Rogan: A Robust Modular Sans Rogans clean lines started out as an exercise in modularity and geometric forms. This initial construction approach was then adapted to improve the functionality of the family; Breaking away from the strictly modular system in exchange for more refinement and clarity. The resulting forms display a refined contemporary feeling alongside a hi- tech industrial element.

Viory is a versatile font family. There are 7 thicknesses that match the italic version. They will complement each other to support your design. Equipped with Stylistic Set, Discretionary Ligature and Alternative Character features. Viory has a smooth shape because the pressure on each curve has been adjusted to the ideal. The impression of an elegant and classic is in this family.

This steam era typeface, created by Gustav Schroeder in 1884, found popular use on soap box labels and tobacco tins during its initial release. Then, later, a successful and stout revival of Gustav's face, named Othello, was carried out by Morris Fuller Benton in 1934, and the typeface's appeal widened to include items such as broadside posters featuring Boris Karloff's Frankenstein. After metal gave way to film type, Gustav's creation experienced a brief fashion moment in the 1960's, but then disappeared entirely, never re-surfacing as a full digital typeface. With the release of Bathysphere, the typeface comes full circle, having been completely redrawn from scratch using Gustav's original specimens. The new extended language support establishes the typeface firmly in the modern era, while Bathysphere's refinement of subtle blunt corners restores a deep-sea grace to this iron giant.

Surfoid is a bold, soft, hazy, lazy and sleepy font-dude that is most happy under an umbrella at the beach holding a drink with an umbrella in the glass. It’s fun, fun, fun until daddy takes the T-Bird away because of the problems that too much fun creates. It’s a rounded off, a little blurry on the lazy edges and would never want to be a serif font. Serif is not the style of Surfoid. Dressed up and sophisticated, this font never wants to be in a suit and tie. Happy is to be in tie dye t-shirt…with its feet dug deep into the cool sand. This is a display headline font best seen at sizes greater than 36 points. It is a full glyph set with upper and lowercase forms. Very Stoked.

Footlight is a highly distinctive face which began life as an italic. The designer then went on to produce the roman weights. It is unusual to draw the italic version first but this was done to impose a calligraphic influence on the face, and the slightly hand drawn feel remains evident in FootlightÆs roman version. The Footlight font family is of considerable versatility and charm, its originality makes it the perfect choice for advertising and magazine typography.

Lualaba Snake is a bold display font, characterized by the snake-like decoration used in each letter. The design of the font was inspired by the legend of the Lualaba River in Central Africa. Snakes enjoy a special status in Africa, as they are reputed to be messengers of the ancestors, and are therefore good. Near the Lualaba river is a pool in which a big snake called Kabwe lives. Our ancestors are thought to communicate through this snake.

Chank created Zsazsa Galore as a fresh alternative to Mister Frisky, another jerky, hypercaffeinated interpretation of the traditional roman alphabet. The difference this time is that the new font has no descenders. Every letter comes to rest hard on the baseline. It sits there firmly rooted with branches wiggling around in the air. It was released as the Chank Font of the Month in October 1999 and it was named after Zsa Zsa Gabor because she is beautiful.

UUeirdie is weird. The Condensed-Light style was derived from the star-serifed font Asterx by replacing the star serifs with a rounded flare serif. Widening that style resulted in UUeirdie-Regular and the bold was then constructed to complement it. The warped version was a result of play with a font distortion program. Although the glyphs have sharp corners, they do not have straight lines. The UUeirdie faces are rough, irregular, and maybe a bit creepy.

The motivation for Jackipur was: to achieve more openness and thus more clarity. That's why I created more clarity in the structure of the letters in order to avoid formal ambiguities that arise especially with small degrees. I found it important to open up the round letters so that they are straight and horizontal along the center and baselines so that the eye can connect the letters directly and quickly. A simple font, but neither plain nor without elegance.

It can be tricky to find typefaces that can convey the feeling of personal warmth that comes from a handwritten note, custom brandings, special series of products, especially as we type more and more and write with a pen or pencil less and less. To add some more of that warmth to a font, I’ve made Ronet. A duo font based on the my handwriting. Double eponymous styles of the font —Ronet and Ronet Alternative— each have a unique flavor with its own rhythm and character. It can be used on branding designs, product labels, invitation cards, social purposes which is bloggers, influencers but they were capable of so much more, and I’m happy to share them for general use. Ronet has extraordinary alternative characters, that makes these fonts so impressive. These two styles have dynamic substitution, alternates, and beautiful kerning! Nevertheless, they each support an impressive range of languages using the Extended Latin alphabets and because they were designed to work well in a simple tool, a rare feature of these fonts is that they look just as good no matter where you use them. LOTS of writing, and then even more care once I developed and refined digital outlines from the samples. Ronet and Ronet Alternative each wrote pages and pages of letters to produce lots of examples for comparison and selection, in order to get the most authentic overall texture that captured the spirit of my left hand.. Ronet feels friendly and personal, like a neighbor or local shopkeeper who always seems happy to see you. This will perk up your social feeds in a snap. Start with Ronet and just add in your design to make it perfect. What started with a simple pen and paper has become a diverse and ever-expanding creative outlet that blends hand-drawn creativity with cutting-edge technology — and the end results are popping out everywhere, from advertising to design and decor to art and DIY.

The handwritten cursive by the famous Italian Casanova has inspired Petra Beiße to design a new script, the “Casanova Script Pro”, with a complement of over 1400 characters and symbols. “Petras Script”, the first digital script font created by the calligrapher Petra Beiße, has, for many years, met with worldwide success. Petra Beiße has resided for a long time in Wiesbaden, Germany, where she is working as a renowned calligrapher. It is rare that any of her scripts are transferred into digital format and sold worldwide as fonts. Because “Petras Script” became such a huge success, she decided to release this new design for digitization. Under the guidance of Günther Flake, Jessica Franke enlarged this font to contain over 1400 characters. Further information about Petra Beiße and her present workshops can be found under www.handlettering.de.

The handwritten cursive by the famous Italian Casanova has inspired Petra Beiße to design a new script, the “Casanova Script Pro”, with a complement of over 1400 characters and symbols. “Casanova Script Regular” is the basic version of this font with a reduced West-Layout. “Petras Script”, the first digital script font created by the calligrapher Petra Beiße, has, for many years, met with worldwide success. Petra Beiße has resided for a long time in Wiesbaden, Germany, where she is working as a renowned calligrapher. It is rare that any of her scripts are transferred into digital format and sold worldwide as fonts. Because “Petras Script” became such a huge success, she decided to release this new design for digitization. Further information about Petra Beiße and her present workshops can be found under www.handlettering.de.

Herr Pfister was a printer in the city of Bamberg Bavaria. He is known to have published nine works. And it has been contentiously argued that he printed the “36 line Bible.” He was responsible for two innovations. The first was printing in his native German language and the second was the use of woodblock prints to add illustrations to the text. These were both first with the use of movable type. He was heavily influenced by Gutenberg’s typefaces but there are a range of notable and also subtle differences between the two men’s output. He was known to be active in the industry from about 1460 to his death in 1466. This font was specifically based on his "Biblia Paperum."

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.

The script version of the typeface Viabella introduces us to the calligraphic side of the Berlin type designer and typographer Karl-Heinz Lange. The sketches for this script typeface, which resulted from the close cooperation with Veronika Elsner and Günther Flake, found their roots in sketch drawings which Karl-Heinz Lange had already drawn in the 1980’s. For the Viabella design, Karl-Heinz Lange drew the basic letterforms of the Black and Regular cuts with a brush. He then re-worked the drawings and transferred them on to tracing paper. The design studio Elsner+Flake in Hamburg cut these typeface extensions and later digitized them manually with the help of the IKARUS Sustem. With the Regular cut as a basis, Elsner+Flake extended the family with the Light version and interpolated and re-worked the Medium weight. The completion of the family was taken over by the type designer Björn Gogalla who had done the same kind of work on Rotola, a design which Karl-Heinz Lange had also created for Elsner+Flake. While Viabella was originally conceived as a headline typeface, its lighter weights can certainly be used for shorter text applications. The Black version creates powerful headlines with highly effective accents. With the help of swashes, which are available for all weights, the user can lighten up longer texts and add special character to titles. In contrast to pure headline fonts, Viabella has been enriched by an extensive complement of special characters. In addition to the Europa-Plus character set which allows setting type in over 70 latin-based languages, the user will find multiple versions of numerals as well as oldstyle figures, tabular and proportional lining figures, diagonal fractions, and a complete set of superior and inferior figures and fractions (60%). With such a rich character set, Viabella is not only ideal for many different uses in the areas of newspaper, magazine and advertising but it will surely be chosen for the design of greeting cards, invitations and other design projects within the privat sphere.

Obvia, a geohumanist type for all media. Obvia appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes - to be published soon - expanding its usability. The idea behind Obvia’s design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a ‘geohumanist’ tone to the font. This first family of Obvia has 9 weights ranging from Thin to Black with their respective italics, delivering a strong typographic identity, from the paper to the pixel.

Stripes is a caps only font and does not contain additional ligatures, because there is an easy way to create as many of them as you like. To form a ligature, convert your word or word string into vectors. Activate the corner points of the straight lines (not the round ones) of a letter and drag them over the next or the previous letter. This way you can create any ligature of your own. Beware of overkilling, it could decrease the legibility of your text. Besides the normal J, Stripes contains a stylistic alternate which should be used to avoid ugly gaps between critical letter pairs (see pdf document).

Although at first sight Mashine is a strict, "non-design" typeface, this display font is not as geometric as it seems. The use of serif-like terminals and unusual joints gives the design a unique look. This all-caps font provides stylistic alternates for most letters. If you type larger amounts of texts you should activate the Contextual Alternates OpenType feature to have the variants replaced automatically. By choosing best fitting letter pairs intelligently a fluid text composition is achieved. The fonts are provided in OpenType format. Each font contains 470 glyphs. Technically, they follow the Adobe Pro fonts and provide the same glyph set and OpenType functionality.

This font family has derived from a lettering creation for my wedding stationery. One of the most significant momentos for me and my wife Xana (hence the font name - Xanas Wedding). I hope this typography can give a touch of informal elegance and discreet beauty to your projects. There can be multiple applications, since this font is flexible enough to appear as a custom text or a variable, organic, handwritten work. Initial and final swashes: you select a letter (like "a" of xanas wedding inicial swash) and then you type the other letters, but with another font (like xanas wedding bride, for example). In the final of the phrase/name, you type "a" or "d" and select this final letter and switch the font for xanas wedding final swash.

Palestra - a modern sans serif font in four style : Regular, Italic, Bold and Bold italic. In this font, I can see many alternatives for the lowercase and most common ligatures that fit perfectly with this font style. This font can look more classic without serifs and more expressive with alternative substitutes, try to play with them and you will get the uniqueness in your project. All characters in this font are PUA-encoded.

Blackletter typefaces, also known as Gothic, Fraktur, or Old English, have been used in the headings and initial chapters of books. This style of typeface is recognizable by its dramatic thin and thick strokes, and in some fonts, the elaborate swirls on the serifs. Blackletter typefaces are based on early manuscript lettering and evolved in Western Europe from the mid twelfth century. They are best used for headings, logos, posters, and signs, as they are not easy to read in body texts. Blackletter was type that emulated the most common handwritten scripts of the era and was used for books of hours and initial chapters of books Brazilian type designer Paulo W created this font ideally suited for advertising and packaging, festive occasions, editorial and publishing, logo, branding and creative industries as well as poster and billboards. An elegant and clean typeface, with two harmonic blackletters styles, the bold lowercases with beaufitul ornamented initials. A classic decorative design around an antique theme: The headings of gothic texts, this font works great in display purposes. ENJOY

My daily challenge is how to get my kids out of bed, feed them breakfast, get them to dress, wash and pack their school bags and drop them off at school before the bell rings. The rest of the day, the challenge is to renovate our house, get my work done, pick up the kids from school (plus all of their friends, who want to come and play) and cook dinner. Of course, the word ‘challenge’ was misused by the internet. Not too long ago, there seemed to be and endless stream of crazy challenges that ended up hurting or even killing a few people. Daily Challenge font is none of the above: it is a clean cut, 100% handmade, all caps font. The only challenge here is how to adapt your design so it fits this font perfectly… ;-)

This classified version of Monkton, with its expanded proportions and extended serifs can be used at small sizes for classified advertising, newspaper text or larger displays. Its semi-medium weight (heavier than Book weight) makes it robust to be legible when smaller and cope with various printing methods. The inspiration for this typeface family came from my childhood experiences at Monkton, amidst an historic part of the South West of England. Studies of the original incised capitals of the Trajan column in Rome were analysed and polished for this modern version. The lower case letterforms and numerals were then created in sympathy, taking their proportions from the incised letters of local gravestones. Its name honours not only the area where the original alphabet was conceived and drawn, but also the people responsible for fostering my initial interest in letters.

The designer of ITC Medea , Silvio Napoleone said: “I've always had an interest in early letter shapes, particularly how they influenced modern typographic designs. While I was on vacation in Greece, I had a chance to see, first-hand, examples of early letterforms and typography. They really made an impression on me.” The idea of combining the ancient and the modern to create something new was the primary inspiration behind ITC Medea. ITC Medea is essentially a careful blending of the modern sans serif with the elegant forms of the uncial. At first glance, Medea appears to be constructed of geometric shapes. However, closer inspection reveals many calligraphic subtleties. Stroke terminals are flared slightly in characters like the 'e' and 'c.' The top curve of the 'd' is more pronounced than the bottom, and characters like the 'o' are elliptical rather than round. “I gravitated towards the simplicity and legibility of the uncial and half-uncial,” Napoleone recalls. “I thought it would make a great titling font, and I was surprised at how attractive ITC Medea looked in a body text.”

ITC Grimshaw Hand is based on the handwriting of its British designer, Phill Grimshaw. Warm and lively, this typeface has the look of spontaneous handwriting with a little extra panache. Note the jaunty k, the swooping f, the simply stylish s, and the absolutely zingy cap Q and R. Grimshaw designed this face in 1995, at a time when he was also playing the guitar and mandolin. Handwriting fonts give an air of intimacy to the graphic design of advertising pieces, packaging, invitations, greeting cards - and ITC Grimshaw Hand has the touch of sweet music in its enthusiastic strokes.

The chapbook Pen & Brush Lettering and Practical Alphabets, published by Blandford Press, Ltd., London, in 1929 averred that these letterforms suggested a lightface version of Neuland. And so they do, with the added bonus that this typeface, unlike its inspiration, includes lowercase characters.

Here's a new, softer take on the classic typeface Koralle, released by Schelter und Geisecke in 1913, and as fresh today as it was then. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

About family “SpathePro” Spathe(Sword) the guy… There are many versions of the expression spathe, some of them are: A guy who says things by name we say is a sword, is correct in explaining a situation or an event. Sometimes we say again that a woman is beautiful and has a body like a sword!! It is one of the four versions of the pack of cards for example "ace sword". We also say of someone that he won a case with his sword (his sword), with transparency and knowledge of the case. It is also one of the oldest weapons used by humans in wars, sometimes used by the defendants to resolve their differences or for reasons of honor. While even today it is an Olympic game as fencing. This is a font as sharp as a swordfish… This series is composed and includes ten fonts with 630 glyphs each, with true italics, true Sloping and supports of course: Latin, Greek & Cyrillic.

Giambattista is a long-time project of mine finally come to an end. After redesigning all of Giambattista Bodoni's work and then some additional cuts I started a long time ago with this Non-Bodoni Bodoni. The idea came to me while redesigning the original Chancellerosa (chancery). I thought Bodoni just didn't have the right approach to a chancery, this was just not his cup of tea! Maybe that is why he never used the Chancellerosa very much for his own printshop in Parma. So I thought someone has to design a script, that looks like Bodoni could have designed it but is more lively than his. Over the years I have been working on and off on the face and it turned out to become three typefaces which can be freely mixed. Here is my modern version of a script in the style of Giambattista, meant as an hommage, I called it Giambattista. Your modern scribe Gert Wiescher

Picture if you will, a balmy autumn evening in Manhattan during the 1930s and a well-dressed couple out on the town. They hail one of the hansom cabs located near Central Park and climb in for an old-fashioned romantic ride around the green. Such are the type of images the stylized Art Deco hand-lettering comprising Horse Drawn Carriage JNL evokes. The inspiration for this font was the title card for a 1935 Bette Davis feature entitled "The Girl from 10th Avenue".

Inspired by a find a coarse but decorative font was created. "Fundstueck" ist the German term for it. Fonts can be so simple. That is what I was thinking as my attention was turned to this rusty piece of metal. Only a few centimeters in size, I couldn’t imagine which purpose it might truly serve. But my eyes also saw an E, even a well-proportioned E: a width to height ratio of approximately 2/3, black and fine strokes with a 1/2 proportion — could I create more characters on this basis? Thought it, did it. The form is based on a 5mm unit. The strikingly thick middle stroke of E suggests that the emphasis is not necessarily placed on the typical stroke, and likewise with the other characters. But if the font is going to be somewhat legible, then you cannot leave out slanted strokes completely. Eventually I found enough varying solutions for all letters of the alphabet and figures. A font designed in this way doesn’t really have to be extremely legible, which is why I forwent creating lower case letters. Nevertheless, Fundstueck still contains some diverse forms in the layout of upper and lower case letters. Thus, the typeface is a bit richer in variety. By the way — the “lower” letters with accents and umlauts stay between the baseline and cap height. And with that, you get wonderful ribbon-type lines.

Is your character vibrating slightly or feeling shuddering feverishly, as if from fear or excitement? Is he or she a warm-blooded animal experiencing the early onset hypothermia? Is your protagonist experiencing a pleasurable sensation of anticipation or maybe he/she has a fragment or splinter of glass or stone in the tip of his/her finger. Any which way, Comicraft now has the font for you to effectively convey the way your characters are feeling to comic book readers everywhere... It'll be just like they're listening to a track by Coldplay while trying to shake off the flu in a haunted house. See the families related to Shiver: Shake.

Build your own board game! This unique font contains lots of bits and pieces to put together your very own custom board game. Print the backgrounds large on cardstock and use the blank die outline to createa custom die! This is a great creativity builder for kids – let them create their own game with their own rules! Alisha Peare of The Bubbly Blonde has come up with a great free synonym/antonym game to showcase some of the ways you can use this font. Download her excellent game for free here: http://www.teacherspayteachers.com/Product/Lost-Leprechaun-AntonymSynonym-Game-Board-FREEBIE

The Takhie Pro Multilingual Brush Font is a 100% hand-drawn decorative font with which you can achieve a handwritten-type lettering feeling. T This typeface is a multilingual lettering font with Greek (of course), Latin characters and diacritics. The style of the font is perfect for your modern graphic design needs. Also, the font has a really nice flow so you use it in a large text if you want to give them a touch of personality. In addition, this typeface can be used on social media content, for branding or packaging. Also, this font is perfect for crafting and invitations material.

This font looks like a natural gel pen handwriting. It supports both uppercase and lowercase Cyrillic and Latin alphabets, numeral, punctuation, symbols, currencies. The story of creating is short: I made a font that would support the concept of the website. And then it seemed to me that this font could have more uses, so I decided to share it. You can use it for any creative project, I’m not going to list examples not to limit you. I am sure that with this font you will convey the vibe you want. Just use imagination, and your masterpiece will look perfect)

The main inspiration is from Art Nouveau which flourished in Europe at the end of the 19th and beginning of the 20th centuries. This design included furniture (Majorelle, Lalique) and architecture (Victor Horta, Henry Van de Velde, Gaudi, Alfons Mucha). But Hector Guimard remains the favorite for all aspects of its art and, of course, its typefaces used on the Parisian Metropolitan posters. In particular, the various kerning of the various letters he used to make the poster a whole design from singular designs, leading to numerous variations. As a designer, I first worked with the individual glyphs Hector Guimard designed and I discovered that they vary constantly from a poster to another, depending on the overall result he was looking for. Another difficulty in transferring his design to printing is that there was no lower case. I was excited to create the whole font from the original designs of Hector Guimard, incorporating its variations and "crazy kerning". After several attempts, it appeared to be impossible to include all variations and I slightly moved to my own new design as a complete font, upper and lower case, with kerning. I voluntarily limited the ascenders and descenders to the usual typography so that it can be used from 10 / 12 points. This version can be used to edit letters and books in the context of Art, specially Art Nouveau and Art Deco of course, posters of any kind.

Type designers are crazy people. Not crazy in the sense that they think we are Napoleon, but in the sense that the sky can be falling, wars tearing the world apart, disasters splitting the very ground we walk on, plagues circling continents to pick victims randomly, yet we will still perform our ever optimistic task of making some little spot of the world more appealing to the human eye. We ought to be proud of ourselves, I believe. Optimism is hard to come by these days. Regardless of our own personal reasons for doing what we do, the very thing we do is in itself an act of optimism and belief in the inherent beauty that exists within humanity. As recently as ten years ago, I wouldn't have been able to choose the amazing obscure profession I now have, wouldn't have been able to be humbled by the history that falls into my hands and slides in front of my eyes every day, wouldn't have been able to live and work across previously impenetrable cultural lines as I do now, and wouldn't have been able to raise my glass of Malbeck wine to toast every type designer who was before me, is with me, and will be after me. As recently as ten years ago, I wouldn't have been able to mean these words as I wrote them: It’s a small world. Yes, it is a small world, and a wonderfully complex one too. With so much information drowning our senses by the minute, it has become difficult to find clear meaning in almost anything. Something throughout the day is bound to make us feel even smaller in this small world. Most of us find comfort in a routine. Some of us find extended families. But in the end we are all Eleanor Rigbys, lonely on the inside and waiting for a miracle to come. If a miracle can make the world small, another one can perhaps give us meaning. And sometimes a miracle happens for a split second, then gets buried until a crazy type designer finds it. I was on my honeymoon in New York City when I first stumbled upon the letters that eventually started this Affair. A simple, content tourist walking down the streets formerly unknown to me except through pop music and film references. Browsing the shops of the city that made Bob Dylan, Lou Reed, and a thousand other artists. Trying to chase away the tourist mentality, wondering what it would be like to actually live in the city of a billion tiny lights. Tourists don't go to libraries in foreign cities. So I walked into one. Two hours later I wasn't in New York anymore. I wasn't anywhere substantial. I was the crazy type designer at the apex of insanity. La La Land, alphabet heaven, curves and twirls and loops and swashes, ribbons and bows and naked letters. I'm probably not the very first person on this planet to be seduced into starting an Affair while on his honeymoon, but it is something to tease my better half about once in a while. To this day I can't decide if I actually found the worn book, or if the book itself called for me. Its spine was nothing special, sitting on a shelf, tightly flanked by similar spines on either side. Yet it was the only one I picked off that shelf. And I looked at only one page in it before walking to the photocopier and cheating it with an Argentine coin, since I didn't have the American quarter it wanted. That was the beginning. I am now writing this after the Affair is over. And it was an Affair to remember, to pull a phrase. Right now, long after I have drawn and digitized and tested this alphabet, and long after I saw what some of this generation’s type designers saw in it, I have the luxury to speculate on what Affair really is, what made me begin and finish it, what cultural expressions it has, and so on. But in all honesty it wasn't like that. Much like in my Ministry Script experience, I was a driven man, a lover walking the ledge, an infatuated student following the instructions of his teacher while seeing her as a perfect angel. I am not exaggerating when I say that the letters themselves told me how to extend them. I was exploited by an alphabet, and it felt great. Unlike my experience with Ministry Script, where the objective was to push the technology to its limits, this Affair felt like the most natural and casual sequence of processions in the world – my hand following the grid, the grid following what my hand had already done – a circle of creation contained in one square computer cell, then doing it all over again. By contrast, it was the lousiest feeling in the world when I finally reached the conclusion that the Affair was done. What would I do now? Would any commitment I make from now on constitute a betrayal of these past precious months? I'm largely over all that now, of course. I like to think I'm a better man now because of the experience. Affair is an enormous, intricately calligraphic OpenType font based on a 9x9 photocopy of a page from a 1950s lettering book. In any calligraphic font, the global parameters for developing the characters are usually quite volatile and hard to pin down, but in this case it was particularly difficult because the photocopy was too gray and the letters were of different sizes, very intertwined and scan-impossible. So finishing the first few characters in order to establish the global rhythm was quite a long process, after which the work became a unique soothing, numbing routine by which I will always remember this Affair. The result of all the work, at least to the eyes of this crazy designer, is 1950s American lettering with a very Argentine wrapper. My Affair is infused with the spirit of filete, dulce de leche, yerba mate, and Carlos Gardel. Upon finishing the font I was fortunate enough that a few of my colleagues, great type designers and probably much saner than I am, agreed to show me how they envision my Affair in action. The beauty they showed me makes me feel small and yearn for the world to be even smaller now – at least small enough so that my international colleagues and I can meet and exchange stories over a good parrilla. These people, whose kindness is very deserving of my gratitude, and whose beautiful art is very deserving of your appreciation, are in no particular order: Corey Holms, Mariano Lopez Hiriart, Xavier Dupré, Alejandro Ros, Rebecca Alaccari, Laura Meseguer, Neil Summerour, Eduardo Manso, and the Doma group. You can see how they envisioned using Affair in the section of this booklet entitled A Foreign Affair. The rest of this booklet contains all the obligatory technical details that should come with a font this massive. I hope this Affair can bring you as much peace and satisfaction as it brought me, and I hope it can help your imagination soar like mine did when I was doing my duty for beauty.