Stella Tyas

Inspired by the elegance of Herman Zapfs designs crossed with the readability of early 20th century Gothic fonts by Morris Fuller Benton, 19-PRA is a sans-serif with a visible stroke contrast and a humanist tone of voice.

The large x-height seen in fonts like News Gothic and Palatino increases legibility and condensed proportions give excellent readability making it perfect for newspaper and magazine publishing.

A typeface that can serve for both body text and titling the uppercase excels for headlines and renders beautiful brand names when tracked out.

More It sets well with both a serif or sans serif and has various open type features including: 12 standard ligatures, 3 discretionary ligatures, tabular figures, old stye figures as well as European accents.

Canilari is a post-modern type family inspired by Diaguita pottery and contemporary serif typefaces.

The Diaguita culturedeveloped from 10th century A.D. until 16th century A.D.settled in the area of the present-day north Chile and northwest Argentina. Surviving cultural expressions of the Diaguita people are reduced to just a few pieces of beautifully decorated pottery of high technical quality.

More Canilari itself is a scream of identity with an incomparable tone that borrows elements from native America and proudly show them to the world.

The intense and consistent personality of Canilari makes it a functional font for a wide range of uses: from continuous text in the most challenging environments to pithy, high-impact headlines.

Canilari is well-suited for publishing: newspapers, magazines, books, etc. Its flashy look and angular shapes also make it an excellent choice for posters, logotypes, and advertising.

The family consists of 2 sets: one standard and one pro, each in 4 weights plus italics.

Canilari also includes a set of ornaments and illuminated caps. Together, the Std set (369 characters) and Pro (710 characters) support 219 different languages.

This typeface was selected at the Bienal Tipos Latinos 2014.

Tyrium is the font pack. The Normal font combines with the alternate character font to make each word unique. Then add the Splatters font as your tagline and the ideal logo! Whats included: - .

TTF and .OTF files - Opentype features. - Splatters combines perfectly with Tyrium to create cool typography or logo design. - A range of multilingual support.

Antipol is a Sans Serif design that reverses the conventions of a regular Latin Sans Serif.

With a weight emphasis on the horizontals and its vertical terminals Antipol radiates a 1970s charisma known from the like of Antique Olive.

Its modern and avantgardistic attributes are most pronounced in the Hairline weight, where ultra thin lines meet distinctive arrowhead-corners.

This particular weight is meant for display settings, think full-page magazine titles or posters.

More Antipol Wide and Antipol Extended are a generous statement for graphic design with enough space to let the type breathe: art catalogs, lead texts, invitations, letterheads or brand identity.

Any style comes with a wide range of OpenType features that goes beyond a standard display font: Small Caps, Proportional and Tabular Oldstyle Figures and Lining Figures, Fractions, and much more.

Squalo, the genesis The idea of this project called Squalo popped into my mind while I was working with excitement on some sketches.

I was chasing after a strong typographical character, something that for me has to be crystallized in form which is always legible and functional.

The concept More The concept of Squalo arises from the observation of an athletes body: you notice that even if most are lean, they are also strong, cut and chiselled.

The sport they play molds and modify their bodies. Just think, for instance, on a professional swimmer: during the competition every single muscle, tendon, tissue, cell is working to swim faster.

Every single part is there to give strength and speed like in a squalo (shark in italian).

Not as an eel, nor as a mermaid, nor as a hake. Just like a shark. If you take a quick look, you will notice that the width of the typeface is slightly more condensed than that of a standard sans serif.

We designed Squalo this way specifically to assist and strengthen your concepts through stylized typography.

We designed the joins and terminals (tip ends) of the characters A, V, W, Z, v, w, z, to create a feeling of tension, reinforcing the concept of shark, danger, caution, as well explicit, intentional movement.

Pure strength. We wanted to recall the exact moment of the start of the 100 meters race: when the sprinter initially spreads all of his powerful energy.

The italic version, starting with the former two typographical concepts of width and tension, emphasizes them.

First of all, we compressed the characters 10 percent more, and slanted it 10 degrees to the right.

With this movement I intended to convey the gorgeous feeling of tension in power and rapidity.

The typeface has 9 weights, from hair to black, and two versions, regular and italic.

All 18 fonts include small caps, unicase, tabular and oldstyle numbers, numerators and denominators, and much more.

Squalo is an ideal typeface that I recommend for use in marketing campaigns, design of packaging, magazines, branding for tv programs, films, book texts, editorial, publications, logos, corporate projects, web texts, and graphic design in motion.

Squalo supports the following languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwichin, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotck (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Mori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

Just like Grandmas recipe, Recoleta combines a variety of ingredientsfrom various popular 1970s typefacessuch as the soft and gentle shapes found in Cooper or fluid, angled strokes in Windsor mixed into one single design that features familiar yet fresh, modern flavors.

Its variety of weights provides a range of choices that will help you find the best typographic color for your project.

Lighter weights are well-suited for body text while heavier ones are ideal for high impact headlines.

The available stylistic alternates offer a number of different characters that give your logo or business card a unique look.

Looking at some specimen books of printing types of late nineteenth century, I found many ornamented capitals for headings among the typefaces.

Most of them showed a flourish like a tuscan serif - a characteristic trait of a peculiar capital lettering made with brush.

Dress is the result of the mash up between that influence and the Didone style - perfect for display.

To decorate, to adorn, to dress a design piece is the intention of this family, adapted to the twenty-first century.

The font should embellish book covers, publications, packagings, movie posters, greeting cards, stationery, among other uses.

Additionally, Dress matches very well with Limon Script. More Started up by the authors hand, Dress is a professional work, accurate, well spaced, with ligatures and alternates for uppercases, initials, endings and figures.

Each variable contains more than 1200 glyphs with plenty of OpenType features and extensive Western, Central and Eastern European language support.

The characters of the shades, inlines and outlines were not automatically made.

Instead, they were drawn one by one in order to take care of every detail, even the change of pressure of the hairlines.

The main member of this family is the Base font which can be used alone or decorated with the layers: Shade One or Shade Two, Inline One or Inline Two and Outline.

In this way, experienced designers will create their own combinations. On the other hand, there are multi-layered fonts that make Dress easier to use: Dress Combo One to Five.

Additionally, Dress Deco adorns the beginning and the ending of the words (1) while the Ornaments decorates the whole design.

The family package contains all this thirteen options. Lets Dress your work! (1) Take a look at the Instructions on the Gallery Section.

Point aims to be an epitome of the Geometric Style. Inspired by intemporal classics such as Futura, Avant Garde or Avenir, passing through more contemporary approaches of the same style; ignited by the overarching narrative of the Modernity (Perfect Geometric Shapes) and careful design decisions, Point is a font that references the past as well as projects itself to the contemporaneity.

With a total of 10 weights, with respective hand adjusted obliques, Point has a total of 20 styles with Extended Latin support as well as Cyrillic, all with the most needed Opentype features, such as fractions, tabular and oldstyle figures, alternates, case sensitive forms, etc.

More Point has a superb versatility and can be used in almost every circumstance, try it for yourself and see what point Point makes.

Mackay is a powerful transitional serif in 6 weights plus matching italics, designed for screen and print.

The eccentric serifs on uppercase letters like E, F, L and T are inspired by Alexander Kays Ronaldson from 1884, working as the starting point for the family.

The lowercase letters follow the traditional Antiqua model with attributes tracing back to drawings from the early 20th century.

The grotesk lowercase a, as well as the sharp lowercase s, derived from the closed shapes of uppercase letters like C, G or S, create a compact and bold appearance while a large x-height and small descenders add a modern look.

More In favor of a dynamic and elegant impression, the design of the italic cuts come with a strong calligraphic influence.

This results in completely new shapes for letters like lowercase a or g, ensuring a smooth integration into their surrounding letters while maintaining a distinctive appearance when combining with romans.

The family comes with a variety of opentype features like case sensitive shapes, old style figures, fractions, ordinals and many more.

Additional attention was given to the standard and discretionary ligatures, extending the structure of the basic glyphs with elegantly designed letter combinations for g/i, i/t or s/t.

According to their dynamic architecture, the italic weights are equipped with additional initial swash characters to subtle accentuate the calligraphic roots.

As a result of a high stroke contrast the family works great in paragraphs with medium to large font sizes like headlines, short paragraphs or logos.

With its 12 cuts, the family meets all requirements on high quality typography.

Rigrok is a 14 style semi serif designed by Stew Deane. The design of the typeface was intended to create a premium feel that is suitable for the widest range of tasks, while still maintaining a unique sense of character.

Stew designed Rigrok to draw on his graphic design experience to create a typeface that is suitable for many a design or branding job.

The result is an easy to use, versatile typeface that charms with personality and character.