Buddy is the new companion sans for Contenu, the book font family designed for my book on font design design. Originally, I called it Compagnon, but that seemed to pompous. Then I called it Aide, but that was too formal and dry. It's a loose, free, easy to read sans, so when my wife suggested Buddy, it clicked. This is the 4-font Buddy family of Regular, Italic, Bold, & Bold Italic. I made a new, more limited feature set for these fonts due to their designed usage, but there are still small caps, small cap figures, oldstyle figures, numerators, and denominators. The bold is closer to a black, and the italics are only slightly slanted obliques. If you need a strong black in caps, use the small caps of the bold.

Harpert Script is inspired by retro design and hand lettering styles. I've made every single curve to have a ton of personality. I hope this can inspire you in your work! It contains a very bouncy baseline. Ideal for logos, handwritten quotes, product packaging, header, poster, merchandise, social media & greeting cards. Features: - Basic Latin A-Z and a-z - Numbers - Symbols - Stylistic Set - Ligature - PUA Encode - Multilanguage Support To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. There are additional ways to access alternates, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). If you have any questions, don't hesitate to contact me by email ijemrealmad54@gmail.com :)

This family is a compilation created from a Garamond set in use in Paris circa 1651, but similar to those, eroded and tired, that were in use during centuries to print cheap publications, as well as in Europe than in America, and from a large choice of printed symbols—all specially redrawn—used for alchemical, pharmaceutical and astrological books, covering 1550 to late 1800s period. Each alphabet is doubled by a slightly different one, and a special OTF encoding allows to give an irregular effect with never the same twin letters in a single word. The Normal style is enriched by small caps, and the Italic style by Swashes. A lot of symbols, too, are given twice with differences. This font may be used with our calendar specialized 1689 Almanach.

What does a 1932 movie about a love affair between a circus' trapeze artist and a sideshow "little person" have to do with the 1960s counter-culture? They both share some commonalities. The title card for Tod Browning's "Freaks" inspired the lettering design for Hippie Freak JNL. It's in a retro style that was embraced by the youth movement that had its epicenter in the Haight-Ashbury district of San Francisco. Circus performers with birth defect abnormalities were displayed in what was referred to as "freak shows"; while young men with long hair and beards who sought peace, love and an end to the war in Vietnam were commonly referred to as "hippie freaks". As the saying goes "the more things change, the more they stay the same".

It all started with the letter S. I drew it, I liked it, I based a font around it! This is Pickled Limes, a tall and narrow single-case font. It's built clean from the ground up, for ultra-sharp lines and corners, as well as super-smooth curves. The slightly flared ends and quirky character mix make this font a ton of fun to use on its own, but it will also pair well with tons of hand-written styles! I've branched out on this one; in addition to over 300 Extended Latin characters, I've also included Unicode's 256 Cyrillic and 121 Greek characters for even more language support. Add in the 90+ alternates, ligatures, and catchwords, and Pickled Limes clocks in at just over 1000 characters. I hope you enjoy using my tasty Pickled Limes for your branding project, logo, crafting work, or design project. Happy fonting, MyFonts fans! :)

5th Avenue is a brand new fancy font with tons of alternative characters, ornaments, multilingual support and unique ligatures. This family is inspired by some of the edgiest looks from the modern luxury fashion. 5th Avenue can impress us with its Classical Style by accessing tons of alternative letters in OpenType Features. You can also enhance its elegance simply by adjusting the spacing between the letters. 5th Avenue is very versatile and perfect for branding projects, logos, magazine imagery, wedding invitations, posters, clothing, packaging, website headers, or simply as a stylish text overlays to any background image. Language support for 27 languages: Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portugese, Slovak, Slovenian, Spanisch, Swedish, Turkish, Zulu Follow my shop for upcoming updates & freebies. Any questions? feel free to send me a message.

Trade Gothic inline is a quirky display companion for Trade Gothic Next, offering five different voices, and a whole lot of personality. The lighter weights are graceful and elegant, embracing negative space to give the sense that the letters are halfway to disappearing. Designer Lynne Yun has incised the darker weights with a super thin inline that emphasises the heaviness of the letters, and creates a reassuring chunkiness. “If I kept the inlines the same, it created a lot of visual noise,” explains Yun. “I wanted each weight to be different enough, so in the end the weight and width of the letters was increasing and decreasing in size, and the inlines were too. The black is almost like an extra black, because the inline is smaller. It's about trying to have different voices for each weight.” Trade Gothic Inline is available in five weights, from light to black.

Start good day for new font! present to you, Bright! Bright is a stylish font It has both modern and retro look - clear, modern and fun. Helps to create layout design in 60s or 70s design projects. This font have more than 50 unique alternate and ligature that to give your logo,business card and another project to a unique vintage look. It has Italic version too so what a perfect vintage font! What's you get? Unique letterforms Works on PC & Mac Simple Installations Accessible in the Adobe Illustrator, Adobe Photoshop, Microsoft Word even work on Canva! PUA Encoded Characters Fully accessible without additional design software. I really hope you'll get pleasure using Bright font and it will be perfect addition to your font collection! If you have some questions, please write me a letter! Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/

First off, Slivowitz is written with a v (SlivoVitz), rather than a w, but I liked it better with a w. Slivowitz is a plum brandy from Eastern Europe. My father used to be an international truck driver and he often had to go to Eastern Europe. He took all kinds of ‘western’ goods with him to give away (plastic bags, beer, cigarettes - remember, Eastern Europe at the time was still communist!). He always came back with bottles of Slivowitz. I never tasted it, as I was too young, but I liked the name and I decided to name this font after a fond memory! Slivowitz is an easy-going handwritten script font - it looks good on fashion items, book covers and fancy magazines, but greeting cards will look just as great. Comes with a bunch of ligatures, alternates and a whole lotta diacritics!

BigStripesMono is another typeface family from IngrimayneType that explores the possibilities of alternating letters sets. The family is monospaced with four fonts: a base or solid style, an outlined style, and two styles in which each character is cut diagonally and the halves are separated to form two characters. These split styles are not designed to be used alone but layered with the base style, outlined style, or both to form colorful lettering with an unusual striped appearance. The stripe is not apparent in single letters but only in words or lines of text. For best results use an application that supports the OpenType feature Contextual Alternatives (calt) to alternate the letters of the split styles. The four styles can be combined in several ways to create unusual lettering appropriate for titles, headlines, and similar uses. And if one wants a bold, monospaced, sans-serif face, BigStripesMono has that too.

There's an appealing quirkiness about Amrys, which offers a confidently unusual alternative to more conventional designs. Its charm lies in its tapering tips, flexing stems, and unexpected notches, which combine to suggest something of the chiseller's tool at work. As a modulated serif, its letter shapes live between serif and sans serif, lending the design a sense of pleasing irregularity – something that's really highlighted at larger sizes. However this is also a typeface that works for text, injecting rhythm and texture into reading. “It's distinctive, idiosyncratic, and weird,” says its designer, Ben Jones. He started designing Amrys while studying an MA at Reading University, creating it in response to a brief for a magazine typeface. Amrys features an extensive and impressive character set. In addition to Latin, Amrys covers several scripts including Cyrillic, Greek, Arabic and Armenian. The family consists of 8 weights, from Light to Black, with matching italics.

ITC Flora is the work of Dutch designer Gerard Unger, and is named for his daughter. He started by doing calligraphy experiments with felt-tip and ballpoint pens, and developed these drawings into a formalized script typeface. Swiss typographer Max Caflisch advised the Dr.-Ing Rudolf Hell GmbH technology firm to add a new round-nibbed script face to their Digiset type library, and in 1984, Flora was released by Hell. Unger used a chancery cursive skeleton in this design, which imparts grace and movement. Flora was also intentionally designed to be simple and sturdy, and with its minimal variation in thick/thin stroke ratio, it worked well on the early digital typesetting machines. In 1989, the International Typeface Corporation released the font. ITC Flora continues to work well on current printers and typesetters, and it has an enduring popularity for uses that range from short text passages to display headlines.

This font is an adaptation of the cyprus syllabic script to a Latin-based font. I tried to assign as many correct letters as possible, but there were too many characters so I had to fit them. Please review the alphabet table of Cypriot syllabic to use the Font. To see all the characters, you can see all the characters and add them to the text by selecting this font from the add character section on the word page. Cypriot syllabary The Cypriot syllabary was used in Cyprus from about 1500 and 300 BC and is thought to have developed from the Linear A. The earliest known inscriptions from between 1500 and 1200 BC are in an unknown language called 'Eteo-Cypriot', or 'True Cypriot', and the script in which they are written is called Cypro-Minoan. From around 1200 BC Cyprus began to be colonised by Mycenaean, Minoan and possibly Cretan Greek settlers, and they probably adapted the existing script to write their own language - the oldest known inscription in Greek dates from the 11th century BC. Cypriot Greek had much in common with Greek dialects of Arcadia and Pamphylia, which corresponds to the province of Antalya in Turkey.

In a not-too-distant future, humanity was ruled by a powerful, technologically advanced empire known as the Synod. The Synod controlled all forms of communication, and through this, they controlled the minds of the people. But a small group of rebels, known as the Resistance, had managed to evade the Synod's surveillance and formed a secret underground movement. They were determined to overthrow the Synod and restore freedom to the people. One of the Resistance's key members was a young artist named Trystån. He had a unique talent for creating powerful, visually striking posters that captured the spirit of the Resistance's message and spread it to the masses. Trystån had just completed a new poster, one that would be critical to the Resistance's plans. It depicted a single, outstretched hand holding a traditional Kimarii laser staff, with the words "Libertat!" emblazoned across the top. The poster featured a striking and powerful font that perfectly captured the spirit of the Resistance's message. The font was a combination of bold lines, elegant confident curves, and strong angles, giving it a sense of strength and determination. The lettering was large and prominent, filling up much of the poster, making it hard to miss. The letters seemed to be almost carved into the surface, giving the impression of something that was permanent and unshakable. The font was colored in dark shades, and was a sans serif typeface, that gives the message a very modern and current feel yet also feels vintage and retro, connecting the present with the struggles of the past. And with multilingual support, the typeface ensured that the message of the Resistance could be disseminated in every language on the planet. The background was minimalistic and in contrast, with a neutral palette, with just a hint of a sand-like color, representing the harsh conditions of the land that the people were fighting for their rights. The focus was all on the lettering, and how it conveyed the message. The poster was indeed a moving piece of graphic design, with its strong, striking font, and powerful imagery. It was clear that Trystån had put a lot of thought and care into its design. The poster, he hoped, would connect with people on an emotional level and inspire them to rise up against the oppression of the Synod Empire. The poster was set to be distributed at a major rally in the capital, where the Resistance was hoping to gain the support of thousands of citizens. But the Synod was not about to let this happen. They had long suspected the existence of the Resistance and had been working to infiltrate their ranks and discover their plans. The night before the rally, the Synod launched a surprise raid on the Resistance's hideout, capturing Trystån and several other members of the Resistance. Trystån was thrown into sand pits and interrogated by the Synod's top agents. They wanted to know everything about the Resistance's plans, including the details of the poster and the rally. Trystån, knowing the importance of the poster, refused to give in, even under the harshest of conditions. Meanwhile, the rally was drawing near, and the Resistance was desperate to get the poster out to the public. They knew that it was their only hope of gaining the support they needed to overthrow the Synod. They came up with a plan to smuggle the poster out of the hideout, but it would be a risky endeavor. As the rally began, the Resistance made their move, slipping the poster into the hands of the crowd. Trystån's poster had made a big impact in the rallies, and soon it became the symbol of hope for the resistance, and the visual representation of their struggle for freedom. The poster had become the catalyst for the revolution, and it would be remembered for many years to come as the symbol of the fight for freedom and democracy. The image of the outstretched hand holding the Kimarii laser staff struck a chord with the people, and they began to rise up against the Synod's oppression. Trystån, still locked away in the sand pits behind a stasis feild, could only imagine the scene unfolding outside. But he knew that his work had helped to spark a revolution, and he felt a sense of pride and accomplishment. The Resistance, with the help of the rally, was able to overthrow the empire, and Trystån was released, celebrated as a hero and hailed as the artist who helped to bring about the new era of freedom and democracy. The poster Trystån had designed had become the symbol of a new era, and it would hang in museums and public places as a reminder of the power of resistance and art, in the face of oppression. Features: regular and light weights numbers and punctuation multilingual characters

The Bruce Foundry in New York gave this Italian Clarendon the catchy name of Ornamented No. 1529. The original had a top right white shadow which we eliminated. Additionally we improved the color of several of the characters.

It's tall, legible and handmade - and on top of that, charming as heck! Each letter has rounded corners, which leaves a pleasant and smooth look. Juicebash is legible, even at very small sizes and it has multilingual support

Morris Fuller Benton, the principal designer of the American Type Founders, designed Mariage in 1901. Mariage, which has been sold under a plethora of different names during the last century, is a blackletter typeface belonging to the Old English category. The term blackletter refers to typefaces that stem out of the historical printing traditions of northern Europe. These letters, called gebrochene Schriften, or "broken type" in German, are normally elaborately bent and distorted. Their forms often print large amounts of ink upon the page, creating text that leaves a heavy, black impression. The Old English style is a subset of blackletter type that dates back to 1498, when Wynken de Worde introduced textura style printing to England. Continental printers had been printing with textura style letters since Gutenberg's invention of the printing press fifty years earlier. Italian printers stopped using them around 1470. For northern Europeans, texturas remained the most popular form of typeface design until the invention of the fraktur style in Nuremberg. Mariage is heavily classicized sort of Old English type. During the Victorian era, designers admired the Middle Ages for its chivalric, community-based values and its pre-industrial lifestyle. Yet they also found the basic medieval textura letterform too difficult to read by present standards. They desired to modernize this old style. Today, this sort of update is often referred to not as "modernization" but as classicism. Benton's design for ATF builds upon earlier Victorian classicist interpretations of Old English/textura letters. For an example of what these Victorian designs looked like, check out the popular 1990 revival of the genre, Old English . Old English style types often appear drastically different from other blackletters. For contrast, compare Mariage to a classical German fraktur design, Fette Fraktur , a schwabacher style face, or the popular early 20th Century calligraphic gothic from Linotype, Wilhelm Klingspor Gotisch . Especially in the United States, classicist Old English typefaces are thought to espouse tradition and journalistic integrity. These features, together with the inherent, complex beauty of Mariage's forms, make this typeface a perfect choice for certificates, awards, and newsletter mastheads.

Cooper Goodtime is a font based on the lettering used on the CBS-TV variety series The Glen Campbell Goodtime Hour (1969-1972). The name pays tribute to its two origins, the other being Cooper Black. It was never an actual complete font set on the TV show, only a limited number of handmade letters, all upper case. It has lain dormant since the show went off the air in 1972. With this incarnation, a set of lower case letters has been created to complement the upper case letters. These lower case letters never existed before now. Cooper Goodtime is a funky, nostalgic, cool way to create a display, and it works surprisingly well in text sizes, too.

Are you ready for a scream? Gore Girl is your one-stop font for all the horror your heart desires. Inspired by teenage horror novels from the 90s, Gore Girl will keep you on the edge of your seat. Unleash your creativity and give your designs an unforgettable look with Gore Girl! Our Doubles Elimination feature is great for vintage posters, t-shirts, logos, and more - with menacing letterforms and spooky numbers that are sure to make a statement. Get ready to bring some horror to your designs - Gore Girl is here! Give your projects the splatter of life your fans love. Step into the darkness and show off your love for horror with Gore Girl today!

Nutcase is a perfect example of a font that principally designed itself. I created a hexagonal template (the most economical form in nature by the way) and took out the center to increase the decorative element. I played around with it, creating some pleasing characters at first but it soon became clear it would translate into a complete alphabet, so I set to work applying the idea to both upper and lower cases. It wasn't all straight forward though, avoiding awkward characters and retaining legibility took a little perseverance but it eventually paid off. I thought of this primarily as a decorative display face but having tested it out, found it reads surprisingly well as body copy too.

Mina Chic is fresh, elegant and sexy. She was raised by the french riviera sun, loves watching Nouvelle Vague films and adores french pop divas from the 60´s. She wants to be a star! Mina Chicis a new version of one of our most popular scripts,Mina. We added some expansion on the strokes reminding of a pointed nib pen writing and kept the long connections and smooth swashes to preserve the elegance and simplicity of that classic style. This typeface contains 515 glyphs, swashes, ligatures, alternates, final forms and initial forms and offers a wide range of flexibility with its many Opentype features! Mina Chic Extra has an extra thicker strokes who gives more weight to Mina.

Gilway is a playful, rounded display with tons of personality. This versatile typeface is inspired by the earliest examples of rounded types from the 19th century, such as Caslon Rounded (1836) and Schmale Runde Grotesk (1885). Gilway has a distinctive hand-lettered feel because of its subtle variances, which make it powerful and impactful yet incredibly friendly. Layered options allow you to combine the various styles, and a unique Opentype feature makes your letters dance! To take full advantage of Gilway's features, please download this one-sheet pdf file. Please take a look at this video demo to see Gilway family in action ! Gilway’s design is suited for a wide range of uses, including headlines, displays, packaging and logotypes.

Oh, Brush … beloved script emblem of plumbers, mechanics, bodegas, lunch counters, and other low-rent concerns. Since 1942, you have given faceless apartment buildings a name, brought life to the badges and banners of otherwise tedious trade conventions, and lent excitement to the postcards of middle America’s unsung travel destinations. We have seen so much of you … but not enough! We need more weights: how about five, extending beyond humdrum Medium? We want swash alternates, too, plus lively ligatures and sporty underline tails! Give us cleaner curves and smoother connections, but stay true to your frisky self! Like a nail salon that offers cucumber water, the new ATF Brush is one step classier than the rest.

Silver Lovely is a script that is both narrow and modern. It is slender, feminine and classy, while still maintaining a friendly feel. Silver Lovely is versatile and will work perfectly for fashion, e-commerce brands, trend blogs, wedding boutiques or any business that wants to appear upscale and chic. With its many different stylistic characters, Silver Lovely is perfect for creating original and functional designs. It has extensive language support and tons of ligatures, alternates, stylistic sets that add visual interest to every letter. The overall feel of the font is elegant, sophisticated with a touch of informal and it is ideal if you want to convey a sense of class and style. Thanks so much for looking.

Proudly Introducing ‘Royal Tropic‘ – An expressive, quick dry stroke, signature style brush script font. With multilingual support, ligatures, and an extra slanted style. Royal Tropic is great for when you want to grab attention, especially within print design; Packaging, branding, posters, book cover design, etc. The goal was to create a fast-flowing, legible script font with enough personality to take center stage and shine, and I think the end result has delivered exactly that! TIP: Through trial and error, I feel Royal Tropic works best with clean serif/sans-serif fonts. Any other 'handwritten' fonts can disturb the rough/clean contrast, taking with it some of the impact of your design.

Proudly present Klaristha is an elegant and beautiful serif family that consists of 4 weights from thin to bold. Klaristha is specially designed to make your typography design result looks more attractive with tons of ligatures characters and alternates characters. Klaristha also comes with ornaments that will support your creativity in creating design to make it look more stylish and fashionable. Klaristha is a versatile font for many designs projects such as logo design, branding, poster, magazines, labels, merchandise, invitation, presentation, advertising and so much more! If you need support or more information about this item, please contact me: ekahermawanputu@gmail.com Thank you very much.. I really hope you enjoy using it!

OKEFFE is a amazing serif font with beautiful ligatures, tons of alternative glyphs and multilingual support. It’s groovy, clean and unique with vintage fell. OKEFFE is very versatile font that works great in large and small sizes. Helps to create layout design in 60s or 70s design projects. Come with open type feature with a lot of alternates, its help you to make great lettering. OKEFFE best uses for heading headlines, cover, poster, logos, quotes, product packaging, merchandise, social media & greeting cards and many more. This font is also support multi language. To access the alternate glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw.

Got a pair of jeans that goes well with both party and casual living? A shirt that would fit well to a Hollywood movie premiere and would be suitable to pick up the kids from the kindergarten? If so, you know exactly what I mean, when I say that the Musty Scoot font is suitable for anything! Well, almost anything...maybe not that highway sign, or that security sign at the airport!!! But suitable for anything for children, toys, adventures, handcraft, invitation, restaurants, playgrounds, libraries...etc etc Each letter has 7 slightly different versions, which automatically cycles as you type. There is even a version of right/left sided arrow to choose from!

Wood Bonnet Antique No.7 is based on real vintage wood type blocks from Switzerland. The very distressed letters give a warm analogue vintage charm on printing. These kind of wood type letters were very common and often named by generic names like Roman, French or Antique followed by a catalog number. But these letters have some very quirky details hard to find else were. » pdf specimen « The font offers up to five glyph variations of all the Latin base letters, figures and some additional letters. An OpenType glyph-rotator is programmed to emulate the randomness of old school printing on live typing. All dingbats of the specimen file are included in the font data too.

The geometry of Paul Renner’s sans letterforms was tempered by optical correction to follow earlier typeface proportions, with capitals close to old-style forms, yet still retaining the spirit of the New Typography. His early experimental characters were included as alternatives in the sans which was to become the Futura released by Bauer in 1927–30. Unusually, old style figures also appeared in his early versions but they too were soon discarded. Foundry Architype Renner as a new four weight family has been developed from the original Renner Regular and Bold, created by The Foundry for the first Architype Collections in the early 1990s. This new family features the old style figures and the experimental elements.

Add some Y2K-inspired bubble typography to your designs with Wubberly! A fun, flowing, and irresistibly gloopy font set containing 2 sets of uppercase characters, as well as 50 swashes and shapes to compliment your bubble text. Whether your project needs a nostalgic pop or just something fun and eye-catching, it's an undeniably playful choice for display text, logo designs, product packaging, social media and more. Try applying your own 3D textures to it for extra wow factor—chrome, liquid, bubble, slime, the choice is yours! Wubberly contains language support for English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

Some scribbles on a bar napkin, a note from a cute girl passed in history class, what is there to say but why not a typeface? Actually it's that late night, �let's get this typeface done� madness that causes these flights of fancy. Anything to relieve the boredom of doing all those kerning pairs. Or maybe it's sunspots? Ms Kitty is all uppercase letterforms so there are two versions of each letter, one in the cap position, another in the lowercase position. Besides the regular weight and bold, there�s a bolder and much bolder in the works. And perhaps there will be a "too bold to be believed" version. Depends on the sunspots.

A Colporteur is a peddler of books, newspapers, and similar literature. When I was young, we often got visits from colporteurs - mostly they wanted to sell us a very expensive encyclopedia. I haven’t seen them for a while - the internet probably killed their trade, as there are numerous free encyclopedias out there. Colporteur font won’t try to sell you stuff - it basically sells itself. It is a jolly serif family of 6 styles plus a very useful doodle style full of arrows. Use it to sell your encyclopedia online, write a book and use if for the cover or create a ‘hunt the colporteur’ game. Comes with an encyclopedic knowledge of diacritics too!

It's been a while... more than three months we developed our brand new font. We call them "Meastro". Fun fact though, we want to call it "Maestro", but you know... we were afraid of the copyright thing. Meastro Script is a fun, bold, luscious, retro display script font. We crafted this font very carefully and make them very smoothly attach to each other. Especially, on the script version. You can see every character's tail beautifully connected one to another without using ligatures' help. This font takes full advantage of the Open Type format with several automatic ligatures that occur as you type for your preferred design. Moreover, the manual stylistic alternates allow you to choose the letters you prefer. Alternates occur automatically as you type in supported programs when you have "Ligatures" or "Stylistic Alternates" turned on. Meastro is Created with a ton of stylistic alternates, swashes, and ligatures, and also comes with layerable fonts to recreate the effect without uncomfortable overlaps of the extruded shadow effect. On this pro pack, you will also get the Meastro Display font! On this font you will meet the unique blocky and squared design, making your design feel classic and retro-like. Combine them and “boom”, you will be the “Maestro” of the vintage design! This retro typeface is perfect for logotypes, t-shirts, vintage badges, retro quotes, branding, packaging, posters, signboards, social media needs, etc. ——— Meastro features: A full set of uppercase and lowercase characters Layered Style Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +553 Total Glyphs (Script) +235 Total Glyphs (Display) +238 Stylistic Alternates +30 Ligatures +69 Swashes and more (Shiny and Graffiti Spray Effect Included!) ——— ⚠️To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe InDesign & CorelDraw X6-X7, Microsoft Word 2010, or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac), or a software program such as Pop Char (for Windows and Mac).

In the late 1930s, old Egyptiennes (or Italiennes) returned to the collective consciousness of European printers and type houses — perhaps because political news were front a centre, especially in France where Le Figaro newspaper was seeing record circulation numbers. In 1939 both Monotype and Lettergieterij Amsterdam thought of the same idea: Make a new typeface similar to the reverse stress slab shapes that make up the titles of newspapers like Le Figaro and Le Frondeur. Both foundries intended to call their new type Figaro. Monotype finished theirs first, so they ended up with the name, and their type was already published when Stefan Schlesinger finished his take for the Amsterdam foundry. Schlesinger’s type was renamed Hidalgo (Spanish for a lower nobleman, ‘son of something’) and published in 1940 as ‘a very happy variation on an old motif’. Although it wasn’t a commercial success at the time, it was well received and considered subtler and more refined than the similar types available, Figaro and Playbill. In the Second World War, the Germans banned the use of the type, and Hidalgo never really recovered. Upon closer inspection, Schlesinger’s work on Hidalgo was much more Euro-sophisticated and ahead of its time than the too-wooden cut of Figaro and the thick tightness of Playbill. It has a modern high contrast, a squarer skeleton, contour cuts that work similarly outside and inside, and airy and minimal solutions to the more complicated shapes like G, K, M, N, Q and W. It is also much more aware of, and more accommodating to, the picket-fence effect the thick top slabs create in setting. Basilio (named after the signing teacher in Mozart’s Figaro) is the digital revival and major expansion of Hidalgo. With nearly 600 glyphs, it boasts Pan-European language support (most Latin languages, as well as Cyrillic and Greek), and a few OpenType tricks that gel it all together to make a very useful design tool. Stefan Schlesigner was born in Vienna in 1896. He moved to the Netherlands in 1925, where he worked for Van Houten’s chocolate, Metz department store, printing firm Trio and many other clients. He died in the gas chambers of Auschwitz in 1944. Digital revivals and expansions of two of his other designs, Minuet and Serena, have also been published by Canada Type.

ATTENTION CUSTOMERS :) There's a new Selfie available, have a look here; Selfie Neue is better done and more complete in every aspect. However, you can stay here if you still prefer the classic version. -But first, let me take a Selfie!- said that girl of the song and almost all of you at least once this year. While some terms and actions get trendy, some font styles do it too. It wouldn't be crazy to combine these worlds, in fact it happens often. Selfie is a connected sans serif based in vintage signage scripts seen in Galerías of Buenos Aires. These places are, in general, very small shopping centres which pedestrians sometimes use as shortcuts to get to other parts of the city. Their dark corridors take you back in time, and all of a sudden you are surrounded by cassettes, piercings, and old fashioned cloth. For some reason, all these shops use monolined geometric scripts. Surely, neon strings are easier to manipulate when letterforms have simple shapes. My very first aim with Selfie was to make a font that would serve as a company to those self-shot pictures that have become so popular nowadays. However, the font turned into something more interesting: I realised it had enough potential to stand-alone. Selfie proves that geometry itself can be really attractive. In this font, elegance is not achieved with the already-known contrast between thicks and thins of calligraphy, but with the purity of form. Its curves were based in perfectly shaped circles which made the font easy to be used at different angles (some posters show it at a 24.7º angle) without having problems/deformities. In addition to its nice performance when used over photographs, the font can be a good option for packaging and wedding invitations. TIPS Adding some lights/shadows between letters will for sure catch the eye of the viewer: Words will look as if they were made with tape/strings; so trendy nowadays. Try using Selfie at a 24.7º angle so that the slanted strokes become perfectly vertical. Having the decorative ligatures feature (dlig) activated is a good option to see letters dance. TECHNICAL It is absolutely recommended to use this font with the standard ligatures feature (liga) activated. It makes letters ligate perfectly and also improves the space between words.

Raqmi Monoshape is a simplified version of the Raqmi font family with unified (non-varying) shapes. This font family supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It includes two weights: regular and light, each of which has normal and left-slanted Italic versions. The script design of this font family follows the Arabetics Mutamathil style utilizing varying x-heights. The Mutamathil type style utilizes only one glyph per Arabic Unicode character or letter, as defined by the Unicode Standards. Raqmi Monoshape includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph.

As in Victorian times, the precious, hand-lettered look of custom stationery is back in vogue. Enter Courtesy Script, an original creation by Alejandro Paul. Courtesy captures the elegance and propriety of finely practiced Spencerian penmanship, in particular the Zanerian school. Its lowercase is notably understated, a simple monoline with very wide connections that ease readability. In the capitals, Courtesy adds variety in both the weight of the strokes, and in degrees of flourish — from merely fancy to over-the-top engrossery. Based on an alphabet found in a 19th-century penmanship journal, Ale created hundreds of additional, stylistically complementary letterforms. Alternate capitals and lowercase letters, swashed lowercase forms, and ending and ornamental swashes; numerals, punctuation, and non-English and accented characters. With virtually endless ways to customize its use, Courtesy helps designers create fluid, signature looks on stationery and invitations, book covers, fashion layouts, and packaging.