Inspired by the new color of the season, The Grumpy Lime is my take on a super playful, 100% handwritten font! It has over 75 ligatures and alternate letters so you can play with it and get the look you need. And whether you have a client that needs a new quote design, or a social media post, it’s perfect for you. Check out the photos I have prepared for you to see what you can do with it and happy creating! This font pack also includes full language support, punctuation, numerals and detailed instructions how to use alternate letters most of the apps on your computer, as well as in Canva. And it also comes in three versions: vintage, solid & outline! I invite you to check out the preview images, and I hope you will be immersed in my vision for this creative typeface that, I am sure, will work for all kinds of interesting projects you might be working on this year. If you end up publishing your designs on Instagram, tag me - @silverstagco and I will make sure to showcase your design and work to my audience as well! Grumpy Lime - Playful Ligature Font: TheGrumpyLime - Solid Playful Handwritten Font with over 75 Ligatures & Alternates TheGrumpyLime-Vintage - Vintage Playful Handwritten Font with over 75 Ligatures & Alternates TheGrumpyLime-Outline - Outline Playful Handwritten Font with over 75 Ligatures & Alternates Over 75 Ligatures & Alternates Numerals & Punctuation Language Support Web Font Kit is included as well Detailed instructions on how to use alternates in most of the apps on your computer as well for Canva Happy creating everyone!

Introducing "Aero Flux", the cyber mecha font that will take your designs to the next level. This font is designed with a perfect blend of modern and squared feel, giving it a unique and futuristic aesthetic that is perfect for a wide range of applications. The bold and sleek design of Aero Flux makes it an ideal choice for logos, headlines, and branding materials. It's all-caps design with punctuation, numerals, and foreign support allows for flexibility in creating unique and engaging visual designs. Aero Flux's squared feel makes it perfect for projects that require a strong and sturdy look, such as designing video game or movie titles, product packaging, or creating futuristic posters. This font's bold, industrial look is perfect for capturing the essence of the mecha genre, with its sharp angles and futuristic design. The squared feel of Aero Flux adds a sense of strength and solidity to your designs, making it the perfect choice for projects that require a bold, commanding look. Moreover, Aero Flux's industrial, mecha-modern design makes it the perfect font for creating digital interfaces and user interfaces (UIs), especially those that require a futuristic or high-tech feel. In summary, Aero Flux is a highly versatile font that is perfect for a wide range of applications, from logos and branding to digital interfaces and futuristic posters. With its modern, squared feel and unique design, Aero Flux is the perfect font to add a touch of futurism to your projects and captivate your audience. Aero Flux features: A full set of uppercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Cyber Mecha Style +246 Total Glyphs

This font has been described as "one of the cutest fonts I've ever seen. I can imagine a beautiful, young 22-year-old fashion design student from Los Angeles, CA with this handwriting as she's writing in her journal." I have cleaned it up a bit, increased the size of all the dots slightly and then designed all the diacritics and expanded the character set. The lowercase "f" has a big overhang and the lowercase "j" goes really far to the left - I have programmed automatic (OpenType) Contextual Alternate versions that automatically substitute with shorter variants when letters collide. These alternate letters can also be switched on using the OpenType palette's Stylistic Alternates or Stylistic set 01 ("j") and 02 ("f"). ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Poligon is a large family of geometric sans serif fonts. It is inspired by classic typefaces from the geometric-sans genre, like Futura and Avant Garde Gothic, whose shapes were constructed from circles and straight lines. Every character has been crafted to give it a distinct and individual feel. The family is an excellent choice for both corporate design and editorial design projects because of its range of weights, as well as its legibility in text. The typeface family ships in two different formats. Depending on your preference, you can install the typeface as two Variable Fonts or use the family’s eight static OpenType font files instead. Those weights run from Thin to Black. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Fonts have vastly greater control over the stroke width in their upright and italic texts. The weight axes in Poligon’s Variable Fonts allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. But even the static fonts satisfy the need for flexibility, creating harmonious variations of texture and emphasis. Despite their rigid geometry, the fonts have a playful air to them. That playfulness and uniqueness can be dialed up by applying stylistic alternates via the fonts’ four Stylistic Sets. The first of these replaces “G”, “M”, and “&” with alternate, more outgoing shapes. Stylistic Set 2 has an alternate “ß”; Stylistic Set 3 has a “Q” with a longer tail and another “G”. Stylistic Set 3 has alternates for “A”, “K“, “Q”, “R”, “S”, “Y”, and “Z”.

Genovaite Baroniene is former school teacher and a native of Lithuania who loves fancy letters. When she writes, she likes to add extra flourishes to her handwriting and printing. It simply appeals to her to do so. While living in the United States a few years ago and working in the health care field, she put pen to paper to provide a specimen of her writing from which a font could be developed. The process has taken longer than either of us expected. Now we are finally able to present Baroniene ML, a stylishly unique example of what we call Lithuanian Folk Baroque. Baroniene ML has a total of 362 glyphs, including the Unicode Latin Extended-A glyphs (0100 to 017F), covering the more widely-used Central European languages. To resolve the cedilla/undercomma conundrum, we have chosen to design a hybrid disconnected accent for use with C, G, K, L, N, R, S & T. We hope this solution is acceptable to users of Albanian, Catalan, French, Latvian, Portuguese, Romanian and Turkish. Baroniene ML also comes with four ligatures: gh, Th, th and Ch (167, 172, 177 and 181). Baroniene ML is certainly not the polished script of a professional calligrapher. It is very personal. The human source is still visible in its form. The letter spacing is uneven. Some of the curves are not quite perfect. In sum, the individuality has not been refined out of it. That is why it is so charming. If you want for a font that has a very different look, perhaps Baroniene ML is what you need.

The design of the typeface Moskau Grotesk and Moskau Pattern is based on the signage created for the Café Moskau in Berlin by the graphic artist Klaus Wittkugel in the beginning of the 1960s. The Café Moskau, across from the Kino International on Karl-Marx-Allee in Berlin Mitte was one of the prestige edifices of the former DDR (German Democratic Republic). Built in the early 1960s, it advanced over the years and changing social developments to a trademark building of the capital. The lettering display on the roof was created by the graphic artist Klaus Wittkugel (October 17, 1910 – September 19, 1985). He had been Professor at the School for Applied Arts in Berlin, and, in addition to the creation of many posters, book covers and postage stamps, he was responsible for the signage of the Kino International as well as for the complete graphic treatment for the Palace of the Republik. The signage for the Café Moskau with the words »RESTAURANT«, »CAFÉ«, »KONZERT« and »MOCKBA« set in capital letters, becomes the basis for the Moskau Grotesk which was developed by Björn Gogalla in 2013. This face should not be seen as an imitation. A few shortcomings were »fixed«. In favor of maintaining the core characteristics some unique features were, however, not relinquished. Lower case letters and the missing capital letters were designed from scratch. It is not surprising that the plain, unassuming geometrical direction of the basic character style forms a bridge to the architecture of the 1960s. Inspired by the then favored, diverse possibilities inherent in the architectural example and wall reliefs, two complimentary pattern fonts emerged.

One of the most widely used typefaces in the world is actually a legacy of 18th century aesthetics, representing the spirit of late Baroque design, architecture, fashion and society. It has been created and printed for millions of readers around the world for more than two and a half centuries. It influenced many modern typographers. It shaped culture, education, entertainment and science, but also the development of typography itself. As a calligrapher and technical innovator, Baskerville invented new design, papermaking and printing methods, and his typography is very natural and legible to this day. Graphic design today calls for clean and minimalistic solutions, where the use of historical typefaces can achieve a vivid contrast with contemporary elements on the page or screen. Baskerville is undoubtedly the best choice for any kind of publishing house. In keeping with the original inventor’s spirit of excellence, we hereby offer its most advanced digital version. This is not a precise remake of rare Baskerville prints or a restoration of the original punches cut by John Handy, but rather our ideal essence of transitional typography. The old masters were limited by the technology of the time, but today we can dare to have very fine lines, unlimited ligatures, size variations and sophisticated OpenType functions. Drawing, programming, proofing and testing took us many years of development and brought thousands of new letters and dozens of language options. We are convinced that your readers will enjoy this font mainly for reading extensive works, but also for creating corporate identity, orientation systems and cultural posters. Baskerville is perfectly modern in its antiquity, striking in its modesty and timeless in its transiency.

Introducing Gyoza - Font Family (4 Fonts) Gyoza - was designed in late 2022 and published on January 2023. The Typeface was inspired by the 90’s playful cartoons and comic books. This font comes with 4 weights; Regular, Semibold, Bold, and Black. Gyoza - available with the variable fonts in weights and the Ink Trap. With the regular style, you'll have the correct anatomy of the fonts. with the Ink Trap style, it added more extreme space on the Ink Trap. Gyoza - contains everything you need to create stunning typography – from headline fonts to body text fonts - all in one place. Whether you're starting out or you've been designing for years, Gyoza has everything you need. Can be used for modern and vintage designs, and also can be easily paired with some graphic elements (Illustration, Photography) this font is perfect for, Logotype, Branding, Title, and Packaging. So take your design skills up a notch and get started on some fresh new projects with Gyoza today! Similar Item: Gunydrops : LINK HERE Kelpo : LINK HERE Swipe : LINK HERE Replay : LINK HERE What you get : Gyoza Regular Gyoza Semibold Gyoza Bold Gyoza Black Features : Ligatures Instructions ( Access special characters, even in circuit design ) Letters, numbers, symbols, and punctuation No special software is required to use this typeface even work in Canva Multilingual Support Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Please contact us if you have any questions. Enjoy crafting and thanks for supporting us! Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/ Regards, Dharmas Studio

Listen to the rumbling roar of the mighty Kadonk! This barbaric typeface will strike fear into the hearts of your enemies with its brutal and spiky design. Its sharp edges and aggressive curves are as merciless as a battle cry. With Kadonk, you’ll never be held back by plain and repetitive characters. This savage typeface features unique letter pair ligatures that break up the monotony and give your words a ferocious edge. Incorporate Kadonk’s primordial, savage war cry into your messaging and let your audience know that you mean business. With its powerful presence and fierce spirit, Kadonk will help you dominate the battlefield of design. So, sound the drums of war and unleash the fury of Kadonk! 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.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. Please Note: these fonts include only the latin alphabet; no accented characters, no numbers or punctuation. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Luis Serra was born in Alicante. There he grew up and even started a family His life was there. But at the age of 35 he split up with his wife and decided to go to Barcelona in search of a new life. And it wasn’t easy for him. He had to turn his hand to all kinds of jobs and didn’t manage to find the stability he needed. Luis is a shy, retiring person who takes great pleasure in the little things in life such as walking in the mountains or celebrating the victories of his football team, Barça. After four years living in Barcelona, Luis found himself in a position he’d never imagined. “The street’s much worse now, there’s more trouble, there’s more tension,” says Luís. In the street he had to learn, as he always had, to move fast, to find a place to sleep and something to eat. Luís is one of those people who don’t let circumstances mould him, but adapts to them and always tries to do his best.

Hermann is one of our most readable typefaces so far. Since last year, the W Design team had been examining closely the possibility of developing a text font. Thus, we dug into concepts within some of our favorite novels, such as The Steppenwolf and Brave New World, written by Hermann Hesse and Aldous Huxley respectively. Ideas like duality, surrealism, and wildness mainly appeared. With these concepts in mind, we analyzed carefully the typefaces used in both Hesse’s and Huxley’s creations; Sabon and Garamond showed up catching our attention and, of course, awakening our admiration. Consequently, the challenge was to combine the key features of these fonts with the concepts already identified. At first, we made a text font which was suitable to compose long texts. However, we realized that we needed to refine some characteristics to convey all the ideas. A full set of capital discretionary ligatures was designed, which convert Hermann in a display font when is required. We also designed swashes (from A-Z) and final forms (in letters h, k, m, n, r and x in romans, and in letters a, d, e, h, i, l, m, n, r, t, u, x and z in italics), conveying more dynamism and versatility when it comes to composing visually. Hermann was designed not only to be accurate in terms of legibility but also to be wild and bold. That is why we took a big leap and designed from the beginning a font that is inspired by the world of 20th-century novels, using the name of one of its greatest exponents, Hermann Hesse.

From the beginning “Esmeralda” was born with a strong influence of the classical “capitalis monumentalis”, carved in stone. In the same way, the origin of this majuscule writing emerged from the brush, from a way of writing made merely by hand. For this reason, these two universes were intended to lie beneath the shape of each letter, redefining them. And this combination of styles should also be reflected in a lower case set that also allows to open up the spectrum of usage possibilities. Foundational calligraphy represented a solid base for the development of lower case glyphs, ensuring proper interaction with the upper case letters. “Esmeralda” features a great number of ligatures that mix classic structures with a more contemporary impression. With more than eleven hundred glyphs, it provides a multiplicity of uses across a wide combinatory of ligatures, alternative signs, initial caps, miscellaneous and connectors; each one of them accessible through Open Type. “Esmeralda” is perfect to speak with a classical yet fresh, modern – and a little bit bold – tone of voice. Designed by Guille Vizzari, together with the tough and remarkable work of Ale Paul, in use “Esmeralda” stands out in a subtle and unexpected way that’s almost unnoticeable. Its delicate yet solid curves, serifs and endings give each composition a fine, elegant and exquisite feeling, along with a firm and sturdy look. “Esmeralda” was initially born as a typographic project developed by Guillermo Vizzari – tutored by Ale Paul and Ana Sanfelippo – under completion of the Specialization in Typography Design at University of Buenos Aires, Argentina, during the years 2011 and 2012.

Offense is an unyielding rectangular slab-serif face designed with consistently balanced letterforms and a refined finish. It’s extremely angular geometric form commands attention in display settings, yet is also legible in short text blocks. Numerous alternate character sets allow room for customization, while the expanded ligatures push letter combinations to the limit. Stylistically, Offense’s almost crude, sharp-cornered construction is balanced by it’s sophisticated finish and attention to detail, often unrealized in similar faces of this genre. The upright weights are complimented by pairings of true italics, completely rebuilt, slightly narrower in width with modified letterforms, increasing their contrast and flow. Features include: Precision kerning Standard Ligatures set including 'f' ligatures (fi, fl, ff, fh, fj, ffl, ffi, ffj) Discretionary Ligatures set including (ft, rt, ae, oe, st, ft, ct, oc, oo, ry, AE, OE, AL, TH, HE, AK, AN, TT, HD, AM, AP, AR, NF, NE, NH, NL, NB, FL, ND, FE, AB, OB, OD, OF, OG, OH, OK, OL, OM, ON, OO, OP, OQ, OR, OU, AH, UE, UF, UB, UD, UH, UK, UL, UM, UN, UP, UR, UU, MP, XY, YX, KY, WY, VY, AF, FF, FI) Alternate characters (O, o, S, s, a, h circumflex, @, ®, ¶, $, &, _, and various ligature alternates) Case forms (shifts various punctuation marks up to a position that works better with all-capital sequences) Capital Spacing (globally adjusts inter-glyph spacing for all-capital text) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Italiano Fushion is part of an expanding project on which we have been working for several years and is the colors ersion of ITALIANO FUSHION. Starts from the study of the great Futurist adventure of the early 1900s by great artists such as DEPERO and MARINETTI, who twisted the world of typography with shapes and colors. Italian Fushion is made up of almost 2,000 glyphs for each weight and in addition to hundreds of alternatives mainly, such as initials and endings of each word but also different alternatives for the letters I, J, Y. Thanks to the characteristics of Open Type, you can change them in automatic many of the alternatives, use it as a simple text font by changing only the I's and J's that have the typical capital dot, and giving the text a more fun breath to the composition. Italiano Fushion is suitable for large texts and to get the most out of it it is compulsory to transform the text into UPPERCASE text using the tabs of graphic applications such as Illustrator, or activate the Alternavive tabs and the various options of SS. You just need do a sandwitch between the 1 ( on the top ) and the 2 ( on the bottom ), choose the 2 different color and you hae finished. by transforming them into traces you can enrich the interaction between the two levels with nuances of pleasure. If you would like to be above layer 2, you can make the text parts transparent without swashes. Ideal for creating Logos, Head Lines, Web Titles, Posters, Epub Covers, Tatoo Projects, T-Shirts, Drink Labels ...

Since the beginning, Palsam was intended to be a super multilingual family, with a real cursive Arabic companion, and a display cut. The typeface was designed to be used for setting text and titles of contemporary Arabic content, specially magazines, and websites. The Arabic and Latin scripts were designed at the same time, to make a true authentic bilingual typeface. Both scripts have affected each other in several ways through the entire design process, which happened within ten years. Palsam has an inviting, approachable, fashionable and humanist look. Thanks to its low contrast, open apertures, detailed calligraphic strokes, and smooth counters, which also make it easy to read at smaller sizes. The main highlight for Palsam was the Cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. Since the Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh. Moreover this script was used in margins, and to highlight specific content inside a paragraph in older manuscripts. With true cursive companions in five weights, and many opentype features, Palsam grants all the tools needed to set complex information and editorial designs applications. More than 1000 characters are included per weight, including small caps, fractions, old style and lining numbers, ligatures, contextual ligatures, and discretionary ligatures. It supports over 40 languages that use the Latin extended, as well as Arabic, Farsi, and Urdu Languages. PalsamArabic only covers the Arabic script. The latin script was designed in collaboration with the Slovenian type designer Alja Herlah.

The design of the typeface Moskau Grotesk is based on the signage created for the Café Moskau in Berlin by the graphic artist Klaus Wittkugel in the beginning of the 1960s. The Café Moskau, across from the Kino International on Karl-Marx-Allee in Berlin Mitte was one of the prestige edifices of the former DDR (German Democratic Republic). Built in the early 1960s, it advanced over the years and changing social developments to a trademark building of the capital. The lettering display on the roof was created by the graphic artist Klaus Wittkugel (October 17, 1910 – September 19, 1985). He had been Professor at the School for Applied Arts in Berlin, and, in addition to the creation of many posters, book covers and postage stamps, he was responsible for the signage of the Kino International as well as for the complete graphic treatment for the Palace of the Republik. The signage for the Café Moskau with the words »RESTAURANT«, »CAFÉ«, »KONZERT« and »MOCKBA« set in capital letters, becomes the basis for the Moskau Grotesk which was developed by Björn Gogalla in 2013. This face should not be seen as an imitation. A few shortcomings were »fixed«. In favor of maintaining the core characteristics some unique features were, however, not relinquished. Lower case letters and the missing capital letters were designed from scratch. It is not surprising that the plain, unassuming geometrical direction of the basic character style forms a bridge to the architecture of the 1960s. Inspired by the then favored, diverse possibilities inherent in the architectural example and wall reliefs, two complementary pattern fonts emerged.

Brailganta Script is the font of choice for writing things beyond words. This typeface is designed with great detail to convey stylish elegance. So, it can be said, the character of the transformation is very beautiful, a kind of classic ornamental copper script. The Brailganta script provides alternative variants of most fonts, binders, and many calligraphy tips, ideal for elegant labels, high-end packaging, stationery and compositions for certain brands, beautiful titles, verses, letters and short text, intended for read only with the eyes or meant to be whispered into someone's ear. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the font style set in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access the alternative/swash, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me by email Thank you for watching!

A friend of mine says that sports are the ultimate popular drug. One of his favorite things to say is, “The sun’s always shining on a game somewhere.” It’s hard to argue with that. But that perspective is now the privilege of a society where technology is so high and mighty that it all but shapes such perspectives. These days I can, if I so choose, subscribe to nothing but sports on over a hundred TV channels and a thousand browser bookmarks. But it wasn't always like that. When I was growing up, long before the super-commercialization of the sport, I and other kids spent more than every spare minute of our time memorizing the names and positions of players, collecting team shirts and paraphernalia, making up game scenarios, and just being our generation’s entirely devoted fans. Argentina is one of the nations most obsessed with sports, especially "fútbol" (or soccer to North Americans). The running American joke was that we're all born with a football. When the national team is playing a game, stores actually close their doors, and Buenos Aires looks like a ghost town. Even on the local level, River Plate, my favorite team where I grew up, didn't normally have to worry about empty seats in its home stadium, even though attendance is charged at a high premium. There are things our senses absorb when we are children, yet we don't notice them until much later on in life. A sport’s collage of aesthetics is one of those things. When I was a kid I loved the teams and players that I loved, but I never really stopped to think what solidified them in my memory and made them instantly recognizable to me. Now, thirty-some years later, and after having had the fortune to experience many cultures other than my own, I can safely deduce that a sport’s aesthetic depends on the local or national culture as much as it depends on the sport itself. And the way all that gets molded in a single team’s identity becomes so intricate it is difficult to see where each part comes from to shape the whole. Although “futbol” is still in my blood as an Argentinean, I'm old enough to afford a little cynicism about how extremely corporate most popular sports are. Of course, nothing can now take away the joy I got from football in my childhood and early teens. But over the past few years I've been trying to perceive the sport itself in a global context, even alongside other popular sports in different areas of the world. Being a type designer, I naturally focus in my comparisons on the alphabets used in designing different sports experiences. And from that I've come to a few conclusions about my own taste in sports aesthetic, some of which surprised me. I think I like the baseball and basketball aesthetic better than football, hockey, volleyball, tennis, golf, cricket, rugby, and other sports. This of course is a biased opinion. I'm a lettering guy, and hand lettering is seen much more in baseball and basketball. But there’s a bit more to it than that. Even though all sports can be reduced to a bare-bones series of purposes and goals to reach, the rules and arrangements of baseball and basketball, in spite of their obvious tempo differences, are more suited for overall artistic motion than other sports. So when an application of swashed handlettering is used as part of a team’s identity in baseball or basketball, it becomes a natural fit. The swashes can almost be visual representation of a basketball curving in the air on its way to the hoop, or a baseball on its way out of the park. This expression is invariably backed by and connected to bold, sleak lettering, representing the driving force and precision (arms, bat) behind the artistic motion. It’s a simple and natural connective analysis to a designer, but the normal naked eye still marvels inexplicably at the beauty of such logos and wordmarks. That analytical simplicity was the divining rod behind Fan Script. My own ambitious brief was to build a readable yet very artistic sports script that can be a perfect fit for baseball or basketball identities, but which can also be implemented for other sports. The result turned out to be quite beautiful to my eyes, and I hope you find it satisfactory in your own work. Sports scripts like this one are rooted in showcard lettering models from the late 19th and early 20th century, like Detroit’s lettering teacher C. Strong’s — the same models that continue to influence book designers and sign painters for more than a century now. So as you can see, American turn-of-the-century calligraphy and its long-term influences still remain a subject of fascination to me. This fascination has been the engine of most of my work, and it shows clearly in Fan Script. Fan Script is a lively heavy brush face suitable for sports identities. It includes a variety of swashes of different shapes, both connective and non-connective, and contains a whole range of letter alternates. Users of this font will find a lot of casual freedom in playing with different combinations - a freedom backed by a solid technological undercurrent, where OpenType features provide immediate and logical solutions to problems common to this kind of script. One final thing bears mentioning: After the font design and production were completed, it was surprisingly delightful for me to notice, in the testing stage, that my background as a packaging designer seems to have left a mark on the way the font works overall. The modern improvements I applied to the letter forms have managed to induce a somewhat retro packaging appearance to the totality of the typeface. So I expect Fan Script will be just as useful in packaging as it would be in sports identity, logotype and merchandizing. Ale Paul