Stella Tyas

Glatt the sequel of Platz Groteske is a typeface with the personality and the aesthetics of the neo-grotesque, however a slight touch of freshness and organic stand out this typeface; perfectly suited for any kind of work related to visual communication.

Glatts alternatives version includes diverse characters, Open Type functions, as well a, small caps, both lining and old style figures, and a fun shadowed version for headlines and display compositions.

Special acknowledgments to Ale Navarro, Raúl Meza, Rodrigo RodrigoTypo Araya, Valentina Pino and the whole W Foundry crew for the gestation of this project.

Introducing Hokyaa, a new calligraphic font created from beautiful brush strokes. Paired with a sans serif font as a perfect pair to create a varied design. Both come in clean and press versions. The brush script has lots of alternatives, ligatures and swashes to make it easier for you to create beautiful letters without having basic lettering knowledge.

This versatile font family will work perfectly for logotype, branding, wedding invitation, posters design, packaging, merchandise and more.

It has extensive language support and is fully unicode mapped.

Calps Sans is a variant of the original Calps typeface. Import to be more corporate, Calps Sans family use flat corners instead of rounded corners (Calps).

Calps Sans is a prominent, eye-catching and unique typeface. It comes with 9 weights and Slim version in order to suit for a multifunctional usage, especially for cooperative work, such as website, magazine, editorial, publishing , as well as packaging.

The first glyphs of Nougat Script were born in 2010 to honor the birth of my first chubby and charming daughter, Siena.

The ongoing project with significant progress was presented at Tipos Latinos, the biennal of Latin America typography where Nougat Script was selected among 70 of the best fonts.

After a long pause, the project had a powerful restart at the begining of 2018.

In those days, it not only grew in number of signs but in complexity of behavior.

There are 4 different types of writing within the same font file accesible via opentype features: Script (base or normal), two glyphic alternatives with well differentiated swashes and finally a small cap version.

Nougat Script has a fresh and relaxed lettering attitude combined with the typographic harshness for elegant text compositions.

Ordax is a condensed display sans-serif type family. Simple, clean and modern, it was designed to assert reliability and gravitas to the content.

It is particularly suitable for projects that demand simplicity and space economy.

Details include four weights with matching italics, 447 characters and the Opentype features.

Everything will look great in a Minute! In this Minute. Hell, yes!

This four-piece family is the DIN design, but not as you know it. The famously, crisp, clean and precise typeface has been given a textured update thats reminiscent of rusted metal, or rubber stamps.

Underneath this lies the same sturdy, geometric shapes that have allowed DIN to stand the test of time, but with a new sense of tangibility.

This kind of treatment is more about creating a feeling or a mood that goes beyond the communication of the words themselves, explains Monotype Studio director Tom Rickner.

I think it expands the repertoire of what DIN Next can express. More Designed for display, these four typefaces DIN Next Rust, DIN Next Shadow, DIN Next Slab Rust and DIN Next Stencil Rust show a new side of DIN Nexts personality, as if the surface of each letterform has been gradually worn away over the years.

Blautha versatile and contemporary sans serif typefacecomes in 8 weights, ranging from Thin to Black, with matching italics and contains a set of alternate characters.

Its small x-height gives it an elegant feel that reminds us of classic typefaces.

Blauth is well-suited to continuous text and its uppercase set is ideal for high-impact headlines while its softened corners give your designs a warm and contemporary look.

Query was born out of that lineage of experimentation and developing a voice within type. I wanted this typeface to have a strong personality but also give room for legibility.

The typeface was inspired from people like Karl Heinz, to Hamiltons Class L fonts, and even civil rights posters from 1968.

My original intent was to make a single font that transformed the spirit of woodtype, but done in my voice today.

A college compared it to a modern Trade Gothic, which I never envisioned, but feel it is an accurate observation.

More As I continued to refine the work, I made sure that the personality, tone and voice was still there but also refining it so that when used, it was legible but still unique to anything I have seen.

I included over 400 glyphs that support many languages and also included three levels of stylistic sets for extra use and style.

Query is as fun to use as it is to look at.

Sugo Pro is a condensed geometric sans serif with a robust body, slightly rounded corners and no-nonsense street style attitude.

The sturdy, robust design of Sugo makes it an ideal choice for sports branding and street-style editorial use.

Lighter weights provide great legibility at small sizes while the regular and bold weights are more suited to titling, logo and headlines.

More It was designed in 2006 by Francesco Canovaro in two weights (regular and extralight) and later used by Cosimo Lorenzo Pancini as base inspiration for the design of the successful Zetafonts' Cocogoose Pro typeface.

In 2018 the family was completely redesigned by Andrea Tartarelli, expanding the original glyph set to include cyrillic and greek and adding three extra weights and italics.

The restored and revamped version, named Sugo Pro Classic, also includes full Open Type features for positional figures, Alternates and Small Caps, and restores alternate glyph shapes created by Canovaro for the original Sugo, accessible as Stylistic Alternates.

A companion typeface, Sugo Pro Display, uses these alternates as base glyphs and provides a tighter kerning, ideal for display use and logo design.

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.

Harlan is from another place and time. But not just one specific place or time with its barely-there, knifes-edge serifs, and its smooth curves and flourishes, Harlan feels both vintage and modern; both feminine and masculine.

Inspired by the Baltimore bar WC Harlan, which in turn was inspired by the old candle-lit bars of France, the tucked-away osterias of Italy, and the antique books and journals one might find in a patrons hand.

Its a font you'll reach for when you're looking for something refined and elegant, but not too stylized or stuffy.