Duffish is the shape of the letters script bold. This font is inspired from the logotype form of companies that showcase the beauty of every letter form. Duffish come with a variety of alternates that can be combined to produce a form of liking such as logos, fashion, Product, Packing, Website, apparel, stationery, magazines, film, books and marketing.

XOVA base, color one, color two, color three and color four, is an 5 font system that can be layered in different ways to create a infinite title effects used commonly in poster and 3D logo design. Steel Chisel’s layer combinations give you complete control in producing styles like, modern, 3D, beveled. It can be used alone and/or in layered and allows you adjust leading and kerning. Each font contains the similar metrics, so when your title is set, copy and paste-in-place to create layers of different weights/styles to build out your desired effect. Xova works great in any graphics application that allows you to utilize layers or 3D effects.

Inspired by the lettering of Swiss poster designer legend Otto Baumberger from the 1930s, GT Walsheim is a friendly but precise typeface. Supports all
Cyrillic languages.

Tom Carnase and Ronne Bonder’s freewheeling ITC adaptation of ATF’s turn-of-the-century Caslon boldfaces.

South Million is beatiful monoline script font. With this font you can your own logo branding, homeware designs, product packaging, wedding invitation or simply as a stylish text overlay to any background image.

Reader is a neo–grotesque typeface initially created in a medium weight, and now re-cut into a base family of six weights with an additional seventh in the form of Reader Black. The typeface itself has been referenced from an RSPB letter dating 1972. The original typeface, which is unknown, was a monospaced, rounded face. It had geometric proportions which felt like they wanted to break free of the restrictions of a monospaced grid. The construction and geometric properties from this type were taken into the sketching process of Reader but without the monospaced grid. The proportions of the typeface were rebalanced to give it a neo-grotesque, 1960’s swiss style feel, but also referencing the symmetry and geometry of the bauhaus. Weight has also been added to the face, giving a subtle stress to the characters and allowing easy readability. The ends of every stem, originally rounded, have been cut off, replaced with horizontal and angled edges to allow for evenly spaced typesetting. The name takes itself from the original reference of whom the letter is addressed to – Reader.

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.