Presenting 🍃The Munday Typeface🍃 by alitdesign. The Munday is a sans serif font that features a nature concept with leaf swashes. It has a modern and clean design that can be used for various design projects such as branding, titles, logos, and more. Its leaf swashes give it a unique and playful touch, making it suitable for projects with a nature or organic theme. Yes, that's correct. The Munday font has support for ligatures, which are special character combinations that create a more visually appealing text appearance. It also supports multiple languages and has a total of 648 glyph characters, providing a wide range of options for users in different countries and regions. This makes the font versatile and suitable for various international projects. Language Support : Latin Basic, Western European, Central European, South European, Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw.

Introducing Folder—the technical sans-serif typeface that’s so boring, it’s exciting. Designed with a single-minded focus on legibility, this font is perfect for those who want to communicate their ideas without any frills or distractions. Commissioned by the BBC for an educational broadcast, Folder is a font that means business. Its clean lines and crisp edges make it perfect for technical documents, reports, and presentations. And with its four alternate characters, the “I”, “J”, “Q”, and “9”, you can be sure that every letter is legible, no matter what app you’re using. With Folder, you won’t have to worry about your message getting lost in translation. This font is designed to be clear, concise, and to the point. And with its support for OpenType “stylistic alternates”, you can customize your text to suit your needs. So if you want a font that’s as serious about your message as you are, choose Folder. It’s the perfect font for anyone who wants to get their point across without any distractions or unnecessary flourishes. Get Folder now and start communicating with clarity and precision. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The Catalpa font family is José Scaglione and Veronika Burian’s wood type inspired design for an overwhelming headline presence. It has no regular weights, only four slender and four hulking weights. Catalpa wasn’t made to be normal; it was made to overwhelm, to stand out, to bellow. Catalpa is the first font family within a trilogy that will be released through 2020. Each of the three have a distinct purpose and their own look, but they serve a common goal: to act as a complete family covering an editorial’s wide array of needs. As the first of the three, Catalpa is the bookend font family with a headlining purpose. What requirements are there for a great headline typeface? Distinction, weight, and cohesiveness are a good start. Its distinctiveness must catch attention, it must have a range of weights applicable to its purpose, and its internal consistency and external look must create a cohesive family. Catalpa is a distinct and unified family whose weights are attuned to its single-minded purpose — headlines and large text. Catalpa has only eight styles that are divided into two ranges of weights — four very light weights (Hairline, Thin, Extralight, and Light ) and four very bold ones (Extrabold, Heavy, Black, and Extrablack). The thin and heavy ends of the spectrum also have their own variable fonts, each with one axis of weight so designers can fine-tune their work. The geometric influence of the design is more obvious in the light range, with their line thickness increasing in the classical manner. The bold weights increase more in width and substance to serve well in websites, mobile apps, posters, advertisements, and magazines that aim for impact more than spreading information. As a family, Catalpa gels in big headlines, short sentences, and isolated words. The family has many recognizable features, in the bolder weights especially, like the reversed contrast ‘S, s’ or the angular design of ‘Q, M, W, w, a, f, 2, 3’. Catalpa’s headlining mixture of geometry and quirkiness leaves an impression that is so characteristic of wood type, but designed for substrates and screens.

Troglen Sans is a professional, bold sans-serif font that's perfect for grabbing attention. With a modern, casual feel and thick strokes, it's perfect for headlines and making a statement that's both bold and confident.This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Nero is built on the Nero framework, our popular family of geometric types. Like the sans-serif Nero letterform, it has two contemporary look and feel styles. Echoing late 20th-century modernism, the Rounded's overall look is clean and sleek, more ephemeral and dynamic than pared-down bourgeois asceticism. Nero's place in font history is a complex one. Praised for their readability and also at the same time their fashionable qualities, they look very modern and nostalgic, easy to read and very stylish, authoritative and fun. Nero and Nero Rounded when combined, offer 2 styles to suit all text types and sizes. Both are excellent for short texts that require a sense of urgency or playfulness.

Luba is a multi-script text family designed by Hendrik Moeller. The family includes four weights: Light, Regular, Medium, and Bold. Each of these fonts may be purchased with both Latin and Cyrillic script coverage, or with support for just the Latin script. Moeller initially developed Luba to assist speakers of languages using the Latin script who are just embarking upon learning a language that uses the Cyrillic script, i.e., French, Germans, or Italians who are learning Russian or Ukrainian. Luba's letters place significant emphasis on their identifying elements; clear forms and a relaxed style help familiarize the reader with the foreign glyphs. The typeface makes clear distinctions between Latin and Cyrillic letters, without covering up their shared heritage.

Kwalett is a sans serif typeface family with low contrast and a high x-height. Kwalett has two widths, each with five weights and each weight has an italics. The family is derived from the thinnest member of the Qualettee family. As members of that family get bolder, their contrast increases. As members of the Kwalett family get bolder, their contrast remains very low. Kwalett is designed to work better as text than the Qualettee family. The family has two ways to get fractions. A few fractions are preformed and are accessed with the OpenType discretionary ligatures feature. The OpenType fraction feature uses the superscript and subscript numbers to create any fraction.

Sabina Chipară's DIN Next Shapes typeface is a twist on the original German industrial classic, taking its skeleton and re-clothing it in dots, hearts, snowflakes and stars. The design offers a more approachable and whimsical tone of voice than the original, while maintaining all the legibility and clarity of form that makes DIN Next such a reliable and versatile design. It works in harmony with DIN Next, and is particularly suited for designers looking to be a little more expressive. DIN Next Shapes includes four fonts: Dots, Flakes, Hearts and Stars, and has pan European language support including Greek and Cyrillic. It also has OpenType features including stylistic alternatives, ligatures and fractions.

Carnaby Street is a vintage style bold font that pairs strong rectangular framing with softer rounded elements. It has a cool, funky, and groovy vibe, while still retaining a strong sense of linearity and geometry. This lettering style conjures up the retro vibes of the 1960s swinging London scene, or the psychedelic poster art of posters and handbills for the Fillmore Auditorium and Avalon Ballroom in San Francisco in the mid to late '60s. It represents a new take on a classic array of hand lettered stylings that have their roots both in the Art Nouveau Movement and the hippie counterculture movement of the 1960s and early 1970s.

Didonesque Ghost is a family of 10 fashionable fonts that will enhance any project that requires a touch of class. These fonts turn the contrast right up to 11 – giving each weight a ghost-like appearance by means of their hairline stems and serifs. This extreme contrast gives Didonesque Ghost a very stylish appearance which is intended for use in display purposes at very large sizes – posters, signage, branding, corporate identities, headlines, advertising, wedding invitations and the like. See more detailed examples here . Key features: • 5 Weights in Roman and Italic • Small Caps, Petite Caps, Contextual Alternates, Ligatures and Discretionary Ligatures • European Character Set – Latin Only • 750 glyphs per font.

Yoshida is a modern sans serif made up of 2 widths, 8 weights and their matching italics offering an array of uses and applications with it’s 32 styles. The weights range from a delicate Thin, to a punchy Black that is perfect for branding or headlines. The curvaceous characters create a fun, fluid feel whilst keeping a modern, balanced look and structure. The font has extensive language support making it perfect for large corporations or small start ups. Yoshida also has several ligatures to enhance it’s visual appeal. Yoshida is a versatile font suitable for many applications such as web, print, branding and anything else that takes your fancy.

This elegant typeface came out of a quick, back-of-the-napkin, sketch I did for a different typeface. After toiling on that typeface I looked back at the sketch and realized that I had lost some of the elegance and playful character of my original sketch. So, it was back to the drawing board and Lilette was born. Lilette is fun but also serious. Playful but elegant. Personal yet also industrial. That’s the power of a slab serif. Perfect for magazine headlines, wedding invitations, signs, posters, slides, promotions, product design, branding, logos, and so much more. Make this versatile typeface with 10 styles yours.

HS Hadeel Serif is a versatile display typeface designed for use in titles and graphic projects that support Arabic, Persian and English. It draws inspiration from the modern kufi style and features a unique blend of sharp and curved lines that lend a beautiful and geometric structure to each character. Based on the original HS Hadeel typeface, HS Hadeel Serif includes a serif on some of its characters to provide a more traditional look. Two weights are available for this typeface: Regular and Bold. HS Hadeel Serif represents a valuable addition to Arabic typography, offering designers a visually striking and flexible option for their projects.

Umkhonto is the Zulu word for SPEAR, the traditional weapon of war that the Zulus used. The sharp points of the letters face upwards and represent the sharp points of the dangerous spears. The font includes a full 256 character set: all upper and lower case letters, as well as all numerals and punctuation. It also includes the most commonly used characters used in non-English European languages such as Spanish, French, German and Portuguese. The numerals are mono-spaced so that they will line up correctly in columns of figures. The letters of the alphabet are spaced according to their width and are carefully kerned.

Kanilia Font is a Modern Stylistic Serif typeface. A new serif that we created specially for branding needs, with extra ligatures and alternates in a unique shape just to add value to your brand. It so nice to leverage designer or product owner that need solutions to make their design look more stylish and modern. And specially for Kanilia Font , We prepared all the ligatures, and the alternates characters to help you create unlimited variations for your creative needs. A wide range of useful glyphs are included – see preview image of all glyphs. Dakosta Font includes: All uppercase & lowercase letters All numbers 0-9 & Punctuation Ligatures & Alternates Symbols Multiligual Letters

ITC Tempus is the work of British designer Phill Grimshaw. He claims that every calligrapher's aspiration is to draw perfect roman capitals with a pen, but admits that this is extremely difficult. For this typeface, Grimshaw used a fountain pen on cheap, porous paper and, of course, the ink bled. The resulting forms are classic but their rugged edges deviate from the perfection of roman type. And Tempus Sans is just Tempus with the serif surgically removed, yet the proportions of the characters work nicely," says Grimshaw. Because of its rough quality, the typeface works best in larger point sizes, yet maintains its characters even in smaller sizes."

Audaciti Font is a Modern Stylistic Serif typeface A new serif that we created specially for branding needs, with extra ligatures and alternates in a unique shape just to add value to your brand. It so nice to leverage designer or product owner that need solutions to make their design look more stylish and modern. And specially for Audaciti Font , We prepared all the ligatures, and the alternates characters to help you create unlimited variations for your creative needs. A wide range of useful glyphs are included – see preview image of all glyphs. Audaciti Font includes: All uppercase & lowercase letters All numbers 0-9 & Punctuation Ligatures & Alternates Symbols Multiligual Letters

Turn your designs into something special with the Masteng Groovy Font. This font features an anatomical design between thick and thin lines, making it visually unique from most other fonts. The combination of words that arise will make your project bold and powerful. Take advantage of this awesome font for a project that’s superior and more striking than ever! What’s Included : Standard glyphs Iso Latin 1 Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Dakosta Font is a Modern Stylistic Serif typeface A new serif that we created specially for branding needs, with extra ligatures and alternates in a unique shape just to add value to your brand. It so nice to leverage designer or product owner that need solutions to make their design look more stylish and modern. And specially for Dakosta Font , We prepared all the ligatures, and the alternates characters to help you create unlimited variations for your creative needs. A wide range of useful glyphs are included – see preview image of all glyphs. Dakosta Font includes: All uppercase & lowercase letters All numbers 0-9 & Punctuation Ligatures & Alternates Symbols Multiligual Letters

Rahem Font is a Modern Stylistic Serif typeface A new serif that we created specially for branding needs, with extra ligatures and alternates in a unique shape just to add value to your brand. It so nice to leverage designer or product owner that need solutions to make their design look more stylish and modern. And specially for Rahem Font , We prepared all the ligatures, and the alternates characters to help you create unlimited variations for your creative needs. A wide range of useful glyphs are included – see preview image of all glyphs. Rahem Font includes: All uppercase & lowercase letters All numbers 0-9 & Punctuation Ligatures & Alternates Symbols Multiligual Letters

ITC Tempus is the work of British designer Phill Grimshaw. He claims that every calligrapher's aspiration is to draw perfect roman capitals with a pen, but admits that this is extremely difficult. For this typeface, Grimshaw used a fountain pen on cheap, porous paper and, of course, the ink bled. The resulting forms are classic but their rugged edges deviate from the perfection of roman type. And Tempus Sans is just Tempus with the serif surgically removed, yet the proportions of the characters work nicely," says Grimshaw. Because of its rough quality, the typeface works best in larger point sizes, yet maintains its characters even in smaller sizes.

Weisya is a charming and pretty handwritten font that effortlessly captures a sense of delicate beauty. With its graceful and flowing letterforms, each character in Weisya exudes a whimsical and feminine elegance. The slight variations in strokes and the gentle curves give this font a natural and handcrafted feel, making it a perfect choice for projects that seek a touch of romanticism and sophistication. Weisya adds a soft and inviting charm to wedding invitations, beauty products, and stylish stationery. Its versatility shines through as it effortlessly blends vintage charm with modern sensibilities, making Weisya an enchanting option for those looking to infuse their designs with a touch of lovely handwritten appeal.

Introducing Magnetic Script, a bold stylized font family that is not only eye-catching and assertive, but highly legible at both display and text sizes. The heart of this font's usefulness is the three-layer setup that allows you to quickly copy a text block twice, then reassign the main layer, the extruded shadow underlayer, and the top highlight layer to three different colors. Magnetic Script is massively versatile, and appropriate for many uses including university / collegiate logos, sports team logos, graphics for motorcycle clubs, automotive rallies, microbrewery labels, and vintage & retro styles of all kinds. It's the ultimate branding and logo design font suite.

I love honey - as a dessert or just as a quick snack. I didn’t really like it as a kid, but I guess that is just a result of people changes taste as time goes. I also love letters and notes - and that I also loved as a kid! And the Honey Burst font is a tribute to people to likes to take notes, and those who likes their letters being legible, but not focusing on height, width and position according to the other letters. I’ve added 7 slightly different versions of each letter, which leaves your text quite random and lovely organic - go ahead and type those notes! :)

Introducing Ouders - Stencil & Regular Font A display font that has a strong and bold look. This font is made by hand so it looks natural and very suitable for vintage and rustic theme. Perfectly made to be applied especially in logos, and the other various formal forms such as invitations, labels, magazines, books, greeting/wedding cards, packaging, stationery, novels, labels or any type of advertising purpose. By combining both styles (stencil and regular) you will create a single design with an old style that is perfect! That's why you have to use this font. If you like the previous styles, you are right to use this font!

Someone recently pointed out that May and June are the wedding season months, and that while we have some excellent fonts for non-traditional weddings (celtic and renaissance styles work well), we don't have a straightforward, elegant engraver style font. That's the kind of shortcoming we can remedy, hence our Belphebe font, which is in the tradition of popular wedding invitation fonts like Rook, but has some antique characteristics which are in the Scriptorium tradition. The kerning on this font was a real challenge, because we wanted all the characters to fit together for a flowing, hand-lettered look, but the results are worth it.

Michaelangelo. da Vinci. Bellini. Rafael. Masters of Italian art whose names have dwarfed those of many other great Italian artists. Yet relics from these other artists remain, though often unnoticed because of their practical nature. These unknowns are the Italian Masters of vernacular sign painting, and insigne now gives a nod to their work with its new sans serif, Gineso. Based on its inspiration, Gineso was created for posters, headlines and logotypes. (It does well in apps, too, though the sign painters probably weren’t thinking about that at the time.) Aesthetically remedied, yet still with an uncut charm, Gineso’s condensed qualities make it especially nice for signs and titling where horizontal space is at a premium. The tight, narrow forms of its geometric design leave you with a robust flavor that will remind you of mamma’s spaghetti. But don’t worry; the font’s ample counters ensure your audience won’t be reading through a bowl of pasta. These condensed forms look great on their own or when their seven different weights and matching italics are utilized together. With the included OpenType features, fractions and superior/inferior positions are also available to broaden your palette. Even more, this font is ready for complex, professional typography with OpenType features like alternate letters and a large character set including Central and Eastern European Languages. So when you find yourself (or your project) in a tight space, stir in Gineso to get the right taste for your copy. It may just make all the difference.

Here is another attempt to create a font for invitation work unlike any already out in the world. In casting about for a name, I decided to call it Valerie after Valerie Hope, a mindreader of days long gone, who played California theatres in the 1930s and 1940s. And who, incidentally, was my mother.

“Hi! I’m Hyptis – the script font based on brush handwriting. I was drawn with a soft, wet brush and digitally cleaned with care, but some of my characters keep their natural texture. If you are looking for a font for logos, postcards, product packaging, quotes, text overlays – or anything else – I am a good choice!” Hyptis has two types of embedded auto-replacement: lowercase letters without connecting strokes (for a case of the last character of the word), and ligatures (for a case of two letters that do not pair well together). These features work well in many apps (even simple ones like Notepad/TextEdit), and if you need to customize their application – you could use programs that support OpenType features (for example, Adobe apps or CorelDraw). All these additional glyphs are PUA-encoded, so if your software does not support OpenType — you could access them through Character Map (Windows) or Font Book (Mac). Hyptis also has wide multilingual support: Western-, Central- and Eastern-European, Baltic, Turkish, Latin-type Africans, and Asian (94 languages in total). And finally, Hyptis comes with a bonus font, Hyptis Swashes, that includes a set of 26 swashes – linear, round or oval. To type it you could simply use small letters from ‘a’ to ’z’.

The Monolight font family is a modern and versatile creation that perfectly blends roundness and simplicity to give your designs a modern and elegant look. With its low-contrast characteristics, this font family can be used for a wide variety of communication projects, ranging from advertising posters to institutional communication media, to professional presentations. In addition to its aesthetic design, Monolight offers advanced technical features, including a set of stylistic variants that allow you to explore different options for customizing letter style. This font is also case sensitive, meaning uppercase and lowercase letters are designed to work harmoniously together. Furthermore, Monolight comes equipped with a complete set of old-style and tabular numerals, providing great precision in tables and professional documents. This feature is particularly useful for professionals in marketing, finance, and accounting who seek to give their tables a professional and well-organized appearance. Finally, the Monolight font is available in 9 weights ranging from Thin to Heavy with corresponding italics, allowing designers to play with contrasts and typographic effects to give their creations a unique and personalized look. With its advanced features and elegant design, the Monolight font is the perfect tool for communication and design professionals looking to create modern and professional projects that stand out from the competition.

Radona is a blast from the 80’s that's rader than rad. Radona is the typeface version of Synthwave, an electronic music subgenre that takes influence from the 1980s but builds on it, resulting in a construct that lives in the minds of both those who have experienced it and those who haven't. Radona expresses a nostalgia for 1980s culture, attempting to replicate and appreciate the era's vibe, but extends it further with something new. This sans family has plenty of 80's flavor, but with some fresh twists to push it to the limit. Radona is a geometric sans-serif typeface. Radona has a few quirky characteristics, but it has a generally neutral tone and structure that makes it ideal for usage in print, especially when a contemporary look is desired. It looks amazing in both body text and headlines. The geometric grotesques that were popular in the 1980s served as inspiration. It's a typeface that's been crafted for usage in a range of design fields, from branding to packaging, and it can be used in anything from interfaces to apps. Radona is an excellent typeface for use on websites and other digital applications. Radona comes with a wide variety of styles and a large selection of stylistic alternatives, ligatures, small caps and other special features. Along with parachute pants, synthesized guitar riffs, and VHS scanlines, Radona brings back the 1980’s.

The world may seem cartoonish to you, pilgrim, but the funnies ain't really that funny. The Flintstones are so last century. The Hulks are in, and they're here to stay. Piedra is the rocky, fear-inducing face of galvanized triceps and überchiseled jawlines. Be intimidated, be very intimidated. You don't believe it? Just push the stylistic alternates button and see it disregard the laws and spit pebbles on the sidewalk. Then run to the hills if you want to live.

Made from a simple font incantation, the Invocation typeface was born. Inspired by an old Atari game called Necromancer where trees uprooted and came after the wizard, or something like that. The end result, a thematic typeface spawning roots. On darkened night, the moon eclipsed, a cryptic verse does pass my lips, from ancient parchment, edges worn, this Invoctation font is born... Sometimes we need an evil look for our designs, so why not summon this typeface into your hands today!

Introducing our new "Southern Margarita" font, an elegant modern script font with delicate hand letters inspired by wedding calligraphy thematics. With the "Southern Margarita" script you get a full set of uppercase and lowercase letters, numbers, punctuation, and some double-letter ligatures for a natural lettering effect. Moreover, each lowercase letter has one gorgeous and absolutely unique swash. "Southern Margarita" is perfect for wedding stationery, websites, elegant logos, upscale packaging, and any other projects that call for a handwritten and refined touch.

Syntachron is an extraordinary monospaced font that stands out with its futuristic and mecha-inspired design. What sets this font apart is its unique ability to combine simplicity, modernity, and boldness, resulting in a visually captivating typeface. It is the perfect choice for those seeking to create impactful posters, eye-catching marketing materials, captivating logos, attention-grabbing headlines, and engaging book and magazine layouts. One of the distinguishing features of Syntachron is its compatibility with the Cyrillic alphabet, offering versatility and style for a wide range of design projects. Whether you're working on international branding campaigns or multi-language publications, this font seamlessly integrates with the Cyrillic characters, ensuring consistency and cohesiveness across different languages. In terms of typeface pairing, Syntachron harmonizes exceptionally well with related families and typefaces that share its sleek aesthetics and futuristic vibe. It complements and enhances other fonts, enabling designers to create stunning combinations that amplify the impact of their designs. Beyond its striking appearance, Syntachron excels in its functional aspects. The font comes in a variety of styles, allowing for versatility in design choices. Its monospaced nature ensures consistent character widths, making it ideal for code snippets, technical documentation, and typewriter-style layouts. Furthermore, Syntachron offers a comprehensive character set with special features, enabling the seamless creation of diverse and engaging designs. The design concept behind Syntachron was to capture the essence of a futuristic world and merge it with the mechanical elements of mecha-inspired aesthetics. The result is a font that exudes a sense of cutting-edge technology and boldness, empowering designers to create visually striking and impactful designs that captivate their audience. Syntachron was meticulously created to fulfill the need for a font that seamlessly merges modern simplicity with futuristic design elements. Its purpose is to provide designers with a versatile tool that sparks creativity and enables them to craft stunning visual experiences. With its sleek aesthetics, support for the Cyrillic alphabet, and functional aspects, Syntachron is an indispensable asset for any design project seeking to embrace the future.

My Left Hand is exactly what it is...well, not my actual flesh-and-blood left hand but my actual handwriting, and I know that it really is My Left Hand because people tell me all the time, "You're left-handed!" When I hear people say that, it always reassures me that I am left-handed, in case I am ever doubtful about it. Five of the last eight U.S. presidents have been left-handed, so we're in good company, no matter which political party you're a fan of. This font has an appealing rough look at large sizes, but at smaller sizes it looks smooth as silk. Digitized by John Bomparte.

Lachrymose is a word that stems from ‘lacrima’, the Latin word for tear. It means ‘tearful’, or ‘given to weeping’. Now, before y’all think I am depressed or so - I am not. I just like the sound of this word and the way it is written. All I needed to do was to build a font for it! Lachrymose is a handmade brush font. I used my fantastic Chinese ink and a cheap brush to create the glyphs. Lachrymose is a display font, so use it for anything display-ish.

So y'think youse gonna whack me, huh? Y'think that font o' yours is packin' enough heat to finish me off? Huh? Is that what youse is thinkin'? Well go ahead, but if y'whack me then every two bit hood in Alphabet City is gonna hunt youse down and kern youse like the rat you are! So go ahead, show them you're the Big Boss, the Kingpin of Crime, the Godfather... but you won't see me beggin' for my life, 'cause I got pride, see? I got --RATATATATATATTATATATATTATAT... Ahhh... fuggedaboutit!!

Before Bodoni, there was Didot. With the publication by Francois Ambroise Didot of Paris in 1784 of his prospectus for Tasso’s La Gerusalemme Liberata, the rococo typographical style of Fournier de Jeune was replaced with a spartan, neo-classical style that John Baskerville pioneered. The typeface Didot used for this work was of Didot’s own creation and is considered by both G. Dowding and P. Meggs to be the first modern face. Three years later, Bodoni of Parma is using a very similar face. Just as Bodoni’s typeface evolved over time, so did that of the Didot family. The eldest son of Francois Ambroise Didot, Pierre, ran the printing office; and Firmin ran the typefoundry. Pierre used the flattened, wove paper, again pioneered by Baskerville, to permit a more accurate impression and allow the use of more delicate letterforms. Firmin took full advantage of the improved paper by further refining the typeface introduced by his father. The printing of Racine’s Oeuvres in 1801 (seen in our gallery image #2) shows the symbiotic results of their efforts, especially in the marked increase in the sharpness of the serifs when compared to their owns works of only six years earlier. It has been suggested that one reason Bodoni achieved greater popularity than Didot is the thinner hairlines of Didot were more fragile when cast in metal type and thus more expensive for printers to use than Bodoni. This ceased to be a problem with the advent of phototypesetting, opening the door for a renewed interest in the work of the Didot family and especially that of Firmin Didot. Although further refinements in the Didot typeface were to come (notably the lower case ‘g’ shown in 1819), we have chosen 1801 as the nominal basis for our presentation of HiH Firmin Didot. We like the thick-thin circumflex that replaced the evenly-stroked version of 1795, possible only with the flatter wove paper. We like the unusual coat-hanger cedilla. We like the organic, leaf-like tail of the ‘Q.’ We like the strange, little number ‘2’ and the wonderfully assertive ‘4.’ And we like the distinctive and delightful awkwardness of the double-v (w). Please note that we have provided alternative versions of the upper and lower case w that are slightly more conventional than the original designs. Personally, I find the moderns (often called Didones) hard on the eyes in extended blocks of text. That does not stop me from enjoying their cold, crisp clarity. They represent the Age of Reason and the power of man’s intellect, while reflecting also its limitations. In the title pages set by Bodoni, Bulmer and Didot, I see the spare beauty of a winter landscape. That appeals to a New Englander like myself. Another aspect that appeals to me is setting a page in HiH Firmin Didot and watching people try to figure out what typeface it is. It looks a lot like Bodoni, but it isn't!