Introducing the Two Sugars Script Font! Two Sugars is a playful yet striking clean monoline script font, available in 2 weights and includes bonus extra stars & underlines. It's chunky, hand-drawn letterforms are guaranteed to stand out whether that be on light hearted merchandise designs or more impactful quote designs. The Two Sugars family consists of; Two Sugars Regular • A clean, connecting script font containing upper & lowercase characters, numerals, and a large range of punctuation. Two Sugars Extras • A set of 26 hand-drawn stars & underlines designed to compliment your Two Sugars script fonts. Simply install this as it's own separate font, and type any A-Z character to generate one of the extras. Two Sugars Bold & Two Sugars Extras Bold • If you're looking for a chunkier version of the Two Sugars & Two Sugars Extras fonts, simply switch to the bold versions! Alternates • Are available for lowercase descenders g, j, z, & y. These have elongated tails to add some extra flair to your text, and are accessible by switching on 'Stylistic Alternates' or via a Glyphs panel. Language Support • Two Sugars supports the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

Worldly Even though it’s a new arrival, FS Brabo has seen the world. Designed by a Brazilian working in London and studying in Belgium under a Dutchman, it’s certainly well-travelled. And it was inspired by the extraordinary archive of early book typefaces at the world-renowned Plantin-Moretus Museum in Antwerp, while Fernando Mello was attending Frank Blokland’s Expert class Type Design course at the Plantin Institute of Typography. It was there that Fernando became engrossed in the collection of early metal type, matrices, punches and type samples by figures such as Garamond and Granjon. So much so that he took on the mighty task of developing ‘a beautiful, functional, serifed text font’ of his own. Heroic FS Brabo’s journey from sketch to font family took an epic three years, starting in Antwerp, continuing at Fontsmith in London, and reaching its conclusion back in Fernando’s home city of São Paulo. No wonder Fernando was reminded of another titanic face-off: that of Antwerp’s Roman hero of legend, Silvius Brabo, and the evil ogre, Antigoon. Brabo came to the town’s rescue after the tyrannical giant had been charging ships’ captains extortionate taxes and chopping off the hands of those who refused to pay up. Having finally downed Antigoon after a long and terrible duel, Brabo cut off the giant’s own hand and threw it into the river Scheldt, unwittingly giving the town its name: the Dutch for ‘hand-throw’ is hand werpen. What better way for Fernando to name his literary typeface than after the hero of Antwerp’s oldest tale? The garalde factor FS Brabo is not a revival, but a very much a contemporary, personal interpretation of a garalde – a class of typeface originating in the 16th century that includes Bembo, Garamond and Plantin, with characteristically rounded serifs and moderate contrast between strokes. Brabo’s ‘ct’ and ‘st’ ligatures, upper-case italic swashes and contextual ending ligatures – ‘as’, ‘is’, ‘us’ – all preserve the beauty and character of traditional typefaces, but its serifs are chunkier than a garalde. Their sharp cuts and squared edges give them a crispness at text sizes, helping to bring a beautifully bookish personality to hardworking modern applications. A workhorse with pedigree It may give the appearance of a simple, four-weight typeface, but FS Brabo has hidden depths beneath its simplicity and beauty. OpenType features such as cap italic swashes, contextual ending swashes – programmed only to appear at the end of words – and stylistic alternatives make this a complete and well-equipped typeface. Comprehensive testing was carried out at text and display sizes, too, to prevent counters from filling in. All of which makes FS Brabo a very modern take on a traditional workhorse serif typeface: colourful and versatile enough to adorn not just editorial projects but also signage, advertising and logotypes.

Remora is an extensive new humanist sans serif which comes in 2 style variations, the effervescent Remora Sans and its corporate business partner Remora Corp . Both styles include 5 individual width sets ranging from the condensed W1 to the extra-wide W5. Furthermore, with an impressive 7 weights (Thin to Ultra) and true matching italics in each pack Remora is an ultra versatile super family comprising 140 individual fonts, perfect for any typographic assignment or design brief. Remora was designed by G-Type founder Nick Cooke. Both the Sans and Corp families share the same proportions, with the exception of certain key characters that change the overall appearance. Remora Sans is an exuberant and characterful typeface while Remora Corp, as its name suggests, is a businesslike typeface more suited to corporate typography. Quite early on in the design process Nick decided to give Remora Corp equal billing instead of incorporating these glyphs as alternates or a stylistic set that may get overlooked. “I created two separate families after learning a valuable lesson with one of my earlier typefaces, Houschka”, says Nick. “Houschka contained distinctive rounded A’s W’s and w’s, with ‘straight’ styles as character alternates. Even though style sets and alternates are easy to activate they are rarely used, so after many requests for customised versions of the fonts with the straight characters as defaults it was decided to create the separate ‘Alt’ family. So I cut straight to the chase with the two Remora variants and created two complementary families.” Both sets contain many shared letterforms, but it is the alternate characters that significantly alter the appearance of each font. Remora has been carefully designed for optimum legibility at large and very small sizes. Although fairly monolinear in appearance, especially in the lighter weights, particular attention has been paid to optical correction like the overshoots of the curved characters. Open counters and painstaking attention to detail (e.g. weight contrast between horizontal and vertical strokes, junctions of shoulders and stems etc) all boost readability and make Remora a great choice across all media. Remora Sans and Corp are ‘humanist’ rather than ‘geometric’ in style, meaning they’re not strictly based on rectangles and circles, resulting in a warm and friendlier feel. The slightly ’super-elliptical’ rounded forms create generously attractive curves. Remora has very distinctive italics in that they are only inclined by 8 degrees, but are not just based on slanted uprights. The italic styles are very alluring when used for display at large sizes and the good news is they come bundled free with their respective uprights. Each family also contains many OpenType features including proportional and tabular numbers, small caps, discretionary ligatures, plus five stylistic sets for ultra versatile typography.

Worldly Even though it’s a new arrival, FS Brabo has seen the world. Designed by a Brazilian working in London and studying in Belgium under a Dutchman, it’s certainly well-travelled. And it was inspired by the extraordinary archive of early book typefaces at the world-renowned Plantin-Moretus Museum in Antwerp, while Fernando Mello was attending Frank Blokland’s Expert class Type Design course at the Plantin Institute of Typography. It was there that Fernando became engrossed in the collection of early metal type, matrices, punches and type samples by figures such as Garamond and Granjon. So much so that he took on the mighty task of developing ‘a beautiful, functional, serifed text font’ of his own. Heroic FS Brabo’s journey from sketch to font family took an epic three years, starting in Antwerp, continuing at Fontsmith in London, and reaching its conclusion back in Fernando’s home city of São Paulo. No wonder Fernando was reminded of another titanic face-off: that of Antwerp’s Roman hero of legend, Silvius Brabo, and the evil ogre, Antigoon. Brabo came to the town’s rescue after the tyrannical giant had been charging ships’ captains extortionate taxes and chopping off the hands of those who refused to pay up. Having finally downed Antigoon after a long and terrible duel, Brabo cut off the giant’s own hand and threw it into the river Scheldt, unwittingly giving the town its name: the Dutch for ‘hand-throw’ is hand werpen. What better way for Fernando to name his literary typeface than after the hero of Antwerp’s oldest tale? The garalde factor FS Brabo is not a revival, but a very much a contemporary, personal interpretation of a garalde – a class of typeface originating in the 16th century that includes Bembo, Garamond and Plantin, with characteristically rounded serifs and moderate contrast between strokes. Brabo’s ‘ct’ and ‘st’ ligatures, upper-case italic swashes and contextual ending ligatures – ‘as’, ‘is’, ‘us’ – all preserve the beauty and character of traditional typefaces, but its serifs are chunkier than a garalde. Their sharp cuts and squared edges give them a crispness at text sizes, helping to bring a beautifully bookish personality to hardworking modern applications. A workhorse with pedigree It may give the appearance of a simple, four-weight typeface, but FS Brabo has hidden depths beneath its simplicity and beauty. OpenType features such as cap italic swashes, contextual ending swashes – programmed only to appear at the end of words – and stylistic alternatives make this a complete and well-equipped typeface. Comprehensive testing was carried out at text and display sizes, too, to prevent counters from filling in. All of which makes FS Brabo a very modern take on a traditional workhorse serif typeface: colourful and versatile enough to adorn not just editorial projects but also signage, advertising and logotypes.

Gothic Tuscan One is a all-cap condensed gothic with round terminals and decorative “tuscan” center spurs. It was first shown by William H. Page of Norwich, Connecticut among his wood type specimen pages of 1859. Gothic Tuscan One exemplifies the strength of decorative wood types: large, simple type forms that provide the visual boldness sought by advertisers of the Victorian period. While our marketing has gotten so very sophisticated, there is always a place for simple, visually strong typeface. Although about 14 miles inland, Norwich lies at the head of the Thames River. The river is both wide and deep, and therefore was not bridged in the early 20th century. From the 17th century until then, if you wanted to get from Groton on the west bank to the whaling port of New London on the east bank by land, you had to had to go by way of Norwich. Because of its size, the Thames is navigable all the way from Norwich to New London. Docks were built in Norwich around 1685 and the city became Connecticut’s 2nd largest port by 1800. With the construction of the Norwich & Worcester Railroad in 1835, Page could easily ship his wood type north by rail or south by coastal schooner. Included with our font, Gothic Tuscan One, are two 19th century printer’s ornaments of sailing ships similar to those that sailed up the Thames to Norwich. There is also a more contemporary glyph of a whale, looking quite pleased that the only whaling ship left in Connecticut is the Charles W. Morgan, permanently moored at Mystic Seaport. Reference: Moon’s Handbooks, Connecticut 2nd Edition (Emeryville CA 2004). Gothic Tuscan One ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 332 glyphs. 2. Added OpenType GSUB layout features: pnum, ornm and dlig. 3. Added 330 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Redesigned mathamatical operators 6. Included of both tabular (std) & proportional numbers (optional). 7. Refined various glyph outlines. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Remora is an extensive new humanist sans serif which comes in 2 style variations, the effervescent Remora Sans and its corporate business partner Remora Corp. Both styles include 5 individual width sets ranging from the condensed W1 to the extra-wide W5. Furthermore, with an impressive 7 weights (Thin to Ultra) and true matching italics in each pack Remora is an ultra versatile super family comprising 140 individual fonts, perfect for any typographic assignment or design brief. Remora was designed by G-Type founder Nick Cooke. Both the Sans and Corp families share the same proportions, with the exception of certain key characters that change the overall appearance. Remora Sans is an exuberant and characterful typeface while Remora Corp, as its name suggests, is a businesslike typeface more suited to corporate typography. Quite early on in the design process Nick decided to give Remora Corp equal billing instead of incorporating these glyphs as alternates or a stylistic set that may get overlooked. “I created two separate families after learning a valuable lesson with one of my earlier typefaces, Houschka”, says Nick. “Houschka contained distinctive rounded A’s W’s and w’s, with ‘straight’ styles as character alternates. Even though style sets and alternates are easy to activate they are rarely used, so after many requests for customised versions of the fonts with the straight characters as defaults it was decided to create the separate ‘Alt’ family. So I cut straight to the chase with the two Remora variants and created two complementary families.” Both sets contain many shared letterforms, but it is the alternate characters that significantly alter the appearance of each font. Remora has been carefully designed for optimum legibility at large and very small sizes. Although fairly monolinear in appearance, especially in the lighter weights, particular attention has been paid to optical correction like the overshoots of the curved characters. Open counters and painstaking attention to detail (e.g. weight contrast between horizontal and vertical strokes, junctions of shoulders and stems etc) all boost readability and make Remora a great choice across all media. Remora Sans and Corp are ‘humanist’ rather than ‘geometric’ in style, meaning they’re not strictly based on rectangles and circles, resulting in a warm and friendlier feel. The slightly ’super-elliptical’ rounded forms create generously attractive curves. Remora has very distinctive italics in that they are only inclined by 8 degrees, but are not just based on slanted uprights. The italic styles are very alluring when used for display at large sizes and the good news is they come bundled free with their respective uprights. Each family also contains many OpenType features including proportional and tabular numbers, small caps, discretionary ligatures, plus five stylistic sets for ultra versatile typography.

One of my dreams as a type-designer was making a good looking chancery cursive. Full of life, like some of the best calligraphers around the world do on their artworks. With Julian Waters, John Stevens and Denis Brown (just to name a few of them) (1) chancery, or italic script, was transformed into a new, exciting and very fresh style of calligraphy mainly at the end of 20th Century. Dream Script may be that dream named above made true. I have been practicing chancery in the way I learnt from those calligraphers for many years now. Making a font out of my ink-sketches was a tough work, since they were closer of -being art- than of -being type-. However, this font rescues many aspects of handmade calligraphy: You have to look at it really close to notice it is actually a font, and that was one of my goals. The secret of a good looking chancery is on its subtle details: pen angle is constantly changing, even on the strokes which seem straight. Capitals and swashes have to be done a little faster than lowercase letters. The rhythm has to be even, in spite of its playful look. The fact that makes Dream look alive is that it has many alternates per glyph. This makes each word look unique like it happens in calligraphy: you will find alternates for the beginning/ending of a word/phrase, some for the middle of it, some interchangeable. Also, to accompany the script, you will find Dream Caps, which was inspired in the eternally beautiful trajan capitals. Place them like I did on the posters and you will have great results for sure. The font works great in small, middle and big sizes and can be a great selection for magazines, wedding invitations, perfumes, and posters. Close your eyes, and Dream with me... TECHNICAL Dream Script Pro is the most complete style, it contains all the alternates and ligatures (OT programmed, better if you use Adobe applications) If you plan to use the font for text, be sure to activate the less decorative capitals, which are placed in the “salt” group of alternates. Dream Script Standard has less glyphs than the Pro one, it contains just some ligatures for a better legibility. (OT programmed, better if you use Adobe applications) NOTES (1) Not only are they great artists, but also good people, who are always willing to share with their students all what they know. I would also like to thank Ricardo Rousselot, whose work inspired me this time to make “The Dream Script” exlibris; and to Alisara Tareekes, a very talented friend which international calligraphy conferences gave me: She kindly helped me with some tips to make this font better.

Bestlady is a romantic textured brush font suitable perfectly for invitations, brand projects, logos, greeting cards, news, product packaging, posters blogs, everything including personal charm etc. This font is alternates all lowercase,also have equipped with 69 ligatures unique and beautiful: zz yy ww vv uu tt tl th st ss sh rr qq pp oz oy ow ov ou ot os or op oo on om ol ok oj oi og of od oc ob nt nn nl ng mm lt ll lh kk is ii id hh gg ff et el ee cl ck ch cc bl bb aw at ap an am al ah af ab aa

Chocolatte font is a yummy, creamy script font, made entirely with chocolate.. No, sorry, that’s not true. It was made with a pen, but I thought I’d create a nice urban myth. Chocolatte is a pretty useful font: you can stick it on your X-mas cards, write a little poem with it and surprise the love of your life with an enormous amount of chocolate, decorate your cake with it (preferably a chocolate cake) or use it for your… well, whatever. Just remember that this delicious font cannot be eaten, but it does come with copious amounts of diacritics for all you chocoholics out there!

A geometric sans for space saving typography Sofia Pro Condensed is the condensed version of the popular Sofia Pro font family. This typeface was completely drawn with the look of the original normal-width version. Sofia Pro Condensed contains 16 styles from Ultra Light to Black (Ultra Light, Extra Light, Light, Regular, Medium, Semi Bold, Bold and Black) with an alternative glyph set to improve its use in different graphic contexts. This typeface will be suitable for many projects such as titles, subtitles, long editorials, brand building, mobile applications, ebooks, websites or company signage. Its contemporary aspect and its condensed style will also be suitable for editorial projects who needs to save space. Sofia Pro Condensed also has many powerful OpenType features such as case sensitivite forms, old style and tabular figures, ligatures, capital spacing, fractions and alternative characters to give personality to graphic design projects. Designed also for complex editorial content, this typeface has a powerful home kerning system called “Pro Kerning”. With more than 1500 pairs of glyphs in many languages, Pro Kerning optimizes headlines, subtitles, texts as well as long paragraphs in real time. In addition to all the features of its kind, Sofia Pro Condensed is part of a very complete “type system” with style variants such as the normal-width-version (Sofia Pro), the soft version (Sofia Soft) or the rough version (Sofia Rough). With all these typefaces, you have more than 40 styles to make your own vibrant and professional graphics or web creations while maintaining consistency in your creations. The OpenType features of Sofia Pro Condensed have an extended character set to support Central and Eastern European as well as Western European languages, Cyrillic and Greek. For more info about the powerful opentype features and the complete character map of Sofia Pro Condensed, download the PDF specimen to get a detailed view of all features.

What do you imagine the ideal casual invitation font would look like? It has to be cheerful, inviting, legible, creative, and loads of fun. But first and foremost, it has to look like real handwriting. Fonts seeming like real handwriting are always a major task, and although Canada Type already has plenty of fonts that solve the “looks like handwriting” issue in a variety of ways, we're once again raising the bar a little higher with this one. Birthday is a massive package that crosses the traditional font/handwriting solution of 2-letter ligatures and waltzes into the land of 3-letter combinations. Plenty of them, too! The complete Postscript and True Type versions of Birthday ship with no less than five separate fonts full of nothing but ligatures. And for even more realism, an alternates font is also included in the package, for a total of seven fonts of happy handwriting that can be used anywhere and everywhere personalization is of importance to a layout. For layout artists with advanced typography tools that take advantage of the power of OpenType, Birthday Pro is a wunderkind. All the individual letter alternates are accessible through the Stylistic Alternates feature, the 2-letter ligatures through the standard Ligatures feature, and the 3-letter ligatures via the Discretionary Ligatures feature (for the technically inclined: this includes a nice liga-to-dlig crossover, where the maximum number of possible ligated letters is automatically chosen at the push of a button). If you enjoy using OpenType, Birthday Pro is definitely for you. If on the other hand you like your fonts in Postsript or True Type, it is advisable to keep a character map handy while using Birthday. You will need it to take advantage of the many, many alternates and ligatures distributed over the fonts. The next time someone asks you for the perfect casual invitation font is, look no further. And as usually is with Canada Type, quality fonts are more affordable than ever.

Torjus is so rigid and stiff typeface. While designing a more dry and stiff handwriting typeface, I tried to remove the Bezier curves. Rhythms were also created by dramatically simplifying the paths used in the Glyphs and emphasizing individual contrasts. 60 predefined Ligatures to bring your passion and inspire you to wonder. Ligatures : Ba, Be, Bo, Ca, Ce, Co, Da, De, Do, Ea, Fa, Fe, Fo, Ga, Ge, Go, Ha, He, Ho, Ja, Je, Jo, Ka, Ke, Ko, La, Le, Lo, Ma, Me, Mo, Na, Ne, No, Oa, Pa, Pe, Po, Ra, Re, Ro, Sa, Se, So, Ta, Te, To, Va, Ve, Vo, Wa, We, Wo, Ye, Yo, ee, ff, ll, oo, rr.

IMPORTANT: This is the VARIABLE VERSION of PG GROTESQUE This is my interpretation of Edel Grotesk – a “lost typeface” from circa 1914 produced by Johannes Wagner GmbH of Ingolstadt, Germany. PG Grotesque is definitely not a revival, or even a faithful reproduction of that typeface as I was unable to source enough accurate references. What I have done is take the essence and unique characteristics of that typeface and brought this forgotten gem right into the 21st century. This variable version includes 99 instances spread across 9 weights and 6 widths with the ability fine tune the width, weight, and italic angle to your exact preference. Distinctive features include high-waisted capitals, a straight-legged capital ‘R’, and flattened arches in the ‘a’ and ‘g’ glyphs. Using PG Grotesque will give your typography a distinctly retro feel with its vintage heritage inherent in every character. You will find this is an incredibly versatile typeface with added value from its extensive language coverage along with small caps availability at the click of a button. PG Grotesque will prove to be a valuable asset in your type arsenal. See full details and hi-res images at https://paulogoode.com/pg-grotesque

Ace Attitude is a friendly, readable font with character and flair. When I started designing this font I wanted something that was readable as well as interesting and appealing. Something that showed character. When I look at this font now I think of an old fashioned aviator. One of those poeple that likes to show off and have fun but can still follow rules. This font is perfect for logo's and branding. But its also very versatile would be great in things like magazines, posters, packaging, billboards, etc. Ace Attitude has an impressive 179 Contextual alternates. These are like ligatures, but oh so much better. These contextual alternates will give any project that personal touch - all without any extra effort. All you have to do is make sure that they are turned on in your program. Unfortunately, these do not yet show up in the sample text. To help with this I have created a demo version of the font so that you can still try it out before you spend the money. Ace Attitude also has Over 800 glyphs and includes features such as small caps, ordinals, ligatures, fractions, tabular numbers, proportional numbers, subscript, superscript, numerators and denominators.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

Nahid is a sans-serif font family designed by Naghi Naghashian in 3 weights: Nahid Light, Nahid Medium and Nahid Bold. It is extremely legible even in very small size. This font family is a contribution to modernisation the Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Nahid supports Arabic, Persian ( Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Nahid fulfils the following needs: 1. Explicitly crafted for use in electronic media fulfils the demands of electronic communication. 2. Suitability for multiple applications. Gives the widest potential acceptability. 3. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bauhaus Arabic’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. 4. An attractive typographic image. Nahid was developed for multiple languages and writing conventions. Nahid supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. 5. The highest degree of calligraphic grace and the clarity of geometric typography.

Core Sans N SC is the Small Caps version of the Core Sans N that is a part of the Core Sans Series (Core Sans N SC, Core Sans N Rounded, Core Sans M, and Core Sans G). Letters in the Core Sans N SC Family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans N SC Family consists of 3 widths (Condensed, Normal, Extended), 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black), and Italics for each format. It also supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans N SC Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

The powerful Eknaton comes with slanted slabserifs, a new way to add some spring to the old Egyptian slabs. Eknaton echoes the tradition that started with Napoleon's Egyptian campaign 1798, and the simultaneous looting of Egyptian art. The imports led to new ladies fashion in Europe, new architecture and new typefaces like Antique (Figgins, 1815) and Egyptian (Caslon, 1816). The Egyptian faces were also the origin of the famous Clarendon (1845) and Ionic No.5 (1925) as well as the rest of "the legibility types". In the 20th century the slabserifs became popular again with Bauhaus incarnations like Memphis (Wolf, 1929) and Beton (Jost, 1931). The Bauhaus movement, otherwise anti-serif, liked the architectural influence in Egyptian slabserifs. The Bo Berndal design of Eknaton puts some speed into the old Sphinx - the cat is back, in better form than ever! Bo Berndal, born 1924, has been designing typefaces for 56 years, for Monotype, Linotype and other foundries. Eknaton comes in five different widths, from Tight to Expanded, and is an OpenType typeface for both PC and Mac. Swedish type foundry T4 premiere new fonts every month. Eknaton is our eleventh introduction.

Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the Old Face font Garamond. What is accepted is the influence this font had on other typeface developments from the time of its creation to the present. Garamond, or Garamont, is related to the alphabet of Claude Garamond (1480–1561) as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In comparison to the earlier Italian font forms, Garamond has finer serif and a generally more elegant image. The Garamond of Jean Jannon was introduced at the Paris World’s Fair in 1900 as Original Garamond, whereafter many font foundries began to cast similar types. The famous Stempel Garamond interpretation of the 1920s remains true to the original Garamond font with its typical Old Face characteristics. The bold italic was a modern addition at the end of the 1920s and the small caps provided an alternative to the standard capital letters. In the mid 1980s, a light version was added to Stempel Garamond. Since its appearance, Stempel Garamond has been one of the most frequently used text fonts.

So far the Creator Campotype standard version known in the form of free font (published on several websites by license: free for personal use). The font takes the basic form of modern typography, but some user feedback consider it in the medieval look. Whatever it is, the inspiration of the font was originally set off from the logotype of internal student magazine where the designer had studied in the late 80s. Creator Campotype is a pure display font. This fonts do not have faces lowercase, but all caps. Nevertheless forms of different characters can be accessed by pressing the uppercase and lowercase on the keyboard. Maximum usage can be made by combining them as necessary. Some forms of characters were made more stylistic such as slash and backslash which “out of” the conventional form. In addition, the circle effects on several glyphs were created by default (as found on the free version) so that the glyph was enough to generated with the keyboard access as usual. Information for those who have access to the free version, there are significant changes in this version (2001) as described in the file “creator ct pdf” (gallery)

The signs of the Bosnian pyramids The pyramid researcher, Semir Osmanagic, began excavations in 2005 in Visoko, Bosnia, 30 km North from Sarajevo. Mr. Senad Hodocic, the curator at the local museum, pointed out at the pyramidal shape of the Visocica Mountain, which grabbed Osmanagic's attention. It is also suspected that the four adjacent hills, covered by plants and greenery, also hide the pyramids. The main sites of the excavations are called the Pyramid of the Sun and the Pyramid of the Moon, and the results achieved so far have already proved that those structures are man-made and artificial. The Pyramid of the Sun is bigger and older than the pyramid in Giza, which was built by Pharaoh Cheops 4600 years ago. Gábor Szakács, who went to the site in June 2006 for the first time, found the symbols on the megalithic blocks inside the tunnel of the Pyramid of the Sun, which correspond to the ancient Hungarian runic writings. Further information about the Bosnian Pyramids is available at the website http://www.piramidasunca.ba/. There are also researchers who do not accept the subject of the Bosnian pyramids. Time will tell the truth.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

“Liebelei” – dalliance, flirtation, hanky-panky; kind of diminutive of “Liebe” (German for love) The typeface Liebelei has its roots back in 1932, when Vienna-based painter Rudolf Vogl created the poster for a movie called Liebelei after the popular play by Arthur Schnitzler. Only the title letters existed of that typeface. I loved the letters from first sight and proceeded by adventurously interpreting the missing characters. The goal was to create letterforms that fit to the original from the 1930s and represent a modern multi-purpose font. It should be an easy-to-use italic font with warm and friendly details and a huge variety of alternates and languages. The characteristic curled ends of most letters provide a script touch to the Liebelei. The first font entirely designed was the bold one which corresponds to the original poster lettering, although I tweaked the proportions a tiny bit to a more contemporary shape. Liebelei covers Western, Central European, and Central Eastern European Languages and contains also complete Greek and Cyrillic character sets. Liebelei is best for poster design as well as detailed usage, for example handsome tables, since it supports small caps, different kinds of numerals and fractions.

Guanabara is the third release of Plau Type Foundry. It started from the need of a wayfinding typeface that had personality enough to be the brand typeface for a city. The city of Rio de Janeiro, with its never-ending curves and all year long summer weather provided the constraints and requirements of this typeface. From there, it evolved to be a workhorse, with 8 weights from Thin to Black and matching true italics. It just had to have the features that all us designers have grown to love, such as alternate letters (a, g and r for the romans), tabular and proportional figures in lining and oldstyle set-ups as well as small caps, fractions and all that jazz (I mean, samba). And it needed to be recognizable and distinct. For that, design features like tapered R legs, capitals with classic proportions and calligraphic finishes on the terminals proved crucial. And last, but not least, like Rio, it had to welcome many cultures. We came to think of it as the “Typeface from Ipanema”, with a classic, timeless look, swinging elegance and joyful attitude.