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.

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.

Elektrix Font Family
PFB

Typold font family FULL
55 OTF 55 TTF

SLAM Normal font family
16 OTF

DXEgyptian Fett font family
OTF TTF

Grimpt font family
12 OTF 12 TTF

Shavano font family
2 OTF

Shavano font family
2 OTF

Shinano font family
2 OTF

Bottle Brush font family
2 OTF

November Font Family
18 OTF
Sometimes there are situations when a friendly typeface is too imposing. Sometimes you just want to use a typeface to get the job done. November is a rational, utilitarian typeface inspired by street signage. Unlike most signage types it also handles long texts with ease. While most tool-based typefaces feature angled terminals, November’s end strokes are always straight, anticipating the following letter, creating distinctive counterspaces that support the visual rhythm of the words.

Neutral Font Family
6 OTF
Neutral began as Kai Bernau’s graduation project at KABK (the Royal Academy of Art, The Hague), taking inspiration from typefaces that seem ageless, remaining fresh and relevant even decades after they were designed. It was constructed based on a set of parameters derived by measuring and averaging a number of popular 20th-century Sans Serif fonts (Kai published a book about the project too). Aware that there is no such thing as total neutrality, this typeface explores how the absence of stylistic associations can help the reader to engage with the content of a text.

Brunella Font Family
2 OTF
Brunella is an elegant and beautiful script design published by Seniors Studio.

Massimo Font Family
14 OTF
Massimo is a semi-serif geometric type family. For as long as I can remember, I've admired the visual style of New York – its architecture, fashion, design, and typography. After spending two weeks in Manhattan this summer, I wanted to prepare a sharp and modern typeface in Big Apple style.

Giordana Font Family 1629432
3 TTF 3 OTF

Publico Text Font Family
6 OTF
The narrow proportion of Publico Text makes for a very efficient text face, but the squareness of the forms and overall openness keeps the text from looking squeezed. From Publico Headline to Publico Text, elegance gives way to sturdiness in the serifs and less pronounced ball terminals, making for an even, comfortable texture in text.

Caponi Display Font Family
12 OTF
The influence of master Italian punchcutter Giambattista Bodoni of Parma has only grown since his death in 1813. Though best known for his delicate, high-contrast Moderns, his early work had a character all its own, warmer and more organic, showing the influence of Pierre Simon Fournier in France. Caponi Display and Caponi Slab are similar in their lightest weights, but depart quickly into two very different approaches to weight and contrast. Though lower contrast than other contemporary Bodoni revivals, Caponi Display follows Bodoni’s approach to weight and contrast, with long, elegant ascenders and descenders.

Le Jeune Poster Font Family
14 OTF
Le Jeune Poster is the most flexible display size, intended for use between 40 and 96 point. In both roman and italic, Le Jeune is characterized by crispness and beauty. Though its vertical proportions and ball terminals differ significantly from Le Jeune’s model, the spirit of the original comes through in the grace of the romans and the exuberant spirit of the italics. Though initially intended for magazines and editorial design, Le Jeune is well suited to graphic, book and corporate design where modern elegance is a requirement.