Initiated as a project at Werkplaats Typographie, Dries Wiewauters. began exploring a stencil based system originally designed by Joseph A. David. In 1876 David acquired the patent for a system that he had invented for sign-writers. With a universal stencil, all UPPERCASE, lowercase, numbers, punctuation, accents etc could be sourced from the grid of the stencil. Dries used this stencil or Plaque Decoupee Universelle (PDU) and began an exploration into the liberties and restrictions of a unified grid. We are happy to now present this new release. The font itself has 2 cuts, regular (a filled version of the stencil), and outline (this cut staying true to the hand rendering via the stencil). Alongside these cuts are corresponding pattern cuts in outline and regular. Boasting a glyph count of 1578 for each cut of PDU, alongside 229 glyphs included in the patterns. The corresponding pattern is provided free with the purchased with the regular and outline cuts of PDU. PDU comes in OpenType format, with the following OpenType features: Ligatures, Discretionary Ligatures, Contextual Alternatives, Stylistic Sets, Contextual Swash, Case Sensitive Alternatives, Tabular & Proportional figures, Tabular & Proportional old-style figures, automatic fractions and extended Small-Caps support.

Raya is a vintage style font. This font was inspired by the 1920s advertising. Raya has several open type feature such as alternate stylistic, ligature, swash and all accented character,. You can access the open type features on mostly Adobe programs, such as Adobe Indesign, Adobe Illustrator, Adobe photoshop. etc. Raya is suitable for logo, t-shirt/apparel, badge, invitation, packaging, headline, poster, magazine, greeting card, and wedding invitation.

Adlery Pro is a brush typeface designed by Cosimo Lorenzo Pancini for display use. It has a handmade feel and it's optimized for maximum readability at medium sizes. The typeface comes in three styles: Basic, Swash and Blockletter Uppercase and has a double set of lowercase alphabets that alternate in writing, so that no double letters are the same.

Inspired by American sign painting, Acron is a dynamic brush typeface intended for bold usage in large sizes. The shapes were developed entirely by hand using brush and ink. The angle and radius described by the movements of hand and wrist, together with the tools used, define the angle, curve and direction of each stroke. The characteristic stroke is created by pressing the brush down firmly at the beginning of each stroke, so that the width of the stroke corresponds to the brush hair’s length from tip to stem. This leads to interesting details where strokes meet and curve, and an overall dynamic type face. Each glyph was digitized individually to maintain the irregularities that result in the fonts lively character. During this process the corners were sharpened to give it a more vigorous and active personality. Acron is an all caps typeface, with each glyph pair (Aa) being composed of distinguishable shapes.