Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Looking for a typeface that brings retro flair to your designs? Look no further than Pricedown! This typeface is a modern interpretation of Pinto Flare, a display typeface from the early 1970s. Pricedown has a boxy, retro design that’s perfect for adding a touch of nostalgia to your work. It’s been used in a variety of applications over the years, including as the logotype for the US game show, The Price is Right, and Technos Japan’s Tag Team Wrestling video game in 1986. In addition to its eye-catching design, Pricedown also features some fun interlocking character combinations when used in OpenType savvy applications. For example, when the letter “H” is followed by the letter “I”, a swash tail will tuck under the “I”, adding an extra flourish to your text. And if you prefer a more streamlined look, you can easily turn off this feature in your application. With nine different weights to choose from, Pricedown is a versatile typeface that allows you to skillfully attenuate its impact, making it perfect for a wide range of graphic design projects. So whether you’re designing a logo, a poster, or anything in between, Pricedown is sure to add a touch of retro style to your work. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

FF Real is a convincing re-interpretation of the German grotesque style from between 1998 and 1908, but with much more warmth and improved legibility as well as a hint towards the warmer American grotesques. Later on, not just slanted styles, but a “proper” italic version was added inspired by the way Roman and Italic are distinguished in traditional serif faces. NEW: a specially created set of obliques were added in 2018 to give designers more design flexibility, for those looking for a less calligraphic look. In 2020 the family was extended with matching condensed weights. FF Real was originally conceived by Erik Spiekermann as one text weight and one headline weight to be used as the only faces in his biography ‘Hello I am Erik’, edited by Johannes Erler, published in 2014. While Spiekermann drew the alphabets, he passed on the font data to Ralph du Carrois and Anja Meiners who cleaned it up and completed it. In the meantime, FF Real has been extended to a family of two styles and 65 weights each. The design of FF Real is rooted in early static grotesques from the turn of the century. Several German type foundries – among them the Berlin-based foundries Theinhardt and H. Berthold AG – released such designs between 1898 and 1908. The semi-bold weight of a poster-size typeface that was lighter than most of the according semi-bolds in metal type at the time, gave the impetus to FF Real’s regular weight. In the words of Spiekermann, the historical example is “the real, non-fake version, as it were, the royal sans serif face“, thus giving his new typeface the name “Real” (which is also in keeping with his four-letter names, i.e. FF Meta, FF Unit). FF Real is a convincing re-interpretation of the German grotesque style, but with much more warmth and improved legibility. With a hint towards the warmer American grotesques, Spiekermann added those typical Anglo-American features such as a three-story ‘g’ and an ‘8’ with a more defined loop. To better distinguish characters in small text sizes, FF Real Text comes in old style figures, ‘f’ and ‘t’ are wider, the capital ‘I’ is equipped with serifs, as is the lowercase ‘l’. What’s more, i-dots and all punctuation are round.

Antwerp On a visit to Belgium and the Netherlands while still an MA student at Reading University, Eleni Beveratou made some important discoveries. First, there was the letter ‘g’ from the Didot family seen at Plantin Moretus Museum in Antwerp, which seemed “almost like a mistake”. Then there were strange details such as the serifs on the “l”, “h”, “k”, “b” 
and “d” in Egmont Cursive and other typefaces by Sjoerk Hendrik de Roos, found in volumes of poetry she picked up from a chaotic bookshop in Amsterdam. These were characters that stood out from the text but seemed to blend harmoniously with the rest 
of the letters. “And there it was, the spark. 
I decided to design a typeface that would capture the details of the process of writing.” A guiding hand Eleni shared her initial thoughts with Phil Garnham and Jason Smith. They liked what they saw in her tentative first sketches, and gave her the chance to develop her ideas further. Phil, in particular, provided valuable input as FS Olivia took shape. Eleni’s main influence – the handwritten – would give the font its character. “When creating a typeface,” says Eleni, “it’s fair to say that it reflects some of the designer’s personality. And that’s certainly the case with 
FS Olivia. “Although technology is part of my everyday life. I am a great admirer of traditional graphic design where you can touch and feel paper and ink.” Irregular “What I particularly like,” says Eleni, “is that a printed item can develop its own personality sometimes as a result of imperfections in the print. “FS Olivia has some of 
these characteristics as it’s inspired by handwriting, 
and yet it also includes some 
very modern features.” Feminine and fascinating, FS Olivia captures the expressive twists and turns of (the poet’s?) pen on paper, with low junctions, 
deep top serifs and semi-rounded edges. Round outstrokes contrast with 
the rough corners of the instroke, while strong diagonals and inclined serifs create a richly textured pattern. Polytonic It’s only fitting that there should be a version of this poetic font for one of the birthplaces of poetry and song. Eleni, who hails from Athens, developed an extensive range of glyphs that could be used for the Greek language, in both modern and ancient texts. For the latter, there is a version of Olivia for displaying polytonic Greek (a system that utilises a range of accents and “breathings”), which brings the 21st century technology of OpenType to the presentation of poetic texts from Ancient Greece. Just think what Homer could have done with that.

Antwerp On a visit to Belgium and the Netherlands while still an MA student at Reading University, Eleni Beveratou made some important discoveries. First, there was the letter ‘g’ from the Didot family seen at Plantin Moretus Museum in Antwerp, which seemed “almost like a mistake”. Then there were strange details such as the serifs on the “l”, “h”, “k”, “b” 
and “d” in Egmont Cursive and other typefaces by Sjoerk Hendrik de Roos, found in volumes of poetry she picked up from a chaotic bookshop in Amsterdam. These were characters that stood out from the text but seemed to blend harmoniously with the rest 
of the letters. “And there it was, the spark. 
I decided to design a typeface that would capture the details of the process of writing.” A guiding hand Eleni shared her initial thoughts with Phil Garnham and Jason Smith. They liked what they saw in her tentative first sketches, and gave her the chance to develop her ideas further. Phil, in particular, provided valuable input as FS Olivia took shape. Eleni’s main influence – the handwritten – would give the font its character. “When creating a typeface,” says Eleni, “it’s fair to say that it reflects some of the designer’s personality. And that’s certainly the case with 
FS Olivia. “Although technology is part of my everyday life. I am a great admirer of traditional graphic design where you can touch and feel paper and ink.” Irregular “What I particularly like,” says Eleni, “is that a printed item can develop its own personality sometimes as a result of imperfections in the print. “FS Olivia has some of 
these characteristics as it’s inspired by handwriting, 
and yet it also includes some 
very modern features.” Feminine and fascinating, FS Olivia captures the expressive twists and turns of (the poet’s?) pen on paper, with low junctions, 
deep top serifs and semi-rounded edges. Round outstrokes contrast with 
the rough corners of the instroke, while strong diagonals and inclined serifs create a richly textured pattern. Polytonic It’s only fitting that there should be a version of this poetic font for one of the birthplaces of poetry and song. Eleni, who hails from Athens, developed an extensive range of glyphs that could be used for the Greek language, in both modern and ancient texts. For the latter, there is a version of Olivia for displaying polytonic Greek (a system that utilises a range of accents and “breathings”), which brings the 21st century technology of OpenType to the presentation of poetic texts from Ancient Greece. Just think what Homer could have done with that.

Levato, the first font designed by Felix Bonge, is an Antiqua that is full of character and is refined but by no means sterile. This typeface provides for a wide range of options for creating individual designs. It was not really Felix Bonge's intention to create a whole font family when, as a second year student, he began several exercises in contrast and proportion as part of the typeface design course of Professor Veljovi? at Hamburg University of Applied Sciences. However, these initial studies developed into a project that Bonge persisted with over the following years while working towards his degree. He continually had new insights and ideas that he was able to exploit for his font. Of particular importance, he claims, was a calligraphy seminar, which prompted him to completely rework his concept. It took him several years before his extensive font Levato™ was ready. Although the forms of Levato are ultimately derived from Renaissance Antiqua, Bonge has slightly increased the relative contrast in his version. This gives the font a graceful appearance that is further emphasized by the reduced x-height and the associated prominence of the ascenders. And, in addition, the relatively fine serifs, which are almost linear at their ends, infuse Levato with a hint of classical Antiqua á la Bodoni. At the same time, Bonge cleverly compensates for the sterilising tendency of this font form. Soft and rounded serif attachments and rounded line apexes offset the severe nature of the font and provide it with an aura of vivacity. This effect is promoted by the calligraphic-like foot of the lowercase h, n and m and the not quite horizontal bars of the uppercase E and F. Overall, Bonge has succeeded in creating a refined and yet very dynamic typeface. Levato is available in five weights; Light, Regular, Medium, Bold and Black, in each case with the corresponding italic versions. Bonge treats Levato Italic as a genuine cursive typeface. Its letters are thus slightly narrower than the analogous upright letters and their forms are considerably more curvilinear. All the versions of Levato boast an enormous range of characters to meet all possible requirements. In addition to four sets of minuscule and majuscule numerals for tabular and proportional typesetting, there are also small caps, numerous ligatures, ornamental characters and even swash variants of letters. With their generous, sweeping curves, the swash variants (available as OpenType versions) can be used for striking titling effects or as initials.

Come one, come all, and see the beauty of Strange Alphabets. Inspired by the gilded book covers of the late 1800s and the iconic Siouxsie & the Banshees band logo of the early 1980s, this narrow Arts & Crafts typeface will transport you to another world. In OpenType savvy applications, the first and last letter of a word will receive a small diamond ornament, giving your words a touch of elegance. And if that’s not enough for you, words starting with M will have a single diamond that splits into three, while words starting with O will automatically use a tall O. But, if you want to force a tall O in the middle of a word, simply use a zero. Oolong lovers, rejoice! Words that begin with double O’s will receive a pair of tall O’s, while a pair of O’s in the middle or at the end of a word will be replaced by a linked ring ligature. But that’s not all! Accessing OpenType stylistic alternates allows you to change the A and H crossbars into small rings and remove all the diamonds from the M. And don’t forget about the hyphen, en dash, and em dash, which are replaced with ring ornaments. And if you’re feeling extra fancy, a separate diamond ornament ◆ is included under Unicode 25C6. Don’t let all these fancy features intimidate you. Play with your application’s OpenType features and see what happens. And if you want to disable the automatic OpenType substitutions, simply turn off your application’s standard ligatures feature. Experience the beauty of Strange Alphabets for yourself and let your words take on a life of their own. 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.

An American Scotch remixed in 27 fonts Mencken has twenty seven styles, divided into three widths, three optical sizes, romans and italics. Generally, optical size typeface families belong to a same common construction. It falls into the same category of type classification, while presenting different x-heights or contrasts. Mencken is unique because it is designed according to different axis and optical sizes. Firstly, Mencken Text is a low-contrast transitional typeface, designed on an oblique axis, asserting horizontal with featuring open counters. Its capitals follow Didots to better harmonize the rest of the family. On the other side of the spectrum, Mencken Head (and narrow variations) is designed on a vertical axis, high contrast, in a contemporary Didot style. The Mencken is therefore a typeface answering to different sorts of uses, whose design is different according to its uses: from oblique axis in small size to vertical axis in large sizes. Vertical proportions (x-height, capitals height, etc.) were calibrated to be compatible with many Typofonderie typeface families. Lucie Lacava and I followed the idea launched by Matthew Carter few years ago for some of his typefaces intended for publications. From Baltimore Sun’s project to Typofonderie’s Mencken It is a bespoke typeface for American newspaper The Baltimore Sun started at the end of 2004 which marks the beginning of this project. The story started with a simple email exchange with Lucie Lacava then in charge of redesigning the American East Coast newspaper. As usual, she was looking for new typeface options in order to distinguish the redesign that she had started. At the time of its implementation, a survey of the newspaper’s readers has revealed that its previous typeface, drawn in the mid-1990s, was unsatisfactory. The Mencken was well received, some reader responses was particularly enjoyable: “It’s easier to read with the new type even though the type is designed by a French.” Why it is called Mencken? The name Mencken is a tribute to H. L. Mencken’s journalistic contributions to The Sun. According to the London Daily Mail, Mencken ventured beyond the typewriter into the world of typography. Because he felt Americans did not recognize irony when they read it, he proposed the creation of a special typeface to be called Ironics, with the text slanting in the opposite direction from italic types, to indicate the author’s humour. Affirming his irreverence, the Mencken typeface does not offer these typographic gadgets. Henry Louis Mencken (1880 — 1956) was an American journalist, satirist, cultural critic and scholar of American English. Known as the “Sage of Baltimore”, he is regarded as one of the most influential American writers and prose stylists of the first half of the twentieth century. He commented widely on the social scene, literature, music, prominent politicians and contemporary movements. Creative Review Type Annual 2006 Tokyo TDC 2018

Irrlicht is based on C. H. Kleukens’ 1923 typeface Judith Type . Whilst Dunkle Irrlicht is a fairly faithful rendition and extension of Kleukens’ typeface, the Licht style was initially added as a stand-alone stencil version; yet, the two styles work perfectly together – for different nuances, for emphasis or simply stacked/layered. Irrlicht is equipped with upper- and lowercase ligatures, contextual and stylistic alternates, fractions, superior and inferior figures, extended language support and a few extra goodies. Additional information – How Irrlicht came to life Christian Heinrich Kleukens cut his Judith Type in 1923, at the peak of German expressionism, exclusively for publications with the Ernst-Ludwig-Press, such as a limited series of biblical prints – the first being the Book of Judith , hence the original’s name. I stumbled upon this typeface a couple of years ago in a nice little 1930 booklet of the Gutenberg-Gesellschaft and was struck by its forceful darkness on paper and its seemingly simple, crude letterforms. The lack of a long-ſ in the final version of Judith Type – quite unusual for a German typeface of that time – adds to this feel of crudeness and spontaneity*. Judith Type seemed to me like a semi-blackletter cousin of Rudolf Koch’s typeface Neuland (cast in the same year). Besides its apparent affinity with expressionism, it reflects a lot of that deeply spiritual craftsmanship of the era – much like Neuland. A few months later, when I was working on a stencil project and looking for a typeface that could be cut into thin wooden plates easily, I remembered those dark, sharp letters that seemed to be lacking any curves at all. After enlarging a few letters and tracing them by hand, the whole set was redrawn digitally, using only straight lines. As for spacing, the goal was to keep the letters tight but to avoid touching characters – without ironing out all the original’s tension and rhythm. Deliberate kerning, subtle contextual alternates and ligatures help to deal with critical glyph combinations. Two additional versions were developed: a stencil version with open counters and, in reference to a popular style of the 1920s and inspired by dry, cracked wood, an inline version. These two additional styles were later merged into one font – Lichte** Irrlicht was born. — AARHAUS * Consequently, the original typeface’s German eszett is simply a ligature of the “round s” and standard z . In some of his publications, Kleukens dispenses with using eszett altogether and sets double s instead. Irrlicht , however, does feature a more common eszett (ß); the original, among other more faithful letter forms, can be accessed via the stylistic sets feature ** licht – literally bright – being the German term for inline typefaces – not to be confused with leicht ( light )

Eclectic FS Siena is a typeface with history, and not just in the sense of having its origins in classical Roman lettering. Fontsmith founder Jason Smith first committed it to tracing paper while still at college, instinctively redrawing letterforms based on Hermann Zapf’s Optima according to ‘what felt right’. When Krista Radoeva took up the challenge to edit and extend the typeface, she and Jason were determined to preserve its subtly nonconformist and eclectic spirit. Like a great dish, there are individual components throughout the character set that all add flavour, and need to be balanced in order to work together. The smooth connection of the ‘h’ ‘m’ ‘n’ and ‘r’ contrasts with the corners of the ‘b’ and ‘p’. The instantly recognisable double-storey ‘a’ – the starting point of the design – contrasts with the single-storey ‘g’ and the more cursive ‘y’. And only certain characters – ‘k’, ‘w’, ‘v’ and ‘x’ in the lowercase and ‘K’, ‘V’, ‘W’, ‘X’ and ‘Y’ in the caps – have curved strokes. Transitional FS Siena is a contrasted sans-serif typeface, blending classical elegance and modern simplicity. Its construction and proportions are descended from classical broad-nib calligraphy and humanist typefaces, with a high contrast between the thick and thin strokes. The angle of the contrast, though, is vertical, more in the character of pointed-nib calligraphy and modernist typefaces. This vertical stress helps to give FS Siena a strong, cultured presence on the page. Idiosyncratic italics The italics for FS Siena were developed by Krista to complement the roman upper and lower-case alphabets first drawn by Jason. Many of the letterforms are built differently to their roman counterparts: there’s a single-tier ‘a’, a looped ‘k’ and connections more towards the middle of stems, such as in the ‘m’, ‘n’ and ‘u’. These distinctions, along with generally much narrower forms than the roman, give the italics extra emphasis within body copy, where the two are side-by-side. In editorial, especially, the combination can be powerful. To cap it all… In his original draft of the typeface, Jason found inspiration in Roman square capitals of the kind most famously found on Trajan’s Column in Rome. In keeping with those ancient inscriptions, he intended the capitals of FS Siena to also work in all-upper-case text, in logotypes for luxury consumer brands and property developments, for example. A little added space between the upper-case letters lets the capitals maintain their poise in a caps-only setting, while still allowing them to work alongside the lower-case letterforms. The caps-only setting also triggers a feature called case punctuation, which adapts hyphens, brackets and other punctuation to complement the all-caps text.

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.

Morris is a four-font family produced by HiH Retrofonts and based on the work of the very English William Morris. William Morris wanted a gothic type drawn from the 14th century blackletter tradition that he admired both stylistically and philosophically. He drew from several sources. His principal inspiration for his lower case was the 1462 Bible by Peter Schoeffer of Mainz; particularly notable for the first appearance of the ‘ear’ on the g. The upper case was Morris’s amalgam of the Italian cursive closed caps popular throughout the 12th through 15th centuries, a modern example of which is Goudy’s Lombardic Capitals. The gothic that Morris designed was first used by his Kelmscott Press for the publication of the Historyes Of Troye in 1892. It was called “Troy Type” and was cut at 18 points by Edward Prince. It was also used for The Tale of Beowulf. The typeface was re-cut in at 12 points and called “Chaucer Type” for use in The Order of Chivalry and The Works of Geoffrey Chaucer. Morris' objective is designing his gothic was not only to preserve the color and presence of his sources, but to create letters that were more readable to the English eye. ATF copied Troy and called it Satanick. Not only was the ATF version popular in the United States; but, interestingly, sold very well in Germany. There was great interest in that country in finding a middle ground between blackletter and roman styles -- one that was comfortable for a wider readership. The Morris design was considered one of the more successful solutions. Our interpretation, which we call Morris Gothic, substantially follows the Petzendorfer model used by other versions we have seen, with the following exceptions: 1) a larger fillet radius on the upper arm of the H, 2) a more typically broadpen stroke in place of the foxtail on the Q, which I do not like, 3) inclusion of the aforementioned ear on the g and 4) a slightly shorter descender on the y. We have included five ornaments, at positions 0135, 0137, 0167, 0172 and 0177. The German ligatures ‘ch’ & ‘ck’ can be accessed using the left and right brace keys (0123 & 0125). Morris Initials One and Morris Initials Two are two of several different styles of decorative initial letters that Morris designed for use with his type. He drew from a variety of 15th century sources, among which were Peter Schoeffer’s 1462 Mainz Bible and the lily-of-the-valley alphabet by Gunther Zainer of Augsburg. Each of the two initial fonts is paired with the Morris Gothic lower case. Morris Ornaments is a collection of both text ornaments and forms from the surrounding page-border decorations.

Shakila Script is a handwritten font created at the end of March 2021. It is a unique bold font with a pretty and charming casual style with many variants of beautiful swashes, as well as an alternative to capital letters. Shakila is a lovely and delicate font duo (script and sans serif), that exudes elegance and class. This font was particularly crafted for those who need a beautiful and refreshing look to their designs. Also, this font is perfect for branding projects, logo, product designs, invitation cards, wedding cards, stationery designs, advertisements, label, photography, blogging, social media or watermark. Key Features: - Multilingual Accents - Alternative capital letters - Stylistic Alternates up to 20 choices - Has a heart connected feature for a-z and A-Z letters - Available shortcut for Stylistic Alternate by simply adding "period" (.) and “number” (1-20) to each letter. - Has lots of ligatures so the letters connect well together - Has OpenType and PUA Encodes features. This font has a total of 885 glyphs, including capital letters, uppercase alternates, lowercase, numeral and punctuation, multilingual accents, beginning and ending swashes for lowercase, and includes a large number of stylistic alternates and heart swashes (for lowercase-lowercase and uppercase-uppercase). The advantage of the Shakila Script font compared to other fonts is that the alternative capital characters are in 1 font file, so it will make it easier for you to work. Therefore, you are free to choose it as you like, especially this font has the OpenType and PUA Encodes features which means you can access all of the glyphs and swashes with ease. As I mentioned earlier, Shakila Script has a large number of Stylistic Alternates features, up to 14 options for letter a-z and up to 20 options for letter b d h k l. In fact, there is also a swash feature in the form of a connected for the combination of each lowercase-lowercase and uppercase-uppercase letters. Interestingly, you can activate all Stylistic Alternates that are owned by each letter, just by typing; letter + period + number. For example: a.1 a.2 a.3 or b.1 b.2 b.3 and so on. As for activating the heart connected for each letter a-z or A-Z is quite easy. Namely by simply typing; letter + underscore + underscore + letter. For example: a__a or A__A and so on. Shakila Script is a Font Duo pack that pairs with Shakila Sans. The two were created at about the same time, but made in separate file packages. The reason I created this font duo is to make your projects more harmonious and unique. At the end of the sentence, Shakila Font Duo is a very authentic and amazing. If there are things you want to ask, don't hesitate to contact my email. For complete details, please visit my Behance profile. Alifinart Studio alifinart@gmail.com Thank you.

Blank Manuscript allows you to produce sophisticated musical scoresheets even on basic Word Processors - anything from simple plain staves to complex full-page orchestral scores of your own design, to write in the notation yourself. The basic stuff is really easy and straightforward, but there's some quite advanced things you can do as well. So Copy and Save these Instructions. • The main stuff is simple and tends to follow the initial letter. Treble, Bass and Alto clefs are on upper case T B A (there are more clefs, below). The 5 Lines for the clefs are on L or l. • A small v will give a small vertical line (like a bar line) and a Big U will give a Big Upright - these can start or end a line or piece. • Time Signatures - type the following letters: Think of W for Waltz and it's easy to remember that 3/4 time is on W. Then from that they go up or down together like this: V=2/4 W=3/4 X=4/4 Y=5/4 Z=6/4 Compound Times are on H I J K like this: H=3/8 I=6/8 J=9/8 K=12/8 Common Time and Cut Common symbols can be found on semi-colon and colon respectively (all begin with Co- ). 2/2 3/2 are on lower case a and b, 7/4 and 7/8 are on lower case c and d, 5/8 is on small k (think POL-k-A) • Flat signs are on the numbers. Flat signs on LINES 1 to 5 are on numbers 1 to 5. Flat signs on SPACES 1 to 5 are on numbers 6 to 0 (space 1 being above line 1, space 5 being above the top line of the stave). Sharp signs are on the letters BELOW the long-row numbers. Which is q w e r t for the sharp signs on Lines 1 to 5, and y u i o p for sharp signs on spaces 1 to 5. Doing it this way means it works the same for all clefs, whether Treble, Bass, Alto, Tenor or any other. Sharp and Flat Signs always go in this order, depending on how many sharps or flats your key signature requires: Treble Clef Sharps t i p r u o e Flats 3 9 7 4 2 8 6 Bass Clef Sharps r u o e t i w Flats 2 8 6 3 1 7 = Alto Clef Sharps o e t i w r u Flats 7 4 2 8 6 3 1 • Guitar Chord Boxes are on G and g (G for Guitar) Upper Case G has a thick line across the top Lower case g has an open top, for chords up the fretboard TAB symbols are available: Six-string Tablature is on s & S for Six. Four-string Tablature is on f & F for Four. (Lower case has the "TAB" symbol on it, Upper Case has just the lines to continue.) Five-string tablature, is on lower case "j" (as in BAN-j-O) and of course L or l will continue the 5 lines. •RARE CLEF SIGNS including Tenor Clef, are on various punctuation marks, i.e. dollar, percent, circumflex, ampersand & asterisk, above the numbers 4 to 8. NOTE: The important symbols were kept on the letter and number keys, which are fairly standard all over, but some of the less important symbols are on various punctuation keys, which in different countries are not the same as on my keyboard. If it comes out wrong on your system, all I can say is it's right on the systems we've tried, and they'll be in here somewhere, probably on a different key. CLOSING THE ENDS OF THE LINES and BAR-LINES is done with the 3 varieties of brackets - brackets, brace and parentheses - Left/Right for the Left/Right end of the line. Parentheses L/R () which are above 9, 0 give a clef with a small vertical upright (the same as a bar line). Brace L/R and Brackets L/R (both on the 2 keys to the right of P on my keyboard) will close off a staff line with tall upright bars. Brace gives a double upright - one thick, one thin. Brackets give a single tall upright. A Big Upright is on Big U, (Big U for Big Upright) and a small vertical line is on small v (small v for small vertical). The Big Upright is the maximum height, and the small vertical is exactly the same height as a stave. And there's a tall upright Bar, on Bar (which is to the left of z on my keyboard, with Shift,) which is the same height as the bar on upper case U but twice as broad. • There's a staff intended for writing melodies, which is a little bit higher up than an ordinary treble clef giving a space underneath to put lyrics in - on m and M for Melody line. Lower case has the Treble Clef on, Upper case M has just the higher-up staff lines with no clef. (Use mMMMMMMM etc.) However this clef will be in the wrong place to put in sharp and flat signs, key signatures and so on, so if you use this clef you'll have to write the sharps, flats and key signature yourself. There's also a clef that's smaller (less tall) than the ordinary clef, but with the same horizontal spacing so it will align with other standard-sized clefs - on slash (a plain clef) and backslash (with a Treble Clef). • There are some large brackets for enclosing groups of staves, such as you'd use on large orchestral scores, on Upper Case N O P Q R, which can aid clarity. N and O on the left, Q and R on the right. P is a Perpendicular line to be used on both sides to increase the height of the enclosure, in this way but with the staff lines in between: N Q P P P P P P O R OTHERS —————————————— • Repeat marks are on comma (left) and period/full stop (right). • Hyphen is left as a sort of hyphen - it's a thin line like a single staff line, with the same horizontal spacing as ordinary staff lines - in case you want to draw a line across for a Percussion Instrument, or a Title or Lyric Line. • Space is a Space, but with HALF the width or horizontal spacing as ordinary staff lines, so 2 space symbols will be the same width as a clef symbol or line. • Grave (to the left of 1 on the long row, or hold down Alt and type 0096 then let go) gives a staff line that is one eighth the width of an ordinary staff line. • If you want manuscript in a clef and key which requires a flat or sharp sign in the space underneath the 5 lines, they’re on = equals and + plus . SYMBOLS • Many of these symbols will only be useful if you have worked out in advance which bars will need them, but they are here in case you've done that and wish to include them. • Symbols for p and f (piano and forte) are on 'less than' and 'greater than' < > (above comma and full stop) and m for mezzo is on Question, next to them. They can be combined to make mp, mf, ff, pp, etc. These signs -- and other signs and symbols like Pedal Sign, Coda Sign and so on -- can be found on various punctuation mark keys, including above 1, 2, 3 in the long row, and others around the keyboard. There's a sort of logic to their layout, but in different countries the keys are likely to give different results to what is stated here, so it's probably best to just try the punctuation and see if there's any you might want to use. (But on my keyboard a Coda sign is on circumflex - because of the visual similarity. Pedal sign is on underscore. A "Sign" symbol is on exclamation mark.) They were only included in case you really need them to be printed rather than handwritten. • However, a Copyright symbol is deemed necessary, and also included are a "Registered" symbol and a TradeMark symbol. They are found in the conventional places, and can be accessed by holding down ALT and typing 0169, 0174 or 0153 respectively in the numberpad section and letting go. • Staff lines with arco and pizz. above are on capital C and D respectively ---C for ar-C-o. • An empty circle above a staff line (to indicate sections by writing letters A, B, C or 1,2,3 inside for rehearsal marks) is on n. The actual signs for an A, B, C and D in a circle above the staff line can be produced by holding down ALT and typing 0188, 0189, 0190 and 0191 respectively and letting go. • The word "Page", for indicating page numbers, is on the numbersign key. • The two quotes keys, (quote single and quote double) have symbols representing "Tempo is", and "play as triplets", respectively. • INSTRUMENT NAMES There's a whole lot of Instrument Names built in (over a hundred) which can be printed out above the clef, and you do it like this. Hold down Alt and type in the given number in the numberpad section, then let go. For Piccolo it's 0130, for Flute it's 0131, Cornet is on 0154, Violin is on 0193, and the numbers go up to over 0250, it's a fairly complete set. There's also a blank which is used to align un-named clefs on 0096. Put them at the very beginning of the line for the best results. Here they are: WOODWIND Piccolo 0130 Flute 0131 Oboe 0132 Clarinet 0133 Eng Horn 0134 Bassoon 0135 Soprano Sax 0137 Alto Sax 0138 Tenor Sax 0139 Baritone Sax 0140 Saxophone 0142 Contrabassoon 0145 Recorder 0146 Alto Flute 0147 Bass Flute 0148 Oboe d'Amore 0149 Cor anglais 0152 Pipes 0241 Whistle 0242 BRASS Cornet 0154 Trumpet 0155 Flugelhorn 0156 Trombone 0158 Euphonium 0159 Tuba 0161 French Horn 0162 Horn 0163 Tenor Trombone 0164 Bass Trombone 0165 Alto Trombone 0166 Piccolo Cornet 0167 Piccolo Trumpet 0168 Bass Trumpet 0170 Bass Tuba 0171 Brass 0172 VOICES Vocal 0175 Melody 0176 Solo 0177 Harmony 0178 Soprano 0179 Alto 0180 Tenor 0181 Baritone 0182 Treble 0183 Bass 0197 (see also PLUCKED STRINGS) Descant 0184 Mezzo Soprano 0185 Contralto 0186 Counter Tenor 0187 Lead 0206 BOWED STRINGS Strings 0192 Violin 0193 Viola 0194 Cello 0195 Contrabass 0196 Bass 0197 Double Bass 0198 Violoncello 0199 Violin 1 0200 Violin 2 0201 Fiddle 0252 PLUCKED STRINGS Harp 0202 Guitar 0203 Ac. Gtr 0204 El. Gtr 0205 Lead 0206 Bass 0197 Ac. Bass 0207 El. Bass 0208 Slide Gtr 0209 Mandolin 0210 Banjo 0211 Ukelele 0212 Zither 0213 Sitar 0214 Lute 0215 Pedal Steel 0216 Nylon Gtr. 0238 Koto 0239 Fretless 0244 KEYBOARDS + ORGAN Piano 0217 El. Piano 0218 Organ 0219 El. Organ 0220 Harpsichord 0221 Celesta 0222 Accordion 0223 Clavinet 0224 Harmonium 0225 Synth 0226 Synth Bass 0227 Keyboards 0228 Sampler 0249 PERCUSSION and TUNED PERCUSSION Percussion 0229 Drums 0230 Vibes 0231 Marimba 0232 Glockenspiel 0233 Xylophone 0234 Bass marimba 0235 Tubular Bells 0236 Steel Drums 0237 Kalimba 0240 OTHERS Harmonica 0246 Mouth Organ 0247 FX 0251 Intro 0243 Verse 0245 Refrain 0248 Chorus 0250 un-named 0096 (this is a small spacer stave for aligning clefs without a name) ALSO copyright 0169 registered 0174 TradeMark 0153 Rehearsal marks 0188-0191 (giving A, B, C, D in a circle, an empty circle is on n ) Clef signs for Treble Bass Alto without any staff lines 0253-0255 An Alphabetic List of all signs: a 2/2 time b 3/2 time c 7/4 time d 7/8 time e sharp sign, centre line f Tab sign for 4-string tab g Guitar Chord Box, no nut h half-width stave I sharp sign, third space up j Tab sign for 5-string tab k 5/8 time l Lines - 5 horizontal lines for a stave m Melody Clef - a standard clef but placed higher up, with Treble sign n Stave with an empty circle above o sharp sign, fourth space up p sharp sign, space above stave q sharp sign, bottom line r sharp sign, fourth line up s Tab sign for 6-string tab t sharp sign, top line (fifth line up) u sharp sign, second space up v vertical line (bar-line) w sharp sign, second line up x Fretboard, four strings y sharp sign, first space up z Fretboard, five strings A Alto Clef B Bass Clef C “arco” above stave D “pizz.” above stave E Double Vertical Lines F Four Horizontal lines (for 4-string tab) G Guitar Chord Box with nut H 3/8 time I 6/8 time J 9/8 time K 12/8 time L Lines - 5 horizontal lines for a stave M Melody Clef - a standard clef but placed higher up, plain N Bounding Line for grouping clefs - top left O Bounding Line for grouping clefs - bottom left P Bounding Line for grouping clefs - Perpendicular Q Bounding Line for grouping clefs - top right R Bounding Line for grouping clefs - bottom right S Six Horizontal lines (for 6-string tab) T Treble Clef U tall, thin Upright line V 2/4 time W 3 / 4 time X 4/4 time Y 5/4 time Z 6/4 time 1 flat sign, first line up (the lowest line) 2 flat sign, second line up 3 flat sign, third line up 4 flat sign, fourth line up 5 flat sign, fifth line up (the top line) 6 flat sign, first space up (the lowest space) 7 flat sign, second space up 8 flat sign, third space up 9 flat sign, fourth space up 0 flat sign, space above stave

Although Andi AW. Masry designed his Coomeec typeface with one eye on comic books, this is more than just another cartoon font. Even in our short profile of the font below, we're sure you'll find enough to be surprised by the calligraphic aesthetic and the wide range of potential uses of Coomeec. Typography had been one of Andy AW. Masry's hobbies before he turned professional in 2008 and formed his own agency in Jakarta in Indonesia. The former construction engineer had already spent many hours of his leisure time in following his pastimes of designing, photography and Latin typography. Fascinated by the close interaction between text and image in comic books, one of his first projects was the development of his font Coomeec™. The condensed letters of Coomeec seem to have more in common with a calligraphic brush typeface than a more conventional cartoon font. With the characteristic line forms of a brush font, the not unextensive variations in line thickness and numerous small embellishments to the glyphs, Coomeec can be used to enhance your projects with animated effects. You can achieve this not just in the larger font sizes; the font is also very legible in small sizes thanks to its large x-height. There are certain unusual letter forms, such as that of lowercase 'g', 's' and uppercase 'Y', that provide Coomeec with a touch of the exotic. As Coomeec has numerous character alternatives, you can use it not only to create diverse designs but also to ring the changes with the character of the text itself. There are variants for most lowercase letters, some of which exhibit only minor differences, such as the lack of a curlicue on the 'b', a modified downstroke on the 'h' and an elongated base for the 'k'. In the case of other letters, such as the 'q' and the 'r', there are significant disparities between variants. The uppercase characters are also available in a lively swash style with significantly extended terminals. Among the range of characters of Coomeec are oldstyle and lining figures designed for proportional and tabular setting. All alternatives are available in the form of the corresponding OpenType versions. Coomeec comes in two weights; Regular and Bold, each with its Italic version. The form of the slightly inclined Italic characters is identical to that of their upright counterparts with the exception of the lowercase 'f', which has an ascender in its Italic version. As an OpenType Pro font, the glyphs available for Coomeec ensure that it can be used to set not only western European but also central European texts. Coomeec is not just at home when used to set headlines. The excellent legibility of this individual and vibrant typeface means that it's also ideal for setting shorter texts. The various alternative letters provide the designer with the opportunity to vary the textual appearance, and to choose between creating a more formal or more light-hearted effect. Coomeec is not only available in an OpenType version but is also obtainable as a web font, so that you can employ its exotic features to good effect when creating internet pages.

Father's Day, or June 17 of this year, is in the middle of Argentinian winter. And like people do on wintery Sunday mornings, I was bundled up in bed with too many covers, pillows and comforters. Feeling good and not thinking about anything in particular, Father's Day was nowhere in the vicinity of my mind. My eleven year old son, Matías, came into the room with a handmade present for me. Up to this point, my Father's Day gift history was nothing unusual. Books, socks, hand-painted wooden spoons, the kind of thing any father would expect from his pre-teen son. So you can understand when I say I was bracing myself to fake excitement at my son's present. But this Father's Day was special. I didn't have to fake excitement. I was in fact excited beyond my own belief. Matí's handmade present was a complete alphabet drawn on an A4 paper. Grungy, childish, and sweeter than a ton of honey. He'd spent days making it, three-dimensioning the letters, wiggle-shadowing them. Incredible. A common annoyance for graphic designers is explaining to people, even those close to them, what they do for a living. You have to somehow make it understandable that you are a visual communicator, not an artist. Part of the problem is the fact that "graphic designer" and "visual communicator" are just not in the dictionary of standard professions out there. If you're a plumber, you can wrap all the duties of your job with 3.5 words: I'm a plumber. If you're a graphic designer, no wrapper, 3.5 or 300 words, will ever cover it. I've spent many hours throughout the years explaining to my own family and friends what I do for a living, but most of them still come back and ask what it is exactly that I do for dough. When you're a type designer, that problem magnifies itself considerably. When someone asks you what you do for a living, you start looking for the nearest exit, but none of the ones you can find is any good. All the one-line descriptions are vague, and every single one of them queues a long, one-sided conversation that usually ends with someone getting too drunk listening, or too tired of talking. Now imagine being a type designer, with a curious eleven year old son. The kid is curious as to why daddy keeps writing huge letters on the computer screen. Let's go play some ball, dad. As soon as I finish working, son. He looks over my shoulder and sees a big twirly H on the screen. To him it looks like a game, like I'm not working. And I have to explain it to him again. This Father's Day, my son gave me the one present that tells me he finally understands what I do for a living. Perhaps he is even comfortable with it, or curious enough about that he wants to try it out himself. Either way, it was the happiest Father's Day I've ever had, and I'm prouder of my son than of everything else I've done in my life. This is Matí's font. I hope you find it useful.

Pure and not-so-simple Maybe it’s the air of purity, openness and transparency that they transmit, but geometric typefaces are more popular than ever among leading brands. Based on near-perfect circles, triangles and squares, geometric letterforms look uncomplicated, even though making them readable is anything but – something the designers of the first wave of geometric fonts discovered nearly a century ago. Many of the world’s most recognisable brands in technology, retail, travel, food, manufacturing and other industries continue to be drawn to the straightforward, honest character that geometric fonts convey. Fontsmith set out in 2015 to develop a typeface in the same tradition, but optimised for the demands of modern brands – online and offline usage, readability and accessibility. And, of course, with the all-important Fontsmith x-factor built in. FS Lucas is the bold and deceptively simple result. Handle with care The letterforms of FS Lucas are round and generous, along the lines of Trajan Column lettering stripped of its serifs. But beware their thorns. Their designer, Stuart de Rozario, who also crafted the award-winning FS Millbank, wanted a contrast between spiky and soft, giving sharp apexes to the more angular letterforms, such as A, M, N, v, w and z. Among his inspirations were the colourful, geometric compositions of Frank Stella, the 1920s art deco poster designs of AM Cassandre, and the triangular cosmic element symbol, which led him to tackle the capital A first, instead of the usual H. The proportions and angles of the triangular form would set the template for many of the other characters. It was this form, and the light-scattering effects of triangular prisms, that lit the path to a name for the typeface: Lucas is derived from lux, the Latin word for light. Recommended reading Early geometric typefaces were accused of putting mathematical integrity before readability. FS Lucas achieves the trick of appearing geometric, while taking the edge off elements that make reading difficult. Perfectly circlular shapes don’t read well. The way around that is to slightly thicken the vertical strokes, and pull out the curves at the corners to compensate; the O and o of FS Lucas are optical illusions. Pointed apexes aren’t as sharp as they look; the flattened tips are an essential design feature. And distinctive details such as the open terminals of the c, e, f, g, j, r and s, and the x-height bar on the i and j, aid legibility, especially on-screen. These and many other features, the product of sketching the letterforms in the first instance by hand rather than mapping them out mechanically by computer, give FS Lucas the built-in humanity and character that make it a better, easier read all-round. Marks of distinction Unlike some of its more buttoned-up geometric bedfellows, FS Lucas can’t contain its natural personality and quirks: the flick of the foot of the l, for example, and the flattish tail on the g and j. The unusual bar on the J improves character recognition, and the G is circular, without a straight stem. There’s a touch of Fontsmith about the t, too, with the curve across the left cross section in the lighter weights, and the ampersand is one of a kind. There’s a lot to like about Lucas. With its 9 weights, perfect proportions and soft but spiky take on the classic geometric font, it’s a typeface that could light up any brand.

Pure and not-so-simple Maybe it’s the air of purity, openness and transparency that they transmit, but geometric typefaces are more popular than ever among leading brands. Based on near-perfect circles, triangles and squares, geometric letterforms look uncomplicated, even though making them readable is anything but – something the designers of the first wave of geometric fonts discovered nearly a century ago. Many of the world’s most recognisable brands in technology, retail, travel, food, manufacturing and other industries continue to be drawn to the straightforward, honest character that geometric fonts convey. Fontsmith set out in 2015 to develop a typeface in the same tradition, but optimised for the demands of modern brands – online and offline usage, readability and accessibility. And, of course, with the all-important Fontsmith x-factor built in. FS Lucas is the bold and deceptively simple result. Handle with care The letterforms of FS Lucas are round and generous, along the lines of Trajan Column lettering stripped of its serifs. But beware their thorns. Their designer, Stuart de Rozario, who also crafted the award-winning FS Millbank, wanted a contrast between spiky and soft, giving sharp apexes to the more angular letterforms, such as A, M, N, v, w and z. Among his inspirations were the colourful, geometric compositions of Frank Stella, the 1920s art deco poster designs of AM Cassandre, and the triangular cosmic element symbol, which led him to tackle the capital A first, instead of the usual H. The proportions and angles of the triangular form would set the template for many of the other characters. It was this form, and the light-scattering effects of triangular prisms, that lit the path to a name for the typeface: Lucas is derived from lux, the Latin word for light. Recommended reading Early geometric typefaces were accused of putting mathematical integrity before readability. FS Lucas achieves the trick of appearing geometric, while taking the edge off elements that make reading difficult. Perfectly circlular shapes don’t read well. The way around that is to slightly thicken the vertical strokes, and pull out the curves at the corners to compensate; the O and o of FS Lucas are optical illusions. Pointed apexes aren’t as sharp as they look; the flattened tips are an essential design feature. And distinctive details such as the open terminals of the c, e, f, g, j, r and s, and the x-height bar on the i and j, aid legibility, especially on-screen. These and many other features, the product of sketching the letterforms in the first instance by hand rather than mapping them out mechanically by computer, give FS Lucas the built-in humanity and character that make it a better, easier read all-round. Marks of distinction Unlike some of its more buttoned-up geometric bedfellows, FS Lucas can’t contain its natural personality and quirks: the flick of the foot of the l, for example, and the flattish tail on the g and j. The unusual bar on the J improves character recognition, and the G is circular, without a straight stem. There’s a touch of Fontsmith about the t, too, with the curve across the left cross section in the lighter weights, and the ampersand is one of a kind. There’s a lot to like about Lucas. With its 9 weights, perfect proportions and soft but spiky take on the classic geometric font, it’s a typeface that could light up any brand.

The Tecn@ Dark&Light Triangle Background Nomenclature Font family is differentiated by the direction of the triangle tip in the 4 cardinal points. The family were designed to head, enumerate, indicate or highlight writings or design plans, for this reason, the characters are available only in capital letters and some signs or symbols that can serve such purposes. A triangle or empty character is included so that the user can use it overlaying any character of his choice or to be used alone. What is Lorem Ipsum? Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum. Why do we use it? It is a long established fact that a reader will be distracted by the readable content of a page when looking at its layout. The point of using Lorem Ipsum is that it has a more-or-less normal distribution of letters, as opposed to using 'Content here, content here', making it look like readable English. Many desktop publishing packages and web page editors now use Lorem Ipsum as their default model text, and a search for 'lorem ipsum' will uncover many web sites still in their infancy. Various versions have evolved over the years, sometimes by accident, sometimes on purpose (injected humour and the like). Where does it come from? Contrary to popular belief, Lorem Ipsum is not simply random text. It has roots in a piece of classical Latin literature from 45 BC, making it over 2000 years old. Richard McClintock, a Latin professor at Hampden-Sydney College in Virginia, looked up one of the more obscure Latin words, consectetur, from a Lorem Ipsum passage, and going through the cites of the word in classical literature, discovered the undoubtable source. Lorem Ipsum comes from sections 1.10.32 and 1.10.33 of "de Finibus Bonorum et Malorum" (The Extremes of Good and Evil) by Cicero, written in 45 BC. This book is a treatise on the theory of ethics, very popular during the Renaissance. The first line of Lorem Ipsum, "Lorem ipsum dolor sit amet..", comes from a line in section 1.10.32. The standard chunk of Lorem Ipsum used since the 1500s is reproduced below for those interested. Sections 1.10.32 and 1.10.33 from "de Finibus Bonorum et Malorum" by Cicero are also reproduced in their exact original form, accompanied by English versions from the 1914 translation by H. Rackham. Where can I get some? There are many variations of passages of Lorem Ipsum available, but the majority have suffered alteration in some form, by injected humour, or randomised words which don't look even slightly believable. If you are going to use a passage of Lorem Ipsum, you need to be sure there isn't anything embarrassing hidden in the middle of text. All the Lorem Ipsum generators on the Internet tend to repeat predefined chunks as necessary, making this the first true generator on the Internet. It uses a dictionary of over 200 Latin words, combined with a handful of model sentence structures, to generate Lorem Ipsum which looks reasonable. The generated Lorem Ipsum is therefore always free from repetition, injected humour, or non-characteristic words etc.

Agmena™ has no historical precursor; it was designed from scratch by Jovica Veljovi? whose aim was to create a new book typeface. Although it generally has certain similarities with the group of Renaissance Antiqua fonts, it is not clearly derived from any of these. Clear and open forms, large counters and a relatively generous x-height ensure that the characters that make up Agmena are readily legible even in small point sizes. The slightly tapering serifs with their curved attachments to letter stems soften the rigidity of the typeface, bringing Agmena to life. This non-formal quality is further enhanced by numerous tiny variations to the letter shapes. For example, there are slight differences to the terminals of the b", the "d" and the "h" and minor dissimilarities in the forms and lengths of serifs of many of the letters. The tittles over the "i" and "j" and those of the German umlauts are almost circular, while the diamond shape that is more characteristic of a calligraphic script is used for the punctuation marks. Although many of these variations are only apparent on closer inspection, they are enough to give Agmena the feeling of a hand-made typeface. It is in the larger point sizes that this feature of Agmena comes particularly into play, and individual characters gain an almost sculptural quality. The italic variants of Agmena are actually real cursives. The narrower and thus markedly dynamically formed lowercase letters have a wider range of contrast in terms of line thickness and have the appearance of having been manually produced with a quill thanks to the variations in their terminals. The lowercase "a" assumes a closed form and the "f" has a descender. The italic capitals, on the other hand, have been consciously conceived to act as a stabilising element, although the way they have been inclined does not produce a simply mechanical effect. This visual convergence with the upright characters actually means that it is possible to use letters from both styles in combination. Agmena is available in four weights: Book, Regular, Semibold and Bold, and each has its matching italic variant. Veljovi? designed Book and Regular not only to provide an optical balance between various point sizes, such as between that used for the text and that used in footnotes, but also to take account of different paper forms: Regular for lined paper and Book for publishing paper. Agmena's range of characters leaves nothing to be desired. All variants include small caps and various numeral sets with oldstyle and lining figures for setting proportional text and table columns. Thanks to its pan-European language support, Agmena can be used to set texts not only in languages that use the Latin alphabet as it also features Cyrillic and Greek characters. The set of standard ligatures has been extended to include special combinations for setting Greek and Serbian. Agmena also has some initial letters, alternative glyphs and ornaments. Agmena is a poetic text font with forms and spacing that have been optimised over years of work to provide a typeface that is ideal for setting books. But its letters also cut a good figure in the larger font sizes thanks to their individual, vibrant and, in some cases, sculptural effects. Its robust forms are not merely suited to a printed environment, but are also at home among the complex conditions on terminal screens. You can thus also use Agmena as a web font when designing your internet page."Agmena has received the Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2013.

The building of the Northern Bank of St. Petersburg's Baku branch was built in 1903-1905. It was the first Art Nouveau-style building in Baku, Azerbaijan. Later the bank was transformed into the Russian-Asian Bank. After the oil boom in Baku in the 19th century, branches of many banks and new banks were opened in the city. The branch of the Northern Bank of St. Petersburg was among the first banks that was opened in Baku. N.Bayev was the architect of the building for the branch of the Northern Bank of St. Petersburg located at Gorchakovskaya 3 in 1903-1905. The building currently houses the Central Branch of the International Bank of Azerbaijan. My purpose in writing this is not to copy and paste the information from Wikipedia. What attracted me to the building was the word "Банкъ" (Bank) written in Cyrillic letters, which was also used in Azerbaijan during the Soviet era. The exact date of the writing is not known. Every time I pass by this building, I always thought of creating a font of this writing someday. I had taken a photo of the building and saved it on my phone. I did a lot of research on the font and asked a lot of people. However, some did not provide information at all and some said they did not have any information. I was interested in the history of this font but I do not know if this font really existed or it was created by the architect out of nowhere. If there was such a history of this font, I wanted to recreate this font and make it available. If not, I had to create it from scratch in the same way, using only existing letters on the building. Finally, I made up my mind and decided to develop the font with all letters I have got. It was difficult to create a font based on the word, Банкъ. Because in the appearance of the letters, the midline of the letters on A, H, K was very distinct, both in the form of inclination and in more precise degrees. The serif part of the letters, the height of the upper and lower sides, differed from each other. I don't know whether it was done this way when the building was constructed or it happened over time. I prepared and kept the initial version of the font. I took a break for a while. I started digging on the story of the font again. Meanwhile, I was researching and got inspired by similar fonts. Unfortunately, my research on the font's history did not yield any results. I decided to continue finishing up the font. After developing the demo, I created the font by keeping certain parts of these differences in the letters. In addition, I had to consider the development of letters in the Cyrillic, as well as the Latin alphabet, over the past period. Thus, I began to look at the appearance of slab-serif or serif fonts of that time. In general, as I gain more experience in developing fonts, I try to focus on the precision of the design for each font. In recent years, I specifically paid attention to this matter. YouTube channel and articles by Alexandra K.'s of ParaType, as well as, information and samples from TypeType and Fontfabric studios on the Cyrillic alphabet were quite useful. I gathered data regarding the Latin alphabet from various credible sources. I do not know if I could accomplish what I aimed at but I know one thing that I could develop the font. Maybe someday I'll have to revise this font. For now, I share it with you. I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

TA Bankslab graphic presentation at Behance The building of the Northern Bank of St. Petersburg's Baku branch was built in 1903-1905. It was the first Art Nouveau-style building in Baku, Azerbaijan. Later the bank was transformed into the Russian-Asian Bank. After the oil boom in Baku in the 19th century, branches of many banks and new banks were opened in the city. The branch of the Northern Bank of St. Petersburg was among the first banks that was opened in Baku. N.Bayev was the architect of the building for the branch of the Northern Bank of St. Petersburg located at Gorchakovskaya 3 in 1903-1905. The building currently houses the Central Branch of the International Bank of Azerbaijan. My purpose in writing this is not to copy and paste the information from Wikipedia. What attracted me to the building was the word "Банкъ" (Bank) written in Cyrillic letters, which was also used in Azerbaijan during the Soviet era. The exact date of the writing is not known. Every time I pass by this building, I always thought of creating a font of this writing someday. I had taken a photo of the building and saved it on my phone. I did a lot of research on the font and asked a lot of people. However, some did not provide information at all and some said they did not have any information. I was interested in the history of this font but I do not know if this font really existed or it was created by the architect out of nowhere. If there was such a history of this font, I wanted to recreate this font and make it available. If not, I had to create it from scratch in the same way, using only existing letters on the building. Finally, I made up my mind and decided to develop the font with all letters I have got. It was difficult to create a font based on the word, Банкъ. Because in the appearance of the letters, the midline of the letters on A, H, K was very distinct, both in the form of inclination and in more precise degrees. The serif part of the letters, the height of the upper and lower sides, differed from each other. I don't know whether it was done this way when the building was constructed or it happened over time. I prepared and kept the initial version of the font. I took a break for a while. I started digging on the story of the font again. Meanwhile, I was researching and got inspired by similar fonts. Unfortunately, my research on the font's history did not yield any results. I decided to continue finishing up the font. After developing the demo, I created the font by keeping certain parts of these differences in the letters. In addition, I had to consider the development of letters in the Cyrillic, as well as the Latin alphabet, over the past period. Thus, I began to look at the appearance of slab-serif or serif fonts of that time. In general, as I gain more experience in developing fonts, I try to focus on the precision of the design for each font. In recent years, I specifically paid attention to this matter. YouTube channel and articles by Alexandra K.'s of ParaType, as well as, information and samples from TypeType and Fontfabric studios on the Cyrillic alphabet were quite useful. I gathered data regarding the Latin alphabet from various credible sources. I do not know if I could accomplish what I aimed at but I know one thing that I could develop the font. Maybe someday I'll have to revise this font. For now, I share it with you. I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

An inline adaptation of a distinctive slab serif, Cesium is an unusually responsive display face that maintains its high energy across a range of different moods. The Cesium typeface was designed by Jonathan Hoefler in 2020. An energetic inline adaptation of Hoefler’s broad-shouldered Vitesse Black typeface (2000), Cesium is named for the fifty-fifth member of the periodic table of the elements, a volatile liquid metal that presents as a scintillating quicksilver. From the desk of the designer, Jonathan Hoefler: I always felt that our Vitesse typeface, an unusual species of slab serif, would take well to an inline. Vitesse is based not on the circle or the ellipse, but on a less familiar shape that has no common name, a variation on the ‘stadium’ that has two opposing flat edges, and two gently rounded sides. In place of sharp corners, Vitesse uses a continuously flowing stroke to manage the transition between upright and diagonal lines, most apparent on letters like M and N. A year of making this gesture with my wrist, both when drawing letterforms and miming their intentions during design critiques, left me thinking about a reduced version of the typeface, in which letters would be defined not by inside and outside contours, but by a single, fluid raceway. Like most straightforward ideas, this one proved challenging to execute, but its puzzles were immensely satisfying to solve. Adding an inline to a typeface is the quickest way to reveal its secrets. All the furtive adjustments in weight and size that a type designer makes — relieving congestion by thinning the center arm of a bold E, or lightening the intersecting strokes of a W — are instantly exposed with the addition of a centerline. Adapting an existing alphabet to accommodate this inline called for renovating every single character (down to the capital I, the period, and even the space), in some cases making small adjustments to reallocate weight, at other times redesigning whole parts of the character set. The longer we worked on the typeface, the more we discovered opportunities to turn these constraints into advantages, solving stubbornly complex characters like € and § by redefining how an inline should behave, and using these new patterns to reshape the rest of the alphabet. The New Typeface The outcome is a typeface we’re calling Cesium. It shares many of Vitesse’s qualities, its heartbeat an energetic thrum of motorsports and industry, and it will doubtless be welcome in both hardware stores and Hollywood. But we’ve been surprised by Cesium’s more reflective moods, its ability to be alert and softspoken at the same time. Much in the way that vibrant colors can animate a typeface, we’ve found that Cesium’s sensitivity to spacing most effectively changes its voice. Tighter leading and tracking turns up the heat, heightening Cesium’s sporty, high-tech associations, but with the addition of letterspacing it achieves an almost literary repose. This range of voices recommends Cesium not only to logos, book covers, and title sequences, but to projects that regularly must adjust their volume, such as identities, packaging, and editorial design. Read more about how to use Cesium. About the Name Cesium is a chemical element, one of only five metals that’s liquid at room temperature. Resembling quicksilver, cesium is typically stored in a glass ampule, where the tension between a sturdy outer vessel and its volatile contents is scintillating. The Cesium typeface hopes to capture this quality, its bright and insistent inline restrained by a strong and sinuous container. Cesium is one of only three H&Co typefaces whose name comes from the periodic table, a distinction it shares with Mercury and Tungsten. At a time when I considered a more sci-fi name for the typeface, I learned that these three elements have an unusual connection: they’re used together in the propulsion system of nasa’s Deep Space 1, the first interplanetary spacecraft powered by an ion drive. I found the association compelling, and adopted the name at once, with the hope that designers might employ the typeface in the same spirit of discovery, optimism, and invention. —JH Featured in: Best Fonts for Logos

❧ Useful links: Luther’s Manuscripts at the UNESCO Memory of the World at Google Arts and Culture Martin Luther font on Kickstarter (with Film about the creation) Each letter of the Martin Luther font is strictly based on original samples found in Martin Luther’s 500 year old handwritten manuscripts. Letters that occur more often for example vowels have two or more different versions stored in the font. (➶ Figure 4) These alternative forms are exchanged automatically by the font as you type, and create a vivid look that comes close to actual handwriting. The font avoids that two identical letters are placed next to each other like, for example the two “o” in the word “look”. ➸ What Historic Sources is the Font based on? Two historic documents were used to base the font on. The notes Luther took before giving his speech in Worms in 1521 and a 6 page letter he wrote immediately after to Emperor Charles V., summarising his speech (➶ Figure 2). Both documents have been added to the UNESCO “Memory of the World” and can be seen at the Google Arts and Culture website. ➸ The Creation of a Handwriting Font The creation of a handwriting font is very different from the creation of a regular font. Harald Geisler has specialised in recreating handwriting in preceding projects with Albert Einstein’s, Sigmund Freud’s and his own handwriting. His experience working with Archives and Museums has gone into this project. First Geisler analyses the movement in the writing to understand how each letter is drawn. This involves partially learning how to write like a person. In this process not the outlines of the sample are reproduced but the original movement path of the handwriting (➶ Figure 3). In a second step width and contrast is added to reproduce Martin Luther’s characteristic impetus and the writing tools used at the time. (Link: Youtube Playlist showcasing the creation of individual letters) How about signs that can’t be found in archives? Some Glyphs can not be found in 500 year old manuscripts, for example the @-sign. Towards the end of the creation one collects a profund amount of details about how a writer moves on paper and addresses certain tasks moving the pen. Keeping this knowledge in mind an improvisation can be based on similar letter forms. For example the @ sign is based on of the movement of a lowercase a and parenthesis. ➸ Features of the Martin Luther font ❶ Extensive Documentation of the creation of the font, including high quality reproduction of the used manuscripts. ❷ Additional texts from Historian Dr. Henning Jürgens and Palaeographer (and Luther handwriting expert) Prof. Ulrich Bubenheimer ❸ Alternating Letters - in handwriting every word looks a bit different. To avoid that two identical letterforms are placed next to each other (for example in the word look) the font actively changes between different versions of letters as you type. ❹ Ligatures - characteristic writing forms when two letters are combined (for example “ct”) (➶ Figure 5) ❺ Terminal Letterforms - renders a special letterform when letter is at the end of a word. (➶ Figure 8) ❻ ‘’’Initial and Medial Letterforms''' - some letterforms are different when placed in the beginning or middle of a word, for example the lowercase s. ❼ Luther Rose - is a seal Luther used to authorise his correspondence. Today it is a widely recognized symbol for Luther. When you enter the numbers of Luthers year of birth and death 14831546 using the Martin Luther PRO font, it will render a stylised version of the Luther Rose. (➶ Figure 7) ❽ Historic letter-forms - letter-forms that are specific to medieval writing around 1500. For example the long-s or h with a loop at the bottom. (➶ Figure 6) ⚑ Multi language support - see the technical information tab for a full list of supported languages. (➶ Figure 11) ➸ The different Styles explained ❋ Martin Luther PRO - this includes all features listed above and is geared towards writing texts that are more readable today. It features alternating letters to create a natural handwriting look as well as two stylistic sets accessible through the OpenType menu. Historic forms are available through the glyph picker. ❋ Martin Luther Historic - this font creates a historically correct reproduction (i.e. with long-s) of Luther’s medieval latin handwriting. It features alternating letters to create a natural handwriting look as well as two stylistic sets accessible through the OpenType menu. ❋ Martin Luther Expert-1 - Dedicated access to the first set of letters only. ❋ Martin Luther Expert-2 - Dedicated access to the second set of letters only. ❈❈❈ Family Pack - recieve all fonts at a discounted price. ❈❈❈ ➸ Kickstarter The creation and development of the Martin Luther font was financed by 500 supporters on ➸Kickstarter.

In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design of a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for books. A number of parameters needed to be considered, including the pressure of the printing presses and the quality of the thin newspaper ink that would have smothered any delicate strokes. Rough drafts of type designs for the competition were submitted by Vratislav Hejzl, Stanislav Marso, Frantisek Novak, Frantisek Panek, Jiri Petr, Jindrich Posekany, and the team of Stanislav Duda, Karel Misek and Josef Tyfa. The committee published its comments and corrections of the designs, and asked the designers to draw the final drafts. The winner was unambiguous — the members of the committee unanimously agreed to award Stanislav Marso’s design the first prize. His typeface was cast by Grafotechna (a state-owned enterprise) for setting with line-composing machines and also in larger sizes for hand-setting. Regular, bold, and bold condensed cuts were produced, and the face was named Public. In 2003 we decided to digitise the typeface. Drawings of the regular and italic cuts at the size of approximatively 3,5 cicero (43 pt) were used as templates for scanning. Those originals covered the complete set of caps except for the U, the lowercase, numerals, and sloped ampersand. The bold and condensed bold cuts were found in an original specimen book of the Rude Pravo newspaper printing press. These specimens included a dot, acute, colon, semicolon, hyphens, exclamation and question marks, asterisk, parentheses, square brackets, cross, section sign, and ampersand. After the regular cut was drafted, we began to modify it. All the uppercase letters were fine-tuned, the crossbar of the A was raised, E, F, and H were narrowed, L and R were significantly broadened, and the angle of the leg and arm of the K were adjusted. The vertex of the M now rests on the baseline, making the glyph broader. The apex of the N is narrower, resulting in a more regular glyph. The tail of Q was made more decorative; the uppercase S lost its implied serifs. The lowercase ascenders and descenders were slightly extended. Corrections on the lower case a were more significant, its waist being lowered in order to improve its colour and light. The top of the f was redrawn, the loop of lowercase g now has a squarer character. The diagonals of the lowercase k were harmonised with the uppercase K. The t has a more open and longer terminal, and the tail of the y matches its overall construction. Numerals are generally better proportioned. Italics have been thoroughly redrawn, and in general their slope is lessened by approximatively 2–3 degrees. The italic upper case is more consistent with the regular cut. Unlike the original, the tail of the K is not curved, and the Z is not calligraphic. The italic lower case is even further removed from the original. This concerns specifically the bottom finials of the c and e, the top of the f, the descender of the j, the serif of the k, a heavier ear on the r, a more open t, a broader v and w, a different x, and, again, a non-calligraphic z. Originally the bold cut conformed even more to the superellipse shape than the regular one, since all the glyphs had to be fitted to the same width. We have redrawn the bold cut to provide a better match with the regular. This means its shapes have become generally broader, also noticeably darker. Medium and Semibold weights were also interpolated, with a colour similar to the original bold cut. The condensed variants’ width is 85 percent of the original. The design of the Bold Condensed weights was optimised for the setting of headlines, while the lighter ones are suited for normal condensed settings. All the OpenType fonts include small caps, numerals, fractions, ligatures, and expert glyphs, conforming to the Suitcase Standard set. Over half a century of consistent quality ensures perfect legibility even in adverse printing conditions and on poor quality paper. RePublic is an exquisite newspaper and magazine type, which is equally well suited as a contemporary book face.

A typeface with lightly-worn futurism, Sagittarius is equally at home among the beauty and wellness aisles, or the coils of the warp core. The Sagittarius typeface was designed by Jonathan Hoefler in 2021. A decorative adaptation of Hoefler’s Peristyle typeface (2017), Sagittarius’s rounded corners and streamlined shapes recall the digital aesthetic of the first alphabets designed for machine reading, a style that survives as a cheeky Space Age invocation of futurism. Sagittarius was created for The Historical Dictionary of Science Fiction, where it first appeared in 2021. From the desk of the designer: Typeface designers spend a lot of time chasing down strange valences. We try to figure out what’s producing that whiff of Art Deco, or that vaguely militaristic air, or what’s making a once solemn typeface suddenly feel tongue-in-cheek. If we can identify the source of these qualities, we can cultivate them, and change the direction of the design; more often, we just extinguish them without mercy. Sometimes, we get the chance to follow a third path, which is how we arrived at Sagittarius. During the development of Peristyle, our family of compact, high-contrast sans serifs, I often found myself unwittingly humming space-age pop songs. Nothing about Peristyle’s chic and elegant letterforms suggested the deadpan romp of “The Planet Plan” by United Future Organization, let alone “Music To Watch Space Girls By” from the ill-advised (but delicious) Leonard Nimoy Presents Mr. Spock’s Music from Outer Space, but there they were. Something in the fonts was provoking an afterimage of the otherworldly, as if the typeface was sliding in and out of a parallel universe of high-tech spycraft and low-tech brawls with rubber-masked aliens. It might have had something to do with a new eyeglass prescription. But I liked the effect, and started thinking about creating an alternate, space-age version of the typeface, one with a little more funk, and a lot more fun. I wondered if softer edges, a measured dose of seventies retrofuturism, and some proper draftsmanship might produce a typeface not only suitable for sci-fi potboilers, but for more serious projects, too: why not a line of skin care products, a fitness system, a high-end digital camera, or a music festival? I put a pin in the idea, wondering if there’d ever be a project that called for equal parts sobriety and fantasy. And almost immediately, exactly such a project appeared. The Historical Dictionary of Science Fiction Jesse Sheidlower is a lexicographer, a former Editor at Large for the Oxford English Dictionary, and a longtime friend. He’s someone who takes equal pleasure in the words ‘usufructuary’ and ‘megaboss,’ and therefore a welcome collaborator for the typeface designer whose love of the Flemish baroque is matched by a fondness for alphabets made of logs. Jesse was preparing to launch The Historical Dictionary of Science Fiction, a comprehensive online resource dedicated to the terminology of the genre, whose combination of scholarship and joy was a perfect fit for the typeface I imagined. For linguists, there’d be well-researched citations to explain how the hitherto uninvented ‘force field’ and ‘warp speed’ came to enter the lexicon. For science fiction fans, there’d be definitive (and sometimes surprising) histories of the argot of Stars both Trek and Wars. And for everyone, there’d be the pleasure of discovering science fiction’s less enduring contributions, from ‘saucerman’ to ‘braintape,’ each ripe for a comeback. A moderated, crowdsourced project, the dictionary is now online and growing every day. You’ll find it dressed in three font families from H&Co: Whitney ScreenSmart for its text, Decimal for its navigational icons, and Sagittarius for its headlines — with some of the font’s more fantastical alternate characters turned on. The New Typeface Sagittarius is a typeface whose rounded corners and streamlined forms give it a romantically scientific voice. In the interest of versatility, its letterforms make only oblique references to specific technologies, helping the typeface remain open to interpretation. But for projects that need the full-throated voice of science fiction, a few sets of digital accessories are included, which designers can introduce at their own discretion. There are alternate letters with futuristic pedigrees, from the barless A popularized by Danne & Blackburn’s 1975 ‘worm’ logo for NASA, to a disconnected K recalling the 1968 RCA logo by Lippincott & Margulies. A collection of digitally-inspired symbols are included for decorative use, from the evocative MICR symbols of electronic banking, to the obligatory barcodes that forever haunt human–machine interactions. More widely applicable are the font’s arrows and manicules, and the automatic substitutions that resolve thirty-four awkward combinations of letters with streamlined ligatures. About the Name Sagittarius is one of thirteen constellations of the zodiac, and home to some of astronomy’s most inspiring discoveries. In 1977, a powerful radio signal originating in the Sagittarius constellation was considered by many to be the most compelling recorded evidence of extraterrestrial life. Thanks to an astronomer’s enthusiastically penned comment, the 72-second transmission became known as the Wow! signal, and it galvanized support for one of science’s most affecting projects, the Search for Extraterrestrial Intelligence (SETI). More recently, Sagittarius has been identified as the location of a staggering celestial discovery: a supermassive black hole, some 44 million kilometers in diameter, in the Galactic Center of the Milky Way. <

“For those who regret what keyboards and touch screens have done to their penmanship, typographer Harald Geisler has an answer: Sigmund Freud.” — The Wall Street Journal Sigmund Freud was a neurologist who lived from 1856 to 1939. His research and studies led to the foundation of ‘Psychoanalysis’. When I first saw Freud’s century old letters, I was fascinated by the beauty of these historic manuscripts. It made me smile to imagine a person writing his or her shrink a letter set in Freud’s handwriting. I started to plan creating a font based on his manuscripts. I contacted the Sigmund Freud Museum Vienna and Freud Museum London. To start the creation I selected eight handwritten documents from the archive in Vienna – This selection of specimen was my orientation during the design process. The Samples were created between 1883 to 1938 and are of various character such as handwritten scientific papers, personal letters, notes and a telegram. A successful Kickstarter Campaign "The Sigmund Freud Typeface - A Letter to your Shrink" with over 1400 Backers enabled me to visit the archive in Vienna and study the original manuscripts of Sigmund Freud. After a year of preparation and design work, I finished four alphabets based on Freud’s handwriting. What are the different Versions PRO, Kurrent, #1, #2, #3 and #4 about? “This project gives people the convenience afforded by the computer while maintaining the romantic nostalgia, beauty, and character of letter writing with real handwriting.” — Daniel Vahab, The Huffington Post When you write with your hand, every letter looks a little different. When you write a text on your computer every letter looks exactly the same. In order to make type look like handwriting, I chose four different variations of each letter from Freud’s manuscripts, drew and stored them in the font. The font is then programmed to exchange letters while you are typing. This makes the rendered result on your screen or print look like unique handwriting. PRO While you are typing… the PRO Version actively combines all four alphabets and exchanges them automatically. Through this mechanism never the same two o’s will stand next to each other. With every touch a unique look is generated. This works in certain applications i.e. Word 2010(or newer), Pages, TextEdit, Editor(Pre-installed on Windows 7 or newer), InDesign, Illustrator… →Here you can see an animation of what this effect looks like in action. (Please Note: some applications like LibreOffice, OpenOffice do currently not support this feature. Date: December 2013) #1 #2 #3 and #4 The Sigmund Freud Typeface #1, #2, #3 and #4 each hold one individual lowercase alphabet based on Freud’s handwriting. Kurrent Most of Freud’s correspondence was written in German. Until the 1950′s a different handwriting was taught throughout German speaking countries (Switzerland, Austria, Germany). This style is called Kurrent. The name Kurrent and Cursive derive from the Latin word currere - to run, hurry - both styles were designed to write fast. As you can see in the samples above, Freud practiced both Kurrent and when writing english Cursive (Latin script or Joined-up). Kurrent has three significantly different letters (s,h,e). Use Kurrent to render the authentic look of an historic Sigmund Freud letter in German. Bundle On the Top of this page you can get all six fonts of the Sigmund Freud Typeface Family in a bundle. International Typeface All styles of the Sigmund Freud Typeface feature a wide range of accented letters so you can write to all your friends in Sweden (Bjørn) France (Chloé & Zoë), Ireland (Dáirine), Poland (Łucja), Germany (Jörg) and almost everywhere around the globe (Find a complete list in the tech specs). Usage recommendations I hope that this design will be valuable to you and most of all that you have fun with this typeface! 1. Point Size — To reproduce the size of Sigmund Freud’s handwriting adjust the type size between 18-24 point in your word processor. If you are using an imaging software like Photoshop set the resolution to 300dpi and adjust the point size between 18-24. 2. Line Spacing — Narrow the line hight until swashes of capital letters touch the baseline above. This also happens when you write a letter and gives the document a unique handwritten look. 3. Right Aligned — Freud had the habit to write towards the right edge of the page and start loosely on the left. Set your text alignment to ‘right’ to incorporate this dramatic expression also to your documents. What do other People say about the Sigmund Freud Typeface? “Wouldn’t you love to write a letter to your shrink using the Sigmund Freud typeface?” — Dorothy Tan, Design TAXI ''“JUST DON’T WRITE A LETTER TO YOUR MOTHER WITH IT… …until the reader looks a bit closer, and they see 70+ years of modern science weighing in on turn-of-the-century pop psychology."'' — Mark Willson, Fast Company “Doctor, what does it mean if you dream of creating a font of Freud’s handwriting?” — Ayun Halliday, Open Culture “…geekily romantic, at once artistic and scientific” — Edie Jarolim, Freud’s Butcher “…sympathisch” — Jürgen Siebert, Fontblog !WOW! Thank you for reading the complete font description! You are awesome! If you still have a question please contact me through MyFonts or my website haraldgeisler.com. Credits This project was made possible by the help of 1481 Backers on Kickstarter and the kind support of the Sigmund Freud Museum Vienna and the Freud Museum London. Thank you. All of Freud’s Manuscripts shown are © Sigmund Freud Museum Vienna. Poster Image: IN17 - Sigmund Freud, Germany 1932. © Freud Museum London. Flag Image: IN19 - Sigmund Freud 1930’s. © Freud Museum London.

Coming Together contains over 400 glyphs and is supplied as a single, cross-platform OpenType font. All glyphs are accessible using OpenType-savvy applications, Unicode-savvy utilities, the Character Map utility on Windows, and FontBook on Mac OS X. Nearly 400 designers contributed to “Coming Together”: Adam Humphries, Aditi Dilip, Adrien Midzic, Afraa Gutub, Al Insan Lashley, Alan Lima Coutinho, Alaric Garnier, Alejandro Cabrera Avila, Alejandro Lo Celso, Alejandro Paul, Alessandro Segalini, Alex Cameron, Alex Coblentz, Alexander Trubin, Alexandre Freitas, Alexey Murashko, Alicia Jabin, Aline Horta, Allison Dominguez, Amanda Postle, Amy Brown, Amy Papaelias, Anderson Maschio, Andrea Emery, Andres Perez, Andrew Boardman, Andrew Jesernig, Andrey Furlan, Andrij Shevchenko, Ann Tripepi, Antonio Gutierrez, Antony Kitson, Anushree Kapoor, Anya Cam, AP303 Estudio Design, Becky Krohe, Beejay, Ben Mitchell, Benjamin K. Shown, Benjamin Varin, Brad McNally, Brad Nelson, Bradley Trinnaman, Brady Baltezore, Brandon Horne, Breck Campbell, Brian J. Bonislawsky, Brian Jaramillo, Brian Jongseong Park, Brian Mueller, Brock French, Bruce Rodgers, Bruno Pugens, Bryan Angelo Lim, Buro Reng, Caitlin Martin-Frost, Calou, Carlos Fabián Camargo Guerrero, Carlos Vidal, Cayo Navarro, Cesar Puertas, Chank Diesel, Charles Williams, Chris Lozos, Chris Trude, Christophe Badani, Christy Lai, Claes Källarsson, Claire Coullon, Claudio Piccinini, Colby Cook, Craig Eliason, Cristina Pegnataro, Curve Doctor, Dan DiSorbo, Dan Liggins, Dan Rubin, Daniel Justi, Daniele Capo, Dav(id Hubner), Dave Bailey, Dave Cohen, David Jonathan Ross, David Sudweeks, David Thometz, Dawn Mercurio, Delve Withrington, Diana van de Blaak, Didier Mazellier, Diederik Corvers, Dino Santos, Dmytro Pobiedash, Donald Beekman, Dries Wiewauters, Duncan Bancroft, Ed Hoskin, Eddy Ymeri, Edineide Oliveira, Eduardo Manso, Eduardo Rodríguez Tunni, Eero Antturi, Eli Castellanos, Elias Bitencourt, Elias Stenalt Werner, Elman Padilla, Emery Miller, Emily Leong, Emily Maher, Enrico Limcaco, Eric Frisino, Eric Stine, Erik Brandt, Espen, Evan Moss, Evangeline Rupert, Fabiane Lima, Fabio Foncati, Fabrizio Schiavi, Farbod Kokabi, Felipe Lekich, Francisco Martin, Frank Riccio, Frans van Bellen, Gary Holmes, Gautam Rao, Gayle Hendricks, Gene Buban, Georg Herold-Wildfellner, George Aytoun, Gerd Wiescher, Giles Edwards, Gist Studio, Glen Barry, Glenn Parsons, Goro Mihok, Grace Engels, Grant Alexander, Grant Hutchinson, Greg Smith, Gunnar Swanson, Gustavo Machado, Hans Nieuwstraten, Harold Lohner, Hilary Salmon, Hillary Fayle, Hrant H Papazian, Hugo Gallipoli, Ian Drolet, Ian Lynam, Ilona Kincses, Isac Corrêa Rodrigues, Ivette Chacon, Ivo Federspiel, Jacques Le Bailly, Jae-hyoung Choi, Jaime Vasquez, James Edmondson, James Grieshaber, James L. Stirling, James Lukens-Gable, James Martin, James Ockelford, James Puckett, Jarbas Gomes, Jarett Knuth, Jason Adam, Jason Robinson, Javier Suzuki, Jay Chu, Jayson Zaleski, Jean Francois Porchez, Jeff Fisher, Jeff Jarvis, Jeffrey Vanlerberghe, Jelmar Geertsma, Jennifer Clarke, Jennifer Rutherford, Jens Kutilek, Jerry Allen Rose, Jess Latham, Jesse Ragan, Jessica Page, Jesvin Yeo Puay Hwa, Jim Ford, Jim Lyles, Jim Rimmer, Jin Ping, Jo De Baerdemaeker, Joachim Muller-Lance, Joanna Abbott Moss, Joe Francis, Joe VanDerBos, Joel Vilas Boas (J85), John Downer, John Flanagan, John Foley, John Langdon, John Lopez, John Lyttle, John Skelton, Johnny Dib, Jonathan Hughes, Jonathan Pierini, Jos Buivenga, Jose Luis Coyotl Mixcoatl, Juan Acosta, Judd Crush, Judith Lee, Julie Johnson, Julie Oakley, Julie Thomas, Juliet Shen, Jumin Lee, Jurgen Weltin, Justin Callahan, Justin Chodzko, Karel Piska, Karen MacKay, Karin Eberhardt, Karin van Soest, Karla Perez, Katie Parry, Katie Snape, Katri Haycock, Katy Brooks, Kelley Garrard, Kelly Redling, Kent Lew, Kevin D’Souza, Kevin J. Boynton, Kevin McDermott, Kim Arispe, Kokin, Kristen Caston, Kristen Hartman, Kristian Möller, Kristians Šics, Kyle Jones, L Bollinger, Lan Huang, Larry Van Dyke, Laura Ricker, Laura Worthington, Laurel Wilson, LeAndrea James, Lijklema Design, Linda McNeil, Lise Barreto, Louie Crumbley, Louis Duchesne, Luke Dorny, Luke Stouffer, Madison Cramer, Måns Björkman, Marc Salinas Claret, Marcus Leis Allion, Marcus Parker, Marcus Sterz, Marie-Anne Verougstraete, Mark Simonson, Martin Majoor, Matheus Barbosa, Mathias Forslund, Matt Desmond, Matt McInerney, Matt Millette, Matthew Jerauld, Max Kisman, Michael Browers, Michael Bundscherer, Michael Cina, Michael Doret, Michael G. Adkins, Michael Hernan, Michael Paul Young, Michael Wallner, Miguel Catopodis, Mikael Engblom, Mike Jarboe, Mike Petschek, Miriam Martincic, Moira Sheehan, Monica Pedrique, Nacho Gallego, Naomi Atkinson, Natanael Gama, Nathanael Ng, Neil Fox, Neil Patel, Neil Summerour, Neil Woodyatt, Ngoc Ngo, Nguyen Pham, Nicholas Curtis, Nicole Hudson, Nicole Sowinski, Nicolien van der Keur, Nina Stössinger, Noah Scalin, Ojasvi Mohanty, Oleg Macujev, Olivia Choi, Ong Fang Zheng, Pata Macedo, Patrick Gallagher, Patrycja Zywert, Paul Hunt, Paul Langman, Pedro Moura, Pedro Paz, Per Ohlsson, PJ Onori, Premm Design Ltd, Rae Kaiser, Rafael Carozzi, Rafael Cordeiro, Rafael Neder, Randy Jones, Ray Larabie, Raymond Forbes, Ressa McCray, Ricardo Esteves, Ricardo Martins, Riccardo Sartori, Richard Kegler, Richard Miller, Rob Keller, Roballo, Rose Coplon, Roy Rub, Rudo van der Velden, Russell McGorman, Ryan Rushing, Ryan Thorpe, Sander Neijnens, Sara Cross, Scott Boms, Scott Fisk, Sergio Jimenez, Shi-Min Chin, Sílvio Gabriel Spannenberg, Soohyen Park, Sorin Bechira, Stanley Friesesk, Stefan Hattenbach, Stefan Kjartansson, Stephen Lay, Steve Harrison, Steve Marsh, Steve Matteson, Steve Mehallo, Steve Zelle, Steven Bonner, Steven Wulf, Stuart Brown, Stuart Ford, Stuart Sandler, Sue Zafarana, Sulekha Rajkumar, Susan Surface, Tanya T Stroh, Taylor Loman, Ted Ullrich, Teja Ideja, Tena Letica, Terrance Weinzierl, Theo França, Thiago Martins, Tiffany Wardle, Tim Whalen, Titus Nemeth, Tom Plate, Tom Rickner, Tomato Košir, Tomi Haaparanta, Travis Kochel, Troy Leinster, Tyler Heron, Type Mafia, Vanessa Robertson, Veronika Burian, Victor Esteves, Victor Zuniga, Viktor Nübel, Viviana G, Wellinton Reis, Wilson Thomas, Wolfgang Homola, Xavier Dupre, Xerxes Irani, Zvika Rosenberg These designers represented the following countries: Argentina, Australia, Austria, Belgium, Brazil, Canada, Columbia, Croatia, Czech Republic, El Salvador, England, Finland, France, Germany, India, Ireland, Italy, Japan, Latvia, Lebanon, Mexico, New Zealand, Peru, Poland, Portugal, Scotland, Siberia, Singapore, Slovenia, Spain, Sweden, Switzerland, The Netherlands, Ukraine, United States, Venezuela, Vietnam

Hawkes is an extensive handmade typeface family that comes with a bundle of weights, widths and styles, all designed to work cohesively. Here is a breakdown of the Hawkes family. Hawkes Sans: The primary subfamily is a sans-serif typeface that includes nine fonts: three weights (light, medium and bold) and three widths (narrow, regular and wide). Within this set are an array of stylistic features; including small capitals, character style alternatives, discretionary ligatures and contextual alternatives. See details below for more information on OpenType Features. Hawkes Variable Width Sans: The secondary subfamily is the same base sans-serif fonts but combined in variating widths. Essentially, it takes all three widths of each weight and randomly mixes them together. This creates a funky and creative alternative to the more traditional sans-serif set. The variations are for the uppercase, lowercase, small capitals, ligatures and numbers. Hawkes Script: The last subfamily is the script typeface. It’s a quirky script with variations of its own, including ligatures, swashes and contextual alternatives (again, see below for further details.) The script font works great as a complimentary style to the sans-serif, or on it’s own. FEATURES Alright, let’s get into all the extra goodies this typeface has to offer. Small Capitals: Small caps are short capital letters designed to blend with lowercase text. These aren’t just capital letters just scaled down but designed to fit with the weight of both the lowercase and capitals. With Hawkes, small caps can either sit on the baseline (in line with the base of the capital and lowercase) or to be lifted to match the height of the capital letters by applying the discretionary ligature setting in the OpenType panel. These small capitals have a dot underlining them that sit along the baseline. The feature offers a unique display affect that is great for logos, titles and other headline needs. Discretionary Ligatures: A discretionary ligature is more decorative and unique combination than a standard ligature and can be applied at the users discretion (as the name indicates.) The specific styling for these ligatures varies for different fonts. With Hawkes, they are used as an all capital styling feature, or to lift the small capitals to align with the height of the capitals. In the former setting, both lowercase and uppercase letters are first changed to all capitals, then a specialized set of letter combinations are transitioned so small characters are positioned within a main capital letter. These combinations only happen with main characters that include an applicable stem, such as C F K L R T Y. Some of these combinations include two or three characters. When Small Caps is turned ‘on’, this feature will lift the small caps to the height of the capital letter. For more information, please check out the user guide! Stylistic Alternatives: Stylistic alternates are a secondary form of a character, often used to enhance the look or style of a font. For Hawkes, these alternatives provide a slightly more handmade feel. A - the capital and small capital A will lose its pointed apex and become rounded. Think of it more as an upside-down U than an up-side-down V ;-) Oo, G, Ss, Cc- these characters’ topmost terminal becomes a loop. The O is applied automatically, the G S and C need to be turn on individually. Titling Alternatives: This feature does sort of the opposite of what it intends. Instead of being used for titling purposes, this feature makes the text look better in paragraph text settings. Kk Rr h n m - curved terminals on the are straightened e - the counter stroke also gets straightened from a more looping motion y - the shape of y is changed from a rounded character to a sharper apex (think more like a ‘v’ than ‘u’) Contextual Alternatives: Contextual alternates are glyphs designed to work within context of other adjacent glyphs. With Hawkes Sans, there are three slightly different variations per character. The feature rotates the application of each variation. This helps with organic authenticity, so if you have two e’s next to each other, they won’t look identical (reflecting the natural variations in handwriting and lettering.) With Hawkes Variable width fonts, I have created a contextual pattern that randomizes the widths of each character. So, when the feature is turned ‘on’ in the OpenType panel, the widths would alternate in a pattern such as: Narrow, Wide, Regular, Narrow, Regular Wide, Narrow, etc. It happens automatically so the user doesn’t have to think or worry about getting a random seed. With Hawkes Script, contextual alternates allow strokes to connect properly from one character to the next while maintaining a believable, natural flow. Connecting strokes are present for two letters next to each other but are replaced by a shorter stroke when located at the end of a word or sentence. Some characters have in-strokes when located at the start of a word. When a character is preceded by a capital letter that doesn’t connect, it too needs an in-stroke or altered spacing. This feature is complicated and messy, but luckily you don’t really have to think about it! I’ve done all the coding so all you have to do is turn ‘on’ the feature in the OpenType panel and you are off to the races! I’m just letting you know what’s happening behind the scenes. Swashes: These are just for Hawkes Script and provide tail swashes to the start and ends of letters. There are three different options. You can pick the basic option by turning ‘on’ the swash feature in the OpenType panel, or you can pick using the Glyph panel. Stylistic Sets: This feature work in new versions of Illustrator CC and InDesign CC. You can pick specific styling sets instead of turning on an entire feature. For example, let’s say you want to have a loopy S, but not a loopy C or O, you can just turn on the S in the Style Set. It also helps create the little drop box that pops up when you hover over a character, showing you the alternates associated with that character. This makes it easy to pick and choose specific styles you want in a word or headline. ---------- And there it is folks! That’s all the basic info on Hawkes, I know it’s been a lot and I appreciate you hanging on. If you are like me and need more of a visual reference to accessing all these goodies, I’ve made a user guide to help navigate Hawkes and everything it has to offer. Altogether this extensive family boasts 14 total fonts in a wide array of styles, weights and widths, making it a great addition to any handmade type collection. Enjoy!