Strange Times font family
4 OTF 4 TTF
4 OTF 4 TTF
DXAngelus Mediaval Font Family
DXAngelus Mediaval Font Family
OTF
The font DXAngelusMediaval was developed on the basis of the Angelus Mediaval font, which was issued by Russian type foundry from the beginning of the 20th century (type foundry of G. Bertgold, St. Petersburg and Moscow, before 1904). Probably, the font is a reworking of the DeVinne font (1892 (?), Designer Nicholas J. Werner) of the American Central Type Foundry.
OTF
The font DXAngelusMediaval was developed on the basis of the Angelus Mediaval font, which was issued by Russian type foundry from the beginning of the 20th century (type foundry of G. Bertgold, St. Petersburg and Moscow, before 1904). Probably, the font is a reworking of the DeVinne font (1892 (?), Designer Nicholas J. Werner) of the American Central Type Foundry.
Le Jeune Text Font Family
Le Jeune Text Font Family
10 OTF
Le Jeune Text is available in four weights, from Regular to a hefty Black weight, and is drawn for use at 16pt and below. Greg Gazdowicz has added a stencil version in each optical size, inspired by the famed Modern-style stencil letters found throughout France. In their default form, the ball terminals have been abstracted to simple circles; more tradition-minded designers will find a full set of ‘cut’ alternates available as well. Though the Le Jeune Text Stencils are not strictly intended to be used for running text, they offer interesting new possibilities for applications such as folios or even interface elements.
10 OTF
Le Jeune Text is available in four weights, from Regular to a hefty Black weight, and is drawn for use at 16pt and below. Greg Gazdowicz has added a stencil version in each optical size, inspired by the famed Modern-style stencil letters found throughout France. In their default form, the ball terminals have been abstracted to simple circles; more tradition-minded designers will find a full set of ‘cut’ alternates available as well. Though the Le Jeune Text Stencils are not strictly intended to be used for running text, they offer interesting new possibilities for applications such as folios or even interface elements.
Rigatoni Font Family
Rigatoni Font Family
12 OTF
Rigatoni is a didone display family with exceptional readability. Based on a German mid-century lettering specimen by Nerdinger, designer Alejandro Paul expanded the face into an extensive family, with 5 weights, italics, and a 2 weights stencil version. Its tall letterforms and sturdy serifs give it a noble bearing when set in all caps; in the lower case its large x-height and spacious counters imbue it with a welcoming tone. A plethora of alternate and swash characters let you create distinctive settings for identities, labels, titles, and headlines. Use the shorter ascender and descender variants for aesthetic effects, or to prevent collisions in tightly stacked text.
Since we've imagined Rigatoni being used for restaurants, menus, and food packaging, Sudtipos asked to designer Esteban Diacono to create some 3D visualizations. Ale’s type has never looked saucier!
12 OTF
Rigatoni is a didone display family with exceptional readability. Based on a German mid-century lettering specimen by Nerdinger, designer Alejandro Paul expanded the face into an extensive family, with 5 weights, italics, and a 2 weights stencil version. Its tall letterforms and sturdy serifs give it a noble bearing when set in all caps; in the lower case its large x-height and spacious counters imbue it with a welcoming tone. A plethora of alternate and swash characters let you create distinctive settings for identities, labels, titles, and headlines. Use the shorter ascender and descender variants for aesthetic effects, or to prevent collisions in tightly stacked text.
Since we've imagined Rigatoni being used for restaurants, menus, and food packaging, Sudtipos asked to designer Esteban Diacono to create some 3D visualizations. Ale’s type has never looked saucier!
London Font Family
London Font Family
London is a clean and mechanical serif font inspired, in part, by Edward Johnstone’s Underground alphabet. A contemporary design that evokes the past but also embraces the future. London is available in six weights and corresponding italics.
Carrig Pro Font Family
Carrig Pro Font Family
12 OTF
Carrig Pro is a refined and elegant serif. Classed as an Antiqua, Carrig Pro is borne from a hybrid of influences that range from early Roman inscriptions to type of the Pre-Modern era, giving Carrig Pro a distinctive character all of its own. Carrig Pro will appear instantly familiar and friendly and could well be the perfect typeface for designers seeking to convey a message with a distinctive and prestigious air.
Now a 12-font family, Carrig Pro (2017) is an extended version of Carrig (2015), it has been completely redrawn, revised and improved. Carrig Pro has many useful features for typographers to exploit, such as easily accessible small caps, discretionary ligatures, gadzooks and stylistic alternates, as well as a number of ornamental glyphs.
12 OTF
Carrig Pro is a refined and elegant serif. Classed as an Antiqua, Carrig Pro is borne from a hybrid of influences that range from early Roman inscriptions to type of the Pre-Modern era, giving Carrig Pro a distinctive character all of its own. Carrig Pro will appear instantly familiar and friendly and could well be the perfect typeface for designers seeking to convey a message with a distinctive and prestigious air.
Now a 12-font family, Carrig Pro (2017) is an extended version of Carrig (2015), it has been completely redrawn, revised and improved. Carrig Pro has many useful features for typographers to exploit, such as easily accessible small caps, discretionary ligatures, gadzooks and stylistic alternates, as well as a number of ornamental glyphs.
Bluu Next Font Family
Bluu Next Font Family
A bold serif typeface with a strong flavour by Jean-Baptiste Morizot.
A bold serif typeface with a strong flavour by Jean-Baptiste Morizot.
Filosofia Font Family
Filosofia Font Family
The Filosofia Regular family is designed for text applications. It is somewhat rugged with reduced contrast to withstand the reduction to text sizes. The Filosofia Grand family is intended for display applications and is therefore more delicate and refined. An additional variant, included in the Grand package, is a Unicase version which uses a single height for characters that are otherwise separated into upper and lower case. This is similar to Bradbury Thompson’s Alphabet 26, except that Thompson’s goal was to create a text alphabet free of such redundancies as the two different forms which represent the character “a” or “A”, whereas Filosofia Unicase does have stylistic variants to provide flexibility for headline use.
Shelley Script Font Family
Shelley Script Font Family
Matthew Carter’s revival of the hand of the early eighteenth century English writing master, George Shelley; the face is traditional, and is made in three degrees of flourish
Caponi Text Font Family
Caponi Text Font Family
10 OTF
While Caponi was initially designed for display use in Entertainment Weekly, the primary source was Bodoni’s text types, making the later addition of a text version a logical idea. Caponi Text is unusual among contemporary interpretations of Bodoni not just in focusing on Bodoni’s earliest work, but also in fully embracing the inconsistencies and unevenness of the source material. The warm, inviting tone of Caponi Text expands the notion of how a Bodoni can feel on the page. While preserving many eccentricities, it also make concessions to contemporary taste, so a more traditional lowercase s, with serifs rather than ball terminals, is available as an alternate.
10 OTF
While Caponi was initially designed for display use in Entertainment Weekly, the primary source was Bodoni’s text types, making the later addition of a text version a logical idea. Caponi Text is unusual among contemporary interpretations of Bodoni not just in focusing on Bodoni’s earliest work, but also in fully embracing the inconsistencies and unevenness of the source material. The warm, inviting tone of Caponi Text expands the notion of how a Bodoni can feel on the page. While preserving many eccentricities, it also make concessions to contemporary taste, so a more traditional lowercase s, with serifs rather than ball terminals, is available as an alternate.
Lyno Font Family
Lyno Font Family
4 OTF
Lyno was designed by Karl Nawrot and Radim Pesko between 2009 and 2012. It is available in four syles. The characters of Ulys(ses 31), Stan(ley Kubrick), Jean (Arp) and Walt (Disney) negotiate the digital freedoms of their production through playful typologies of form. They are open and various, and their spirit is this: to resist normative tendencies and to reject the idea of definitive form.
4 OTF
Lyno was designed by Karl Nawrot and Radim Pesko between 2009 and 2012. It is available in four syles. The characters of Ulys(ses 31), Stan(ley Kubrick), Jean (Arp) and Walt (Disney) negotiate the digital freedoms of their production through playful typologies of form. They are open and various, and their spirit is this: to resist normative tendencies and to reject the idea of definitive form.
FM Font Family
FM Font Family
14 TTF
A versatile slab serif face that combines modernity with timelessness, available in five weights with corresponding italics. An ideal font for editorial use that is suitable for all requirements; headlines, body copy, pull quotes and captions.
14 TTF
A versatile slab serif face that combines modernity with timelessness, available in five weights with corresponding italics. An ideal font for editorial use that is suitable for all requirements; headlines, body copy, pull quotes and captions.
Backspacer Font Family
Backspacer Font Family
PFB
Years ago, by happenstance, designers Nancy Mazzei and Brian Kelly found an old decrepit typewriter in an abandoned lot with tall grass in Brooklyn. They kept it around their apartment for two years. Then one day they decided that it was time to move and they planned to throw the old typewriter away. But it was so beautiful they wanted to keep at least a part of it. So they decided on keeping the keys. They kept the keys in a brown bag until one fine day the keys were introduced to a camera. It was a match made in heaven that resulted in some beautiful quirky images of typewriter keys. These images were the inspiration for Backspacer. They were scanned, traced and turned into a working typeface by Zuzana Licko.
PFB
Years ago, by happenstance, designers Nancy Mazzei and Brian Kelly found an old decrepit typewriter in an abandoned lot with tall grass in Brooklyn. They kept it around their apartment for two years. Then one day they decided that it was time to move and they planned to throw the old typewriter away. But it was so beautiful they wanted to keep at least a part of it. So they decided on keeping the keys. They kept the keys in a brown bag until one fine day the keys were introduced to a camera. It was a match made in heaven that resulted in some beautiful quirky images of typewriter keys. These images were the inspiration for Backspacer. They were scanned, traced and turned into a working typeface by Zuzana Licko.