Canoe is a fun, all-caps font with a delightfully hand-written feel. It comes “water ready” to be used in the wild on the web, save the dates, and other design projects that need a homemade touch. Its characters are wiry and tall with crossbars that hit at varying heights. Canoe also includes 1st, 2nd, 3rd ordinal capabilities as well as fractions.

Phi is a simple geometric sans, inspired by the Golden Ratio. It is rock solid, versatile, legible and excellent for both text and display usage.

Fairfield is a fifty-year-old typeface that has had a recent facelift. Rudolph Ruzicka, artist and book illustrator, designed light and medium weights of Fairfield for Linotype in 1940 and 1949, respectively. For Fairfield’s 1991 release as an electronic typeface, designer Alex Kaczun added bold and heavy weights. With its straight, unbracketed serifs and abrupt contrast between thin and thick strokes, Fairfield harks back to the modern typefaces of Bodoni and Didot, but has a distinctly twentieth-century look. Fairfield is a fine text face, both for books and shorter texts. Kaczun added small capitals and old style figures, swash capitals, and a set of “caption” typefaces (sloped roman style) that were inspired by Matthew Carter's extensions to Oldstyle 7 for National Geographic magazine.

Montecatini takes its cues from the elegant Stile Liberty travel posters of Italy in the early 1900s. The font features distinctive ligatures typical of the time when Art Nouveau emerged as a worldwide phenomenon. Everything looks better in Montecatini, from book jackets to monograms to packaging and logos—and the wide selection of ligatures make copyfitting a delight.

Francois Rappo’s latest project is a significant outcome of his design practice anchored in the research of typographic paradigms. In the mapping of serif typography, Practice introduces a new perspective with an unprecedented sharpness. While its architecture revisits the elegance of Renaissance typography, an innovative calligraphic drawing was achieved to reach a crisp digital identity. The precise texture of Practice is outstanding on both paper and screen. The optical balance of the text rythm offers a clear reading with a contemporary aesthetic. Practice is declined in a consistent gradient of styles to provide a complete tool for magazines, books and newspapers. The family is structured in three display weights designed for larger sizes and six roman weights for smaller sizes plus their matching italics. Each style offers five series of numerals, small caps and an extended ligature set.

A suite of 7 condensed fonts inspired by printed wood and display type from A2-TYPE’s archive of historical specimens and printed ephemera. The New Grotesk Square family comprises a series of condensed fonts designed with unified proportions across all widths; from ONE to SEVEN, to create a varied palette of fonts for the modern designer.

Santoro Script is a fun, happy script font created in the style of handpainted sign lettering. It displays a jubilant attitude which will add a spontaneous, warm and friendly look to any design. The typeface contains at least three versions of every letter found under the Swash and Stylistic Alternates OpenType features as well as a few additional letter versions and ligatures under the Titling and Discretionary Ligatures OpenType features. These extra alternates help give the font a hand painted feeling. Jukebox fonts are available in OpenType format and downloadable packages contain both .otf and .ttf versions of the font. They are compatible on both Mac and Windows. All fonts contain basic OpenType features as well as support for Latin-based and most Eastern European languages.

Tertre is a display/short text typeface with a wide range of applications from signage or posters to menus and pricelists; branding, packaging or publishing. It is named after Place du Tertre, a square located at the top of Montmartre—a hill overlooking Paris, made famous by the artists of the 19th and 20th Century. Like in Galette, the letters have no overhangs and the stroke thickness of capitals and lower case letters is identical, making hinting or anti-aliasing more uniform at any point size and zoom combination.

Chiswick Sans demonstrates that the past can offer inspiration for new typefaces which are not slavishly historical. The high contrast sans serif offers a letterform that shares the unadorned simplicity of a low contrast sans, but also shares the beauty of a serif letter.