Stella Tyas

Obvia, a geohumanist type for all media. Obvia appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes - to be published soon - expanding its usability.

The idea behind Obvias design was to create a distancing from geometrically pure shapes, in this case, square shapes.

Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a geohumanist tone to the font.

More This first family of Obvia has 9 weights ranging from Thin to Black with their respective italics, delivering a strong typographic identity, from the paper to the pixel.

Bonny is a family of decorative serif fonts, designed for display typography. The letterforms are very condensed. They also contain a lot of stroke-contrast. Bonnys thin strokes often terminate in flourishes; these flourishes pair well with the typefaces serifs, which are both thin and short.

Bonnys uppercase letters are very top-heavy; the upper halves of B, E, F, H, K, M, R, S, and X are so large that they look almost like caricatures.

This feature is carried over the some of the lowercase letters, too. For example, Bonnys a, c, f, g, k, r, s, t, y, and z are all extravagant and lovely.

The v and w have calligraphic flourishes on their right-hand sides; similar expressions appear throughout rest of the the typeface, too.

Each font includes 13 f-ligatures. An alternate j may be automatically substituted into text, via the Contextual Alternates feature, preventing collisions with glyphs coming before it.

The fonts numerals are oldstyle figures, which match the rhythm of the lowercase letters.

From the Polish type designer Barbara Bigosinska, Bonny is an excellent choice for use on greeting cards and in packaging design.

Its fonts should be set in large point sizes, so that its details have enough space to really shine.

Joane mixes the elegancy of French didones, calligraphic endings and glyphic serifs, thus its features convey a warm unique style.

Moreover, its curves have been beautifully designed, and it also comes with both and engraved and deco versions, which add more versatility to the way it can be used.

Joanes is perfectly suited for magazines, branding, advertising, labels, web and packaging.

Joane is my first typeface that is world-wide published. To achieve this goal, I received essential help of W team and friends. I personally want to say thanks to Diego Aravena for the patience, good will and learning; for the friendship and support to Franco Jonas and Raúl Meza.

Because of their help I could find the treasures at the end of the process.

Ale Navarro

Pietro Aretino (1492 1556) Was an Italian author, playwright, poet, satirist and blackmailer, who wielded influence on contemporary art and politics.

The most vigorous and versatile vernacular writer of the 16th century He was a very versatile writer, famous for his Lascivious Sonnets which caused great scandal at the time but also for his satirical verses, addressed to all the powerful people in Italy, without forgetting the many plays that he wrote for the theatre.

Part of the charm of his letters is that through them you may know the whole of Venetian society from the top to the bottom.

The little-known church of San Luca in Venice (in St Marks district) has been a place of pilgrimage for centuries for people who are decidedly not devout: journalists, writers, free thinkers.

In 1556 Pietro Aretino, a unique character of the Italian and Venetian Renaissance period was buried there.

Such strong of personality, has contributed to generate the powerful wind of change that emerged from the italian renaissance.

We have inspired on that talent searching for a new sight the famous Venetian typefaces.

Probably looking for more vigour and contemporary digital style. This typeface is slightly condensed, lighter and has more contrast between the thick and thin letter-strokes, it has concave bracketed serif.

Their ascender and descenders strokes are very shorts. Aretino family is completed by four weigh: Regular, SemiBold, Bold and ExtraBold, while Italics has three weighs.

These fonts came with a full OpenType features and CE languages.

Salvatore is the neo-grotesque younger brother of Nutmeg type family. It comes with 36 weights that have been separated in two flavours. The first half is Salvatore normal, which has more neutral features; and the second one is Salvatore Roman, which has more versatility at the end of the characters.

The name comes from the Mad Men character Salvatore Romano, who was a publisher in the mid 60s.

In that period, grotesques typefaces ruled advertising, nevertheless, there wasn't a typeface that represented publishers as Salvatore Romano, thats why we gave birth to this project.

More Designed with powerful OpenType features in mind, each weight includes alternate characters, ligatures, fractions, special numbers, arrows, extended language support and many more Perfectly suited for graphic design and any display/text use.

The 36 fonts are the first part of a larger Salvatore family. Were proud to introduce: Salvatore.

Kapra Neue Pro is a younger sister of Kapra Neue he was the #1 bestselling Grotesque Sans released in 2017 on MyFonts and grandson of Kapra.

Now you really have a lot of options to choose! New family is full of everything 96 weights contain a wide range of instances, from Condensed to Expanded, everything with rounded corners or with sharp ones.

Now, font has also: small caps, cyrillic script, and old-style figures. Kapra Neue Pro is inspired by a You And Me Monthly magazine, published by National Magazines Publisher RSW "Prasa in Poland, from May 1960 till December 1973.

Tara is a family of serif fonts designed for immersive reading. Its design considers a tall x-height, balanced with high contrast letter-forms and wedge-shaped serifs that propose an elegant character functional at reading sizes.

The axis of stress running through the letters is almost vertical; however, Tara is inspired by oldstyle typefaces, characterized by their use of diagonal axes.

The family includes four weights that range from Regular through Bold with matching italics.

Many of Taras lowercase letters retain calligraphic traces in their details, such as the terminal on the upright lowercase a and the ear of the g.

The italics contain a few dozen swash alternates, for use in headlines, titles as well as logo designs.

All of the fonts include small caps, 14 f-ligatures, and case-sensitive punctuation.

The default numeral style is set at proportional oldstyle figures with tabular and lining figures available as OpenType alternates.

A full-range of numerators and denominators for fraction-typesetting has been included for its compatibility with a widespread range of contents.

With letter-forms quite comfortable to read, Taras language support covers an extended Latin character-set and is an excellent choice for editorial projects across print media.

Tara was designed by Tania Alvarez Zaldivar, a type and graphic designer from Mexico, and a graduate of the Type & Media program at the Royal Academy of Arts (KABK) in The Hague.

Interlink is a single-weight, all-caps stencil typeface designed by the French designer Julie Soudanne.

Its forms are monolinear, and they have the feeling of a contemporary-style sans serif.

Interlinks letters are nice and geometric, but they are not mono-width. Nevertheless, Soudanne constructed many of the characters so that they feel like they might be equally wide, even though they are not.

Aside from the stencil-optic, Interlinks best feature is its unique series of 68 ligatures.

This large set includes both two-letter and three-letter ligatures. The OpenType Ligatures feature is so important to this design that the letters ability to link-up to each other is referenced in the typefaces very name: Interlink is, basically, a palette of inter-linking letters for designers to use in display sizes.

Interlink may be used very well in headlines, or for logo design. The typeface may be paired with virtually any kind of body text fonts, be these serif or sans.