oldstyle typeface that can be used in the same way as, e.g., Caslon Antique. I designed it - if the word design is appropriate in this case - to give the users an alternative so that they are not always directed to the same choice. For the same reason I made Marco Polo rounder. The name comes from the famous Venetian globetrotter, who has nothing at all to do with the typeface, since printing and punchcutting were still an invention of the future.

My son Sam’s birthday is coming up and we need to think of a cake. He’s old enough not to want a themed cake, but I suddenly remembered that we gave him a dinosaur cake for his second birthday! Dinosaur Cake? That’s a totally cool name for a font! So here it is: Dinosaur Cake - The Font. It’s a cute little handmade font, which looks like it was cut out of paper, but I have to disappoint you this time: it was not cut out.

This is a standard, plain face with no special distinguishing features. It was created over a period of four months for use in small text in a cartographer package. While the face was extremely suitable for the purpose it was designed for, the party who was to purchase the family outright decided upon another design, allowing me to offer it up for sale. The original design for this face is nothing new, and has been greatly influenced by many others already in existence. It was not intended to be flashy, nor eye-catching, and I believe I have managed to escape any individuality that could have affected the face. It displays well in the lower text sizes, and, in my own opinion, displays some characters more clearly than some other similar faces that are currently in use (not all, some). While individuality makes a typeface stand out from all the others, this style of design would have been compromised with it.

Linotype Zensur is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. This fun font was created by French designer Gérarld Alexandre and contains one weight. The characters look as though parts of each of them were censored or removed, leaving just enough left over to know what was meant. The basic forms of this font are sans serif and the rounded corners give it an almost soft character. Linotype Zensur is a distinctive typeface which is especially good for headlines in larger point sizes.

Welcome to the world of Chayno, where handwritten style meets fun casualness. Are you looking for a sleek yet casual and playful look for your various visual projects? Chayno is the perfect choice. With three different variants, including Regular, Outline, and Shadow, Chayno gives you the flexibility to deliver effects that suit your design needs. You can create a clean, professional look or add a fun, playful touch to your project. Chayno also features creative ligatures and alternate characters, allowing you to explore a variety of fun letter variations. Not only that, this font supports multiple languages, ensuring your message can be received by audiences all over the world. With Chayno, every word becomes more than just text - it becomes an expression and an experience. Let's make your messages attractive and uplifting together with these cheerful fonts. Chayno - turns words into fun adventures. Immediately use this font to bring joy to all your projects!

I’m not particularly fond of beans. I do eat them, but they’re not my idea of a delicacy… But this font has ‘fairy tale’ feeling to it, and I liked the name Beanstalker. Beanstalker is a hand made font (I used a fineliner to draw the glyphs). It is quite neat and organized, but does come with some rough edges and a bit of texture.

Gandhewa is a font that I made in handwriting style. This font is inspired by my grandfather's writings. I made Gandhewa in a few steps that were long enough to finally become a beautiful font. Starting from rough sketches on paper using a ballpoint pen, I then redrawn and arranged the characters in the font creator. If you are looking for a natural, clean signature font, Gandhewa is perfect for you. Gandhewa is also equipped with 17 ligature and has multi-lingual support.

Mystical Woods is a script and caps font duo. I went back to the basics for this one -- ink and a brush on paper. I cleaned up the letters enough so that there are no jagged edges, but left enough of the character to keep that inky look -- those are the Rough fonts. Then I went back through again and cleaned the heck out of them, making every line and curve smooth for our cut-crafting friends -- those are the Smooth fonts. Since these two fonts were written together with the same tools and style, you can also mix the script letters in with the caps letters! Each font comes with a full set of standard characters and punctuation, as well as over 300 extended Latin characters for language support. And the script fonts also have 45 double-letter ligatures!

Squat may be vertically challenged but hey, even the vertically challenged need love too! And you know what? Squat is worth much more than Diddley Squat! It gets the tough jobs done in half the vertical space with its sturdy, low profile. Randy Newman may not care for it, but Squat shows that short fonts got plenty of reason to live! So there.

FF Milo Slab is not just the sans with slabs attached. It has undergone a wide range of careful adjustments from increased contrast, longer ascenders and descenders and modified glyphs in the heavier weights. All these changes amount a typeface that feels enough like Milo but also can stand on its own as a new and fresh typeface.

Andron 2 ABC is a product developed especially for children’s literature. It is an ideal choice for primers and other books for the age when children are learning to read. The typeface has the same peak typographic quality as any other font of the praised Andron series—the very best is just good enough for our kids, is it not? As a difference from the normal glyph set (as in Andron 1 Latin or Andron Mega), the letters a, g and y have those simpler single-story shapes that resemble the forms usually taught in writing, which are sometimes called infant letterforms. Now, Andron 2 ABC is available in a full four-font family set.

Frans Masereel wrote or should I rather say cut some "novels in pictures" around 1927. They are written in powerful black and white woodcuts and were apparently printed from the original cuttings, at least that what it looks like. On the cover he cut the titles in rough wooden letters. Those letters inspired me to produce Woody. Maybe some day I will add a second weight, wich will be an extended cut. But for the time being this is enough woodwork. Your woodcutter Gert Wiescher

Imagine being printer in the early nineteenth century, your stock isn’t the finest, your lead characters are worn out: Voilá Kandidat Rough. But wait, Kandidat isn’t the usual scan-an-old-book,-put-the-glyphs-in-a-font-and-you’re-done-font. Kandidat Rough has a variety of whopping 14 alternates for most characters. Our algorithm changes the letters automatically. All you have to do is turn on Contextual Alternates in your layout app. The algorithm is the best we’ve seen so far, and it’s so good that even same words appear in different forms. And should by coincidence words have the same glyphs, just assign a different Style Set to the first letter, and all other letters in the word will change as well (well, it depends a bit on your software). The mechanism isn’t perfect and maybe we stretched OpenType capabilities a bit over the top, but we yet haven’t seen any better routine for switching letters on the fly. Is it worth to mention that Kandidat Rough not only speaks English, but also German, French, Spanish, Dutch, Danish, Norwegian, Swedish, Croatian, Turkish and most likely some other languages? Maybe. To be sure whether your language is supported, this is the typeset of all letters: ABCDEFGHIJKLMNOPQRSTUVWXYZÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØÙÚÛÜÝĆČĐĞ݌ފŸŽ abcdefghijklmnopqrstuvwxyzàáâãäåæçèéêëìíîïñòóôõöøùúûüýÿćčđğıœşšž Apart from that we also included the following punctuation and currency symbols: !"#$%&'()*+,-./:;?@[\]_{|}¡©«®°±¶·»¿×–—‘’‚“”„†•…‹›⁄≠☞ €¢$£¥ This sums up to nearly 3000 glyphs per font, and we have three of them: Regular, Italic and Bold. All neatly kerned. All in all a great repertoire for even the most demanding book or advert jobs with a look of old times. And now imagine you are sick of the rugged print experience Kandidat Rough delivers: go for Kandidat. This is our Scotch-ish ancestor the Rough version was made from. A sturdy, friendly, round, warm friend from the beginning of the nineteenth century. A bit dark, maybe. You will like it. Kandidat has the aforementioned type set plus complete Baltics, Eastern Europe and Cyrillic. Plus a couple of gimmicks like fleurons, stars, circled numbers, arrows, and, and, and… Kandidat Regular additionally has small caps for Latin based scripts (not Cyrillic). The spick and span Kandidat font set also consists of Regular, Italic and Bold cuts. The bold cut is on the very bold side and can nicely be used for headings, whereas Italic is a great companion for Regular. It took us some time and trouble to finish this project, but after all we are very proud of our little feat and hope you will enjoy Kandidat as much as we do. Enjoy!

I don't have an Uncle Oscar, so the font is not named after someone I know. The name just kind of stuck. Uncle Oscar is a pencil font, made with a black ‘Lamy’ pencil I took from my son Sam’s pencil box. It is a little rough, but very legible and comes in Regular and Italic. Of course, Uncle Oscar speaks a lot of languages.

»Cristal Text« has nice to read lower case letters. It contains 636 letters per font style and some Open Type features: Different stylistic alternates and different sets of numerals. It is not monospaced: Therefor it stays not true to an underlying grid like it’s bigger brother »Cristal True«. But this offers a better legibility. The basis of this font is a Union-Jack or sixteen-segment display (SISD). I have found myself in the need of a precise and well-made font, that simulates the look of such a LCD display. Also it should offer enough letters and language support for the whole European region as well as different font styles.

Aire is what Sproviero would call a < big display family >. We recommend seeing its user’s guide. After his success with Reina, Sproviero comes out with this big family of 7 members: Each of them loaded with lots of sophisticated ligatures, alternates and the entire cyrillic alphabet. The overall impression that the font gives is lightness and delicateness; that’s the reason the designer chose to call it Aire, or Air, in English. "Aire was somehow having a rest from my fat face Reina [...] It started as a really thin style of Reina, but it rapidly migrated from it and grew up alone. And how it grew..." The inspiration came from his own past creations: “The heavy strokes of Reina were shouting for a more delicate thing. Something more feminine. More fragile. Something which had a lot of elegance and fresh air inside”. Aire responds to this: Sproviero found that many of the typefaces of nowadays which are used for headlines (best known as display fonts) have almost always just one, maybe two weight styles. This was his opportunity to try something new. Aire makes it easier for the user to generate different levels/layers of communication thanks to its variety of styles. With this font you can solve entire decorative pieces of design with just one font, and that was the aim of it. Aire was designed to be playful yet formal: While none of its alternates are activated it can be useful for short to medium length texts; and when the user chooses to make use of its open-type decorative glyphs, it can be useful for headlines with dazzling results. On March of 2012, Aire was chosen to be part of the most important exhibition of typography in Latinoamerica: Tipos Latinos 2012. TECHNICAL Aire is a family with many members. In total, the user can choose between almost 6,000 (!) glyphs (1,000 per style). Each member has variants inside, which are open-type programmed: The user decides which glyph to alternate, equalizing the amount of decoration wanted. Every decorative glyph has its weight adjusted to the style it belongs to. Exclusively for decoration, Aire Fleurons Pro is an open-type programmed set of ornaments. And last but not least, remember Aire is delicate. What’s my point? It is not recommended to activate all the alternates at the same time. It is typo-scientifically proved: A maximum of 3 or 4 alternates per word would be more than enough.

Note: the 'Phone Pro Hebrew' typeface, includes just the Hebrew characters of the comprehensive "Phone Pro" family font, sold separately [on this MyFonts site], so they are economical for those interested just in the Hebrew Characters. And regarding the “Phone Pro” project in general, this is what I wrote: 'PRISTINE'; this font is—neither beautiful nor ugly, neither vigorous nor weak, neither traditional nor modern, neither serif nor sans serif, neither script nor printable, neither a text font nor a display font—it is rather all of the above, which makes it a more versatile typographic tool—[handwritten] characters that are well-suited for a wide variety of applications—from editorial design, [friendly] greeting cards... to branding, advertising, publicity and digital. Each glyph design combines its unique shapes and stylish ink-traps with parabolic curves. Each glyph design has been treated as an 'individual character'—the way I would treat a breathing, living, vulnerable and courteous human being; looking after each and every character as if it was my only child — bringing to light the authenticity and uniqueness of each individual, as well as my objective to bring about peace and harmony between them all as a whole. Designed with the intention of harmonizing between four scripts — Latin, Cyrillic, Greek and Hebrew; the whole family has a comprehensive set of characters—in addition to the Latin letters, the Phone typeface also has a full set of characters for Vietnamese, partially extended Cyrillic, Greek and Hebrew (sold separately). The t_t ligature is something unique to Phone, as well as the t_z ligature, among others and extras. A distinctive trait of the Phone typeface, is a high x-height combined with relatively short ascenders. The Phone typeface is in a way evoking the feeling of some Gaelic font and of the [Egyptian] Papyrus font (by Chris Costello, though, not being based on neither of those), having an exotic and an exquisite look, under the category of "Soft Fonts & Friendly Faces".

My son Sam turned 12 and all of a sudden he cares for his hairdo. It needs to be just so, not too long, not too short, with a lot of gel to hold it in place. ;-) He just had a haircut when I was creating this font, so now you know where the Haircut part comes from. The Holistic part is something that sort of sounded ok. Holistic Haircut is a nice, handmade display font. It comes with wider and narrower glyphs for the upper and lower case AND a set of alternates that likes to party with the rest.

The Lilac (or Syringa vulgaris), a slightly vigorous plant, gives a nice colour to the place where its located, well maintained from one season to another and even when not in flower, the colour of its foliage and compact form makes it attractive enough. Lila Pro was created on the coast of Andalucía, inspired by its vibrant colour’s contrasts, and lush climate. This new script has all the advantages of OpenType technology that allows a variety of combinations: standard ligatures, contextual alternates, discretional ligatures, word ending and tails. Specially designed for creating logos for products and packaging, this font can also be used as body text for its good legibility and accurate kerning.

Guaruja Grotesk is the first Tipogra Fio family for headlines & body copy. The grotesque form factor is much inspired in the Modernism movement from the mid of 20th Century but the Italic weight is a great cursive contrast aside the Roman ones so you can make very brutalist layouts or craft humanist projects, without losing the communication between all the family. Do not be afraid to type words with uppercase I and lowercase L because this last one has its own personality so do others glyphs like Italic lowercase G, Y and K and the straight corners in the Roman uppercase A, K, V, W, X, Y and Z. The same curves and corners are transferred to the numbers, symbols and so on. If your text is in a latin alphabet even though has lots of diacritcs, Guaruja may get it done! If you’re making a mathematical equation, it also can make it. If there’s a signaling project with lots of destinations, trust the arrows to help with together with the whole family.

Delfino Script is a cool, connecting script that can appear both retro and contemporary. Curved on the outsides of strokes, and jagged inside, the forms look like an abstraction of strips of tape, folding and flowing, or even marker pen style lettering. This script is not created by any pen though - its forms are constructed, not painted. Typographic features like ink traps add sparkle to the text. OpenType features include ligatures, contextual alternates (for more realistic connections) and stylistic sets. Stylistic Set 1 changes certain upper case letters into forms more suited for all caps setting, although they can also be used freely with the lower case. Set 2 changes the r into a less scripty form and set 3 adds a connecting tail to the q. Delfino Script would find itself at home in cookery books, fashion blogs, vintage car magazines and set large and proud on expanses of concrete, or, most likely, whatever you might have in mind for it! Delfina Script is practically identical to Delfino save for round tittles, periods and any other dot shaped glyph components. Strangely for such a little change, it does seem to give the face a different character.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

VLNL Beatbox is a solid tech heavy straight stencil-face with a lot of character. It was originally designed as a logo for dj Markus Schultz back in 2004, who rejected it. His management couldn't read it, or thought people wouldn’t be able to read it. But Chef Donald DBXL found the concept interesting enough to finish it and has used it in many projects since. It was the identity font for the Battle of Amsterdam, a talent showcase in beat boxing and other skills. Beatboxing is a style of hiphop music (beats) made with the mouth and a microphone. A box is a handy container to store stuff. Like food, or fonts. We use a lot of boxes at the VetteLetters office. VLNL Beatbox is best deployed big, like in logos or headlines. Or flyers, album covers, posters and signage. As a display and headline typeface it’s got a lot of character. We could definitely see it painted on the side of a tank, or an airplane. It’s heavy, but not at all dangerous. Use it without risk. VLNL Beatbox comes in two variations; Regular and Small (smallcaps)

Introducing the Neon Sci-fi Futuristic Font called Neonstat a unique font with a futuristic style that can make your futuristic logotype more interesting. Inspired by real-world neon light signs, this font is perfect for adding your own glowing light effects or can be used to actually design real-world neon signs. Neonstar font is suitable for your design and allows you to create beautiful designs, headlines, posters, logos, badges, and much more. It is also best used for posts, logos, posters, labels, and more. Works on PC & Mac, simple installations, accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even works on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support Image used: All photographs/pictures/vectors used in the preview are not included, they are intended for illustration only. Thank You

Inspired in the world of the fast-food, my aim with Burger was to achieve a sexy slab serif font. Since it's not very common to see slabs with swashes I consider this project as an experiment with interesting results. In order to mantain an even weight on the written word, all the glyphs including the swashy ones had to look like compact blocks: This makes the font work much better used with almost no leading, as seen in posters above. Despite the formal look of its genre, this slab serif is also very playful and unique. (Maybe unhealthy food deserves better fonts already, right?) Taste Burger, come on, give it a try! On a more personal note: Why I made this font? Some months ago I started the gym and with it, an strict diet to see some results faster... Maybe my temptation is being, in Lacanian terms, "sublimated" by making delicious and unhealthy fonts.

Ahhh, who doesn't want to sleep late? That’s excactly what a “sovetryne” wants ... even though he/she often sleeps way to much! But that’s not the case with this font. It’s legible, even though it’s slightly worn. Change between upper- and lowercase letters to variate the typing - and turn on ligatures, in order to use the substitution of double letters such as aa, bb, cc and many more!

Rustika is a rather rough Oldstyle typeface. The roughness is seen in larger points only. In smaller points it is not easy to see that I tried to imitate characters cut with a chisel. The characters themselves follow otherwise totally the classic models. The name, in this spelling taken from Esperanto, refers to the rustic nature of the characters. Rustika was released in 1995.