TypeTrust Fonts

Akagi Pro

Mon, 10 Oct 2011 0:00:00

Akagi Pro by Neil Summerour
Akagi Pro is a complete rebuild and expansion of my popular Akagi typeface. Contemporary, clean, simple and friendly continue to serve as the adjectives for an expansion that includes 250+ additional characters per weight, many new ligature options, expanded stylistic alternates, 4 sets of figures, new symbols, case-sensitive punctuation, superscripts, subscripts, ordinals, expanded language support and two new styles that provide even more flexibility within the lighter weights of the family. When I designed Akagi in 2007, I wanted this new sans serif to "smile" at you — with this new expansion, I hope you smile back.

Akagi Pro is economical while keeping a distinctive, expressive personality on the page that distinguishes it from among many of the mechanical/rigid/emotionless sans out there without becoming cliché. Perfect for the page and the screen, the flexible weights available allow for pinpoint selection at whatever size.

Each style of Akagi Pro has a robust character set made even more functional with expansive OpenType features. A typesetter's dream — case-sensitive punctuation, tabular and proportional variants of lining and oldstyle numerals, true italics, small caps, expansive language support, an alternate 'g' and 'y', highlight a wealth of features of the typeface. This versatility infused within Akagi Pro will allow it to assume both roles of the utilitarian workhorse and light-hearted go-to typeface — and make the user happy.

Heroic Compressed Pro

Sun, 14 Aug 2011 0:00:00

Heroic Compressed Pro by Silas Dilworth
Heroic Compressed Pro is a narrowed variation of Silas Dilworth’s original 2008 release of Heroic Condensed. This family of seven weights with obliques has been drawn entirely from scratch for clean curves and optimal color and contrast.

Heroic Compressed Pro is ideal for display use with its towering proportions, and is equally suitable for short text settings such as captions and sidebars. Graphic designers serving the film industry may find it quite fitting for billing block credits on movie posters. With a simplified structure and mechanical regularity, Heroic Compressed Pro renders an authoritative voice and moderate optical adjustments temper any rigidity with a flexible human touch.

Heroic Compressed Pro improves on the original Heroic Condensed release with advanced Opentype features and alternate characters. In addition to Small Caps with Punctuation, Tabular Figures, and Extended Latin Character Sets, this Pro family of fonts also contains Stylistic Alternates, Titling and Case-sensitive Forms, Superscript numerals, Scientific Inferiors, Numerators and Denominators for Arbitrary Fractions in addition to Simple/Vulgar Unicode Fractions.

Hydrant

Wed, 22 Jun 2011 0:00:00

Hydrant by Lee Fasciani
The concept behind Hydrant was to create a utilitarian typeface that contains many unique and interesting idiosyncrasies that distinguish the font from any other, while maintaining a consistency of form and structure.

Hydrant needed a greater variation in characteristics to achieve the intended robust quirkiness but enough integral similarity to be accepted as a working typeface. Many of these initial, obscure characteristics have been refined over a four year period to help harmonize the family, and crucially, aid in its usability.

Hydrant makes a distinctive high-tech impression with an organic twist. Use it for the identity of a new gaming startup, collateral for an auto detailing shop, or the catchy tagline of a sci-fi movie poster.

Rhythm

Mon, 13 Jun 2011 0:00:00

Rhythm by Neil Summerour
"I hate the idea of revivals. I have publicly said I choose not to do revivals because they make me uncomfortable. This is as close as I have been to crossing my own line. To be direct, Rhythm is based on the ATF typeface, Ratio (I just recently learned the foundry of origin). I came across this typeface from a printed specimen years ago when I was in school and held onto it. It was unique and I loved how well integrated the inline worked within both the flourish and serif of the glyphs—it was old, but not, reminiscent, but fresh.

"My specimen was limited in the glyph offering (it was c. 1930ish) and I realized a lot would need to be done to 'finish' it and bring it to contemporary expectations. I didn't want to do 'retro' and tried to avoid the visual trappings associated with it. What I did want to do is interpret what I had in the specimen and reinterpret it digitally, refining its construction and extending its typographic equity along the way.

"The 'One' and 'Two' (and their matching 'Solids') styles diverge providing various elaborations that coordinate well between rigid bracketed serifs and compact tails. I further expanded the glyph offering to include a full diacritic set, old style numerals, fractions, stylistic alternates, swashes, titling alternates and controlled flourishes that adhere to the efficient framework of the script. And yes, I refer to it as a 'script' because calling it a 'cutesy serif' seems wrong :)

"I hope this is seen less as a slavish revival and more as a championing of a really unique typeface."

-Neil Summerour

Hera Big

Wed, 25 May 2011 0:00:00

Hera Big by Lucas Sharp
Hera Big is the impressive and ambitious first commercial release from newcomer Lucas Sharp. A lusciously detailed serif display design, Hera Big is available in a remarkable family of sixteen fonts in a range of eight weights with true, hand-drawn italics.

Hera Big's most striking features include the elegant high contrast in the heavier styles, and the ornate ball and teardrop terminals that embellish the entire design. Though these attributes may inhibit use in text settings, the intricacies are playfully hypnotic at larger display sizes and imbue Hera Big with frilly charm.

Hera Big is ideally suited for short lines of text such as callouts or headings, and certainly fit for the limelight of any poster and oversized print project. Each Opentype font includes Old Style Figures, and a useful selection of Stylistic Alternates and Ligatures.

Ginza Narrow

Wed, 27 Apr 2011 0:00:00

Ginza Narrow by Neil Summerour
Here's what I said about the original Ginza:
Sometimes you get an idea stuck in your head and the only way to get rid of that demon is to put something down on paper. A year later the doodles became a skeleton, and then the skeleton had a body, then the body had a name, then the name got a personality.

What was left was a clean set of fonts that encompass a very simple skeleton with a lot of visual appeal.

And now with Ginza Narrow:
Once Ginza was released, I immediately wanted to commit the time to create a narrower version—if for nothing else but to add additional versatility to the skeleton, but my schedule just would not allow it until a client recently asked me to. There was no need to ask twice as I had already started and then shelved the initial builds. I also had the opportunity to expand the localization of the fonts by adding Cyrillic (I will be adding Cyrillic to the original Ginza soon as an update).

Lush Script

Fri, 1 Apr 2011 0:00:00

Lush Script by Neil Summerour
Lush was a formal script until it had a few too many drinks and, as a result, loosened up a little bit. Harkening back to the handlettering of the 40s and 50s, Lush has evolved into a casual, but well-dressed script that maintains a rather aggressive rhythm. Transitions often whip back quickly, forcing the letters to reel from the movement and resolve efficiently. It is not as warm as some scripts, intentionally so, so as to distinguish it from its predecessors.

Type and lettering fans will revel in the options afforded to each character—in some cases there are up to 15 different variations with multiple glyph recipes available to produce the most unique and fluid lettering combinations possible. An often overlooked segment of contemporary script fonts, the uppercase letters have at least 3 options to work with that mesh well with the 36 ornamental flourishes to add even further embellishment. In total, there are over 1,650 glyphs in the typeface that includes these OpenType options: Stylistic Alternates, Contextual Alternates, Swashes, Titling, Historical Forms, Initial Forms, Oldstyle Numerals and 3 additional Stylistic Sets. With this release, I have tried to provide as much flexibility and 'forgiveness' within the typeface so the lettering enthusiast can have fun and explore thousands of iterations… and it's pretty easy math to figure this out: with over 970 alternates and 270 ligatures, I intended this typeface to be one that keeps on giving.

One important fact to note… this marks the first release of a smooth, non-brushed, non-textured script from me—but it won't be the last. That said, I will have to admit that the brush has influenced many of the characters and their construction. Enjoy :)

Tactical

Wed, 2 Feb 2011 0:00:00

Tactical by Neil Summerour
Tactical is nothing more than a testosterone-laced typeface. Rigid, mechanical and unforgiving. Originally conceived in 2007 while I was working through the early sketches of Ginza, Tactical features hard 45-degree angles and the presence of a curve for curve's sake is just not there. Complementing the original is a Stencil variant (inspired by the military, marathon video game, explosion-influenced name) and matching Obliques—altogether creating a sharply coordinating family.

Nori

Mon, 9 Aug 2010 0:00:00

Nori by Neil Summerour
First, the important information…Nori is a hand-lettered typeface that contains over 1100 glyphs, 250 ligatures, 487 alternate characters, 125+ swash and titling alternates, lining and old style numerals.

To make sure it is perfectly clear—Nori is the result of brush and ink on paper. The textures produced in each glyph are real and the imperfections are intentional and add to the sincerity of the letters. I say this to be as blunt as possible in order to avoid confusion and to frame what this typeface represents—calligraphic, handwritten letters captured digitally for their warmth and poetic variation for print and screen.

Like my handwritten, calligraphic or brush-driven faces before it (the Baka series and the TDC2 2010 winning typeface, Fugu), Nori is a product of my analog and digital hand. To view the words and sentences formed by this typeface is to look at how my hands, yes hands, make letters. The fluidity, as well as the irregularity, is human, honest and intentional—to do so lets the brush I am holding breathe life into each letter. Once digital, any number of points and repetitive processes can’t mask its influences—and I like that.

The brush, a simple instrument, my tool, my friend designed to emulate traditional Japanese sumi-e brushes... the Pilot Japan Kanji Fude brush pen. Each letter, each variation was written over and over again until I found the right combination. From there, each was scanned, digitized and optimized. Points were removed in order to ‘clean’ the glyphs up some but I did not want to compromise the integrity of the actual brush stroke. Once this base set of characters (about 350) were completed, the thoughtful manipulation of the glyphs, their gestures and forms were further expanded to solidify the embellishments used within the ligatures, alternates, swashes and additional features.

This process was admittedly self-indulgent to an extent. I wanted the words created with this typeface to have the flexibility of variation and cohesiveness of movement that someone fluidly producing these letters by hand might have.

I hope you enjoy this typeface as much as I did during the six months working on it.

Wasabi Condensed

Thu, 17 Jun 2010 0:00:00

Wasabi Condensed by Neil Summerour
Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades…the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps was produced and the original single weight alphabet was replaced with six new weights.

Wasabi has several 'lighter' weights primarily because the thin lines and simple transitions produce very elegant relationships…and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises.

Another interesting element to Wasabi is its small caps. The height of the small caps is equivalent to the x-height of the lowercase…mixed with the monolinear nature of the glyphs, you can produce some truly unique combinations for titling and headlines.

Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested—so, try them all :)

Wasabi

Thu, 17 Jun 2010 0:00:00

Wasabi by Neil Summerour
Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades…the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps was produced and the original single weight alphabet was replaced with six new weights.

Wasabi has several 'lighter' weights primarily because the thin lines and simple transitions produce very elegant relationships…and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises.

Another interesting element to Wasabi is its small caps. The height of the small caps is equivalent to the x-height of the lowercase…mixed with the monolinear nature of the glyphs, you can produce some truly unique combinations for titling and headlines.

Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested—so, try them all :)

Wasabi Complete

Thu, 17 Jun 2010 0:00:00

Wasabi Complete by Neil Summerour
Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades…the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps was produced and the original single weight alphabet was replaced with six new weights.

Wasabi has several 'lighter' weights primarily because the thin lines and simple transitions produce very elegant relationships…and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises.

Another interesting element to Wasabi is its small caps. The height of the small caps is equivalent to the x-height of the lowercase…mixed with the monolinear nature of the glyphs, you can produce some truly unique combinations for titling and headlines.

Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested—so, try them all :)

Baka Expert

Fri, 12 Feb 2010 0:00:00

Baka Expert by Neil Summerour
Why Baka Expert?
That’s actually a simple answer. The original Baka was done as an experiment of sorts. I wanted to quickly capture a rough, frenetic handwriting style that broke normal conventions. Commercially, it was successfully, received some accolades...but I wasn’t completely satisfied so I went back to the master art and the lettering explorations and produced Baka Too. It addressed some of the line items I wanted to refine from Baka. I liked it.

Each font has been out for a few years now and I have seen it in use. I’m very critical of my work and I could still see things—e.g. modulations of strokes, angle of the nib, ink swell, & so on—that I wanted to change, refine and reorder.

For me, it is typographic indulgence, but I wanted to take this handwriting ‘font’ and turn it into a robust ‘typeface.’

So I did just that and a bit more by adding back in more of my initial flourish conepts, attained tighter, consistent control of the modulation, optimized points, added titling options and expanded the character language set. Baka and Baka Too had to exist to produce this entirely new re-envisioning of a old friend...and they all play well together :)

Magneta Condensed

Sun, 13 Dec 2009 0:00:00

Magneta Condensed by Neil Summerour
To describe what inspired Magneta would be to add a little Dwiggins, throw in some Benton with a hint of Austin—wrap it up in a crisp, contemporary package and serve. The skeleton of the family is a Garalde (like my earlier Epic) but with a desire to produce something much more transitional and contemporary, I sought to simplify, simplify, simplify. Cap and ascenders share the same height, the x-height is slightly larger than expected which should make a functional typeface for editorial, headlines or where more visually complex systems are needed. The modulation is much more intentional than historical and creates some interesting interactions between the various weights. There are both Normal and Condensed widths available with 6 different weights and matching italics, small caps, oldstyle figures, swashes, stylistic and discretionary ligatures (that includes some fun majuscule ligatures in the roman styles), there is no lack of typographic goodness for the designer. To add some spice, a set of Decorative Ornaments have been created that include geometric, floral, curvilinear patterns and much more.

Magneta

Sun, 13 Dec 2009 0:00:00

Magneta by Neil Summerour
To describe what inspired Magneta would be to add a little Dwiggins, throw in some Benton with a hint of Austin—wrap it up in a crisp, contemporary package and serve. The skeleton of the family is a Garalde (like my earlier Epic) but with a desire to produce something much more transitional and contemporary, I sought to simplify, simplify, simplify. Cap and ascenders share the same height, the x-height is slightly larger than expected which should make a functional typeface for editorial, headlines or where more visually complex systems are needed. The modulation is much more intentional than historical and creates some interesting interactions between the various weights. There are both Normal and Condensed widths available with 6 different weights and matching italics, small caps, oldstyle figures, swashes, stylistic and discretionary ligatures (that includes some fun majuscule ligatures in the roman styles), there is no lack of typographic goodness for the designer. To add some spice, a set of Decorative Ornaments have been created that include geometric, floral, curvilinear patterns and much more.

Magneta Complete

Sun, 13 Dec 2009 0:00:00

Magneta Complete by Neil Summerour
To describe what inspired Magneta would be to add a little Dwiggins, throw in some Benton with a hint of Austin—wrap it up in a crisp, contemporary package and serve. The skeleton of the family is a Garalde (like my earlier Epic) but with a desire to produce something much more transitional and contemporary, I sought to simplify, simplify, simplify. Cap and ascenders share the same height, the x-height is slightly larger than expected which should make a functional typeface for editorial, headlines or where more visually complex systems are needed. The modulation is much more intentional than historical and creates some interesting interactions between the various weights. There are both Normal and Condensed widths available with 6 different weights and matching italics, small caps, oldstyle figures, swashes, stylistic and discretionary ligatures (that includes some fun majuscule ligatures in the roman styles), there is no lack of typographic goodness for the designer. To add some spice, a set of Decorative Ornaments have been created that include geometric, floral, curvilinear patterns and much more.

Dobra Slab

Sat, 10 Oct 2009 0:00:00

Dobra Slab by Dino dos Santos
Dobra is a very geometric and robust typeface with Sans and Slab Serif companions, specially suited for magazines and newspapers, although it works great as a corporate typeface. With five weights ranging from Light to Black with matching italic, available in both styles this highly readable typeface is full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others.

ROMP Pro

Sat, 10 Oct 2009 0:00:00

ROMP Pro by Neil Summerour
With all ego aside, Romp was designed & influenced by my daughter, Angel. For some time now, she has wanted me to design a font based on her handwriting. But each time I sit down to do it, I run into more that she needs to do and redo. On a recent attempt, I ran into the same situation again. Instead of moving on to something else, I decided to whip out a sumi brush and start making letters...for me, type design is something a little ‘serious’ and never a time to just have fun. This typeface proved that notion wrong—it really was fun. As a result, each letter encouraged another and the design grew...and grew!

The happy result spawned 3 separate sets of letters & numerals (small caps and some ligatures too!). Using the beauty of OpenType, these 3 sets have been fused into one, randomly generating font set.

Kari Display Pro

Sun, 27 Sep 2009 0:00:00

Kari Display Pro by Neil Summerour
Kari Display is the product of a long standing idea I had to give the well-received Positype typeface, Kari, plastic surgery. Just referring to giving a typeface plastic surgery, or letter lipo, stuck in the back of my head until I was able to pick the project up.

The ultimate objective was to refine Kari Display to a point where each glyph was expressed as simple as possible... and in that simplicity a sexiness would appear. Kari is a beautiful script, but it is very 'controlled' and orderly and I wanted Kari Display to break that mold with much more movement, curviness, greater modulation and a more elegant feel on the page. I did not want to take it too far, limiting the use of the typeface, but rather opted for a delicate balance of thick and thin against the added movement of the glyphs.

The wealth of sketches and proposed variants during the concepting phase was encouraging and I really pushed to add as many alternate characters, ligatures, swashes (and more) as I possibly could. Just about every character has at least one or more alternates AND the complete offering of alternates completely covers a wide range of Latin-based language groups including Central European diacritics.

Vekta Serif

Sat, 12 Sep 2009 0:00:00

Vekta Serif by Neil Summerour
The Vekta Type System is part of a larger, interconnected grouping of 3 families: Neo, Sans & Serif. The goal was to develop a family designed along a common skeleton and matrix that would allow for interchangeable usage along a cohesive visual system.

It's About The Personality.
Interchange type families to be as expressive as you want to be. Let the piece you are designing constrain your usage and not the typeface.

Vekta Sans

Sat, 12 Sep 2009 0:00:00

Vekta Sans by Neil Summerour
The Vekta Type System is part of a larger, interconnected grouping of 3 families: Neo, Sans & Serif. The goal was to develop a family designed along a common skeleton and matrix that would allow for interchangeable usage along a cohesive visual system.

It's About The Personality.
Interchange type families to be as expressive as you want to be. Let the piece you are designing constrain your usage and not the typeface.

Vekta Neo

Sat, 12 Sep 2009 0:00:00

Vekta Neo by Neil Summerour
The Vekta Type System is part of a larger, interconnected grouping of 3 families: Neo, Sans & Serif. The goal was to develop a family designed along a common skeleton and matrix that would allow for interchangeable usage along a cohesive visual system.

It's About The Personality.
Interchange type families to be as expressive as you want to be. Let the piece you are designing constrain your usage and not the typeface.

Vekta Complete

Sat, 12 Sep 2009 0:00:00

Vekta Complete by Neil Summerour
The Vekta Type System is part of a larger, interconnected grouping of 3 families: Neo, Sans & Serif. The goal was to develop a family designed along a common skeleton and matrix that would allow for interchangeable usage along a cohesive visual system.

It's About The Personality.
Interchange type families to be as expressive as you want to be. Let the piece you are designing constrain your usage and not the typeface.

Cynapse OT

Fri, 14 Aug 2009 0:00:00

Cynapse OT by Neil Summerour
Several years ago I was faced with a project that required very small type to be used in a directory. In general, there was a need for a lot of 'fine print'. Faced with this, all of the tests I was making with existing faces were producing too much bleed of the individual glyphs...Cynapse was born.

It evolved into this pseduo-techy looking type that standardized and glorified the ink trap (the small, tiny allowances of white space that reduces the amount of ink hitting the page,and in effect, reducing the appearance of bleed). The results was promising.

The new OT version contains additional opentype features that include expanded ligature sets, fractions, 5 sets of numerals as well as including small caps and Central European diacritics.

Alright Sans

Tue, 4 Aug 2009 0:00:00

Alright Sans by Jackson Cavanaugh
Alright Sans is a contemporary sans-serif. Inspired by both grotesque and humanist models, it's clean and prudent with an warm, friendly tone.

Alright Sans is a modest design that doesn't feel at all stiff or bland. It has open apertures and roundabout economy that works exceptionally well across media and at reduced sizes. And with shorter-than-normal capitals and a tall x-height, it's functional without becoming distracting, goofy, or unprofessional.

Extra care was taken in creating the OpenType features in Alright Sans. Details were included to help make high-quality typesetting easier, such as case-sensitive punctuation and an optically-correct superscript. A stylistic set in the italics provides alternate two-story forms of the 'a' and 'g'. Even the default numbers are the proportional width old-style forms for a more refined all-around text appearance. There are also lining figures for setting with caps and tabular-width versions for setting tables.

Every style of Alright Sans also has a full set of built-in small caps, even the italics. There is also an expanded character set, supporting over a hundred languages. And with weights ranging from extra thin to ultra heavy, Alright Sans proves itself to be a versatile and useful family for a wide range of projects.

Breuer Condensed

Mon, 15 Jun 2009 0:00:00

Breuer Condensed by Silas Dilworth
Breuer Condensed is a mechanical sans ideal for captions and headline settings, and may also be suitable for moderate lengths of body copy with its comprehensive offering of Opentype features. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs to provide a warmer read. The overall design ensures a distinct aura of technical precision in a personable tone.

This family of eight fonts is designed to accompany the Breuer Text and Breuer Headline sets released in 2007. Breuer Condensed offers a 76% narrower footprint compared to Breuer Text and is fine-tuned to render typographic color equivalent to each sibling Text weight.

Fugu

Sun, 14 Jun 2009 0:00:00

Fugu by Neil Summerour
When Baka and Baka Too did very well commercially (Baka was named the Best Cursive Rough Script in 2005), I shied away from doing rough, handwritten scripts. A few years have passed and some early sumi-e brush 'doodles' kept appealing to me. I initially thought this new font would just fall under the Baka mantle and just become a new sibling, but as brush hit paper over and over again, the letters took on a different personality from Baka.

This new font was turning out to be far more expressive, smooth and rough, tasty but sticky. This dichotomy demanded a new name. The rough and smooth texture suggested the name Fugu—oddly delicate while rough and functional.

REM Orange

Mon, 1 Jun 2009 0:00:00

REM Orange by Michael Stipe & Chris Bilheimer
Michael Stipe bought an orange plastic stencil to begin a project in which he stenciled on a shirt every city he visited that year. After stenciling the alphabet on many types of paper and fabrics, they and Chris turned the finished letters into this font.

REM Tourfont

Mon, 1 Jun 2009 0:00:00

REM Tourfont by Michael Stipe & Chris Bilheimer
This font was created for the REM's 2003 Tour by making a standard stencil font, then reattaching the bridges.

REM Accelerate

Mon, 1 Jun 2009 0:00:00

REM Accelerate by Michael Stipe & Chris Bilheimer
Accelerate was created for the REM's 2007 album Accelerate. The goal was to make a font as bold as the band's new material, boldness on the edge of losing form.

REM Collection

Mon, 1 Jun 2009 0:00:00

REM Collection by Michael Stipe & Chris Bilheimer
ORANGE
Michael Stipe bought an orange plastic stencil to begin a project in which he stenciled on a shirt every city he visited that year. After stenciling the alphabet on many types of paper and fabrics, they and Chris turned the finished letters into this font .

TOURFONT
This font was created for REM's 2003 Tour by making a standard stencil font, then reattaching the bridges.

ACCELERATE
Accelerate was created for REM's 2007 album Accelerate. The goal was to make a font as bold as the band's new material, boldness on the edge of losing form.

Glosa Display

Fri, 29 May 2009 0:00:00

Glosa Display by Dino dos Santos
With its extra high contrast for eye-catching feature titles and strong personality, Glosa Display is the ideal typeface for use in very large sizes when you want to achieve a stylish and classic look.

The four roman weights in the Glosa Display's family share identical advance widths and kerning tables. Freely switch between the styles without having to adjust tracking for reflow and fit.

Glosa Display is part of the Glosa Premium Type System. Use in tandem with Glosa, Glosa Text, and Glosa Headline for comprehensive, expert typesetting and seamless style compatibility.

Muscle

Wed, 4 Mar 2009 0:00:00

Muscle by Neil Summerour
Muscle came from the original sketches for Sneakers. At the time my concentration with Sneakers was to create a curvier, chunkier display. I left Muscle behind, thinking it was too masculine. Rather than discard those original sketches, I decided to make it even heavier, reduced the total number of weights, create a function small cap system that when integrated with the lowercase makes a great biform component for short display settings.

Dobra

Thu, 19 Feb 2009 0:00:00

Dobra by Dino dos Santos
Dobra is the redesign of a previous DSType release named Dione. It's an excellent choice for publication design and corporate identity projects.

Dobra keeps the same basic structure as Dione with just a bit of added personality and additional styles. The full family includes five weights from Light to Black and true italics. Opentype features include Small Caps including Numerals, Tabular and Proportional Lining Figures, Tabular and Proportional Old Style Figures, Standard Fractions, Superiors, Inferiors, and many more goodies.

Angel Script

Sun, 15 Feb 2009 0:00:00

Angel Script by Neil Summerour
Angel Script found its origins a few years ago when I was developing Luce. Luce utilized varying style numbers to allow you to mix/match and create different type looks. This was before OpenType had caught on and the type family was inflexible by my standards. Fast forward to 2009... I had pulled out a stack of old type sketches and proofs, some of which had samples of Luce. My daughter happened upon the stack and rifled through them. She said she liked these 'letters', dropped the stack of papers and went about her business. The top sheet had an unreleased set of Luce ligature "doodles". I moved the script to the front burner and started from scratch....creating all new and unique letterforms that each work with the next while keeping the frenetic flow that attracted me to the font concept to begin with.

The end result was Angel Script, a light, contemporary monoline script. There's approximately 695 individual glyphs complete with Stylistic and Contextual Alternates, Titling Alternates, Swashes and even Old Style Numerals. Needless to say, there's a lot 'under the hood', and the typographic flexibility I wanted with earlier concepts shows in grand style with this release. The single weight font includes a complete Central European and Western diacritic set as well.

Black Monday

Wed, 7 Jan 2009 0:00:00

Black Monday by James Puckett
Black Monday is a distressed or “grunge” version of James Puckett's Recovery typeface. The core of the Black Monday type family is a single Opentype font containing three full character sets of varying degrees of distressing treatment. Every glyph in each of the subsets is unique to provide an organically weathered look and feel.

The three distinct glyph sets are also available as individual fonts for use in applications that do not yet support the Stylistic Sets Opentype feature. These styles are identified as Subset 1, Subset 2, and Subset 3, while the full version is simply "Black Monday Regular".

Akagi Basic 2

Sun, 26 Oct 2008 0:00:00

Akagi Basic 2 by Neil Summerour
Akagi started as a rough sketch while on a really long plane ride to Tokyo in 2007. I wanted to develop a sans that was a complete departure from my successful Aaux Pro (now Aaux Next) sans serif family. Whereas Aaux and its siblings are rather unforgiving and stark in their presentation, I wanted this new sans serif to "smile" at you when it's on the page. When the plane landed and I realized I did not sleep through the 15 hour trip, my brain shut off, the laptop closed and I hopped in the car to the hotel—forgetting the "new sans" folder on my desktop.

Fast forward a few months and I found myself seeing a lot of crisp, rigid, robot-like sans serif typefaces everywhere... I enjoy these new crop of faces but wanted to see something "friendlier" and remembered my earlier sketch work. The groundwork was there screaming at me to complete and Akagi arose from the ashes. To be truly satisfied with it personally, a great deal of time was spent trying to create a harmony between line and curve in an attempt to show that you can be crisp, clean and legible and still keep some personality. The Light and Fat weights (regular and italic) are my favorites and I hope to see them as the workhorses of the typeface.

Akagi Basic 1

Sun, 26 Oct 2008 0:00:00

Akagi Basic 1 by Neil Summerour
Akagi started as a rough sketch while on a really long plane ride to Tokyo in 2007. I wanted to develop a sans that was a complete departure from my successful Aaux Pro (now Aaux Next) sans serif family. Whereas Aaux and its siblings are rather unforgiving and stark in their presentation, I wanted this new sans serif to "smile" at you when it's on the page. When the plane landed and I realized I did not sleep through the 15 hour trip, my brain shut off, the laptop closed and I hopped in the car to the hotel—forgetting the "new sans" folder on my desktop.

Fast forward a few months and I found myself seeing a lot of crisp, rigid, robot-like sans serif typefaces everywhere... I enjoy these new crop of faces but wanted to see something "friendlier" and remembered my earlier sketch work. The groundwork was there screaming at me to complete and Akagi arose from the ashes. To be truly satisfied with it personally, a great deal of time was spent trying to create a harmony between line and curve in an attempt to show that you can be crisp, clean and legible and still keep some personality. The Light and Fat weights (regular and italic) are my favorites and I hope to see them as the workhorses of the typeface.

Akagi Pack 2

Sun, 26 Oct 2008 0:00:00

Akagi Pack 2 by Neil Summerour
Akagi started as a rough sketch while on a really long plane ride to Tokyo in 2007. I wanted to develop a sans that was a complete departure from my successful Aaux Pro (now Aaux Next) sans serif family. Whereas Aaux and its siblings are rather unforgiving and stark in their presentation, I wanted this new sans serif to "smile" at you when it's on the page. When the plane landed and I realized I did not sleep through the 15 hour trip, my brain shut off, the laptop closed and I hopped in the car to the hotel—forgetting the "new sans" folder on my desktop.

Fast forward a few months and I found myself seeing a lot of crisp, rigid, robot-like sans serif typefaces everywhere... I enjoy these new crop of faces but wanted to see something "friendlier" and remembered my earlier sketch work. The groundwork was there screaming at me to complete and Akagi arose from the ashes. To be truly satisfied with it personally, a great deal of time was spent trying to create a harmony between line and curve in an attempt to show that you can be crisp, clean and legible and still keep some personality. The Light and Fat weights (regular and italic) are my favorites and I hope to see them as the workhorses of the typeface.

Akagi Pack 1

Sun, 26 Oct 2008 0:00:00

Akagi Pack 1 by Neil Summerour
Akagi started as a rough sketch while on a really long plane ride to Tokyo in 2007. I wanted to develop a sans that was a complete departure from my successful Aaux Pro (now Aaux Next) sans serif family. Whereas Aaux and its siblings are rather unforgiving and stark in their presentation, I wanted this new sans serif to "smile" at you when it's on the page. When the plane landed and I realized I did not sleep through the 15 hour trip, my brain shut off, the laptop closed and I hopped in the car to the hotel—forgetting the "new sans" folder on my desktop.

Fast forward a few months and I found myself seeing a lot of crisp, rigid, robot-like sans serif typefaces everywhere... I enjoy these new crop of faces but wanted to see something "friendlier" and remembered my earlier sketch work. The groundwork was there screaming at me to complete and Akagi arose from the ashes. To be truly satisfied with it personally, a great deal of time was spent trying to create a harmony between line and curve in an attempt to show that you can be crisp, clean and legible and still keep some personality. The Light and Fat weights (regular and italic) are my favorites and I hope to see them as the workhorses of the typeface.

Akagi Complete

Sun, 26 Oct 2008 0:00:00

Akagi Complete by Neil Summerour
Akagi started as a rough sketch while on a really long plane ride to Tokyo in 2007. I wanted to develop a sans that was a complete departure from my successful Aaux Pro (now Aaux Next) sans serif family. Whereas Aaux and its siblings are rather unforgiving and stark in their presentation, I wanted this new sans serif to "smile" at you when it's on the page. When the plane landed and I realized I did not sleep through the 15 hour trip, my brain shut off, the laptop closed and I hopped in the car to the hotel—forgetting the "new sans" folder on my desktop.

Fast forward a few months and I found myself seeing a lot of crisp, rigid, robot-like sans serif typefaces everywhere... I enjoy these new crop of faces but wanted to see something "friendlier" and remembered my earlier sketch work. The groundwork was there screaming at me to complete and Akagi arose from the ashes. To be truly satisfied with it personally, a great deal of time was spent trying to create a harmony between line and curve in an attempt to show that you can be crisp, clean and legible and still keep some personality. The Light and Fat weights (regular and italic) are my favorites and I hope to see them as the workhorses of the typeface.

Cooter Deuce

Mon, 13 Oct 2008 0:00:00

Cooter Deuce by Silas Dilworth
Cooter Deuce is a redesign and expansion of the pop hit Cooter typeface and consists of two feature-rich Opentype fonts: Cooter Deuce Regular and Cooter Deuce Plugged.

Where the original Cooter offers a grab-bag of solid and counterpunched letterforms, Cooter Deuce has been split in two. The Regular style is endowed with a full set of counterpunched forms while the Plugged has its bowls and most of its counters filled.

Compared to its predecessor, Cooter Deuce has been drawn with more consistently square proportions, and a handful of glyphs have been entirely redesigned. Taking advantage of the Opentype format, Cooter Deuce has even been fleshed out with a bevy of alternate glyphs, dingbats, and nifty decorative ligatures.

Recovery

Mon, 6 Oct 2008 0:00:00

Recovery by James Puckett
“Charles Coiner (1898–1989) was a giant in the history of American graphic design, recognized with the first National Society of Art Directors Annual Award and an AIGA medal. As an art director at N. W. Ayer & Son Coiner commissioned work by great artists of the era including Norman Rockwell, Georgia O’Keefe, and Pablo Picasso. His work for private and government clients helped popularize modernism in the United States.

“In 1933 Franklin D. Roosevelt created the National Recovery Administration as part of his New Deal program to lift America out of the Great Depression. The NRA was intended to halt the collapse of American industry by replacing free markets with government mediated standards for pricing, wages, working hours, and other aspects of business.

“Coiner was commissioned to design an identity for the NRA. His design was a radical departure from contemporary standards: a flat blue eagle appearing under the letters “NRA” drawn in a geometric style similar to Paul Renner’s typeface Futura. Using Coiner’s letters as a starting point, M. F. Benton designed the typeface Eagle Bold for American Type Founders. Eagle Bold is now regarded as a classic American headline face.

“Businesses across America displayed Coiner’s logo on posters and flyers proclaiming their cooperation and NRA banners were lofted over propaganda parades. Then in 1935 a Supreme Court ruling shut down the NRA, and Coiner’s Eagle disappeared from the public eye—but not before it had helped plant modernism into the nations collective visual consciousness.

“Recovery is a reinterpretation of Coiner’s letters and Benton’s Eagle Bold. I began drawing Eagle to explore the design of extremely heavy letters and as I worked on it I began to appreciate the design and its place in history. Coiner put the avant-garde style of Europe on display across America. His NRA logo is an icon of the years when American designers dove headfirst into modernism. This moment in history and its visuals deserve continued exploration, and connecting to our past like this helps remind us who we are and where we are going.”

– James Puckett

Facebuster

Tue, 16 Sep 2008 0:00:00

Facebuster by Silas Dilworth
Facebuster is a no-nonsense block serif display typeface with hard geometry and minimal negative space. It's ideal for making a strong yet playful statement. It comes equipped with Opentype Small Caps.

Adriane Lux

Tue, 5 Aug 2008 0:00:00

Adriane Lux by Marconi Lima
Adriane Lux is the decorative, "inline" or "openface" titling companion to Marconi Lima's acclaimed Adriane Text family. This single weight offering is modeled after the Regular weight of the primary family.

While Adrtiane Text is intended for thoroughly classical book design, Adriane Lux enters the fold as an equally traditional display face. Have it foil-stamped on your next faux-leather book cover design or embossed on your personal calling card for a touch of well-behaved, regal formalism.

Aaux Next Wide

Fri, 1 Aug 2008 0:00:00

Aaux Next Wide by Neil Summerour
When the original Aaux was introduced several years ago, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it.

The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

Aaux Next

Fri, 1 Aug 2008 0:00:00

Aaux Next by Neil Summerour
When the original Aaux was introduced several years ago, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it.

The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

Aaux Next Condensed

Fri, 1 Aug 2008 0:00:00

Aaux Next Condensed by Neil Summerour
When the original Aaux was introduced several years ago, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it.

The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

Aaux Next Compressed

Fri, 1 Aug 2008 0:00:00

Aaux Next Compressed by Neil Summerour
When the original Aaux was introduced several years ago, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it.

The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

Prelo Compressed

Wed, 2 Jul 2008 0:00:00

Prelo Compressed by Dino dos Santos
Prelo Compressed is an extension to the Prelo family, part of the DSType Premium Typeface Collection. This eight weight set of roman styles is best used for headlines, captions and callouts where space is most valuable.

These Opentype fonts contain a full array of features: Smallcaps, Ligatures, Alternates, Fractions, Scientific Inferiors, Superscript, Swashes, Oldstyle Figures, Lining Figures, Tabular Figures, Numerators, Denominators and Ordinals.

Capsa

Thu, 26 Jun 2008 0:00:00

Capsa by Dino dos Santos
While not intended as a pure revival, Capsa is inspired by the work of mid-eighteenth century Parisian printer Claude Lamesle. It is an original design with classical flair, expert typesetting features and full, contemporary character sets.

The Capsa family is an ideal book type — highly legible with beautifully fluid Swash and Italic styles. The Patterns and Vignettes fonts comprise a useful collection of decorative borders and ornaments.

Opentype features include Smallcaps, Ligatures, Alternates, Oldstyle Figures, Lining Figures, Tabular Figures, Fractions, Scientific Inferiors, Superscript, Swashes, Numerators, Denominators and Ordinals.

Prelo Condensed

Sun, 11 May 2008 0:00:00

Prelo Condensed by Dino dos Santos
Prelo Condensed is the highly anticipated extension to the Prelo family, part of the DSType Premium Typeface Collection. This eight weight set of roman styles is best used for headlines, captions and callouts where space is most valuable.

These Opentype fonts contain a full array of features: Smallcaps, Ligatures, Alternates, Fractions, Scientific Inferiors, Superscript, Swashes, Oldstyle Figures, Lining Figures, Tabular Figures, Numerators, Denominators and Ordinals.

Heroic Condensed

Sun, 11 May 2008 0:00:00

Heroic Condensed by Silas Dilworth
Heroic Condensed is an idealized, no-nonsense, narrow grotesque. From poster design to editorial layout, it is suitable for a wide range of uses and a worthy addition to any professional font collection.

Heroic Condensed is not simply a spin-off of an existing text family. It has been crafted from scratch with an original structural logic of its own—a fusion of pure geometry and optical balance. Horizontal strokes and terminal endings are governed by a strict framework of vertical measurements, but its curves straddle the divide between rigid, machined precision and warm humanism. The result is a steadfast, lean, and gentle typeface worthy of a broad array of messages.

The finer details have been honed to accommodate the acute and sublime workings of the human eye. Extensive adjustments and optical tests have been applied to the curves and angles of each letterform for even color and visual equality across a versatile range of eight weights. With careful consideration paid to the economy of letterspacing, the need for extensive kerning tables has been alleviated with streamlined glyph designs and a manually tuned matrix of sidebearings.

Heroic Condensed is further enhanced with Opentype Small Caps, Tabular Figures, Fractions, and the standard TypeTrust character set which includes a full array of Latin diacritics.

Glosa Text

Mon, 5 May 2008 0:00:00

Glosa Text by Dino dos Santos
Glosa Text is part of the DSType Premium Typeface Collection, painstakingly crafted for editorial and informational design. Glosa Text is a pleasantly readable, having strong contrast, an ample x-height and gently bracketed serifs. These sublime curves are what differentiate Glosa Text from its sister family, Glosa that bears comparably measured yet chiseled, unbracketed serifs.

The full suite of expertly crafted Opentype features ensures stylistic excellence. Included are Small Caps, Old Style Figures, both Lining and Old Style Tabular Figures, Fractions, Numerators, Denominators, Superscript, Scientific Inferiors, and a fine selection of stylistic alternates and ligatures.

Glosa Headline

Mon, 5 May 2008 0:00:00

Glosa Headline by Dino dos Santos
Glosa Headline is a four-weight display accompaniment to Glosa Text, a DSType Premium Typeface. Glosa Headline has a larger x-height and a slightly narrower footprint than its text counterpart, allowing it to fill headers more evenly in economic layout environments such as newspaper design.

Although it is intended for display purposes, Glosa Headline still contains a full array of Opentype features. Included are Small Caps, Old Style Figures, both Lining and Old Style Tabular Figures, Fractions, Numerators, Denominators, Superscript, Scientific Inferiors, and a modest offering of stylistic alternates and ligatures.

Prelo Slab

Thu, 1 May 2008 0:00:00

Prelo Slab by Dino dos Santos
The Prelo Slab family is part of the DSTYPE Premium Collection designed explicitly to meet the requirements of editorial typesetting. This family of eighteen fonts is the serif companion to the Prelo family. From Black to Hairline, the weight range is sure to meet various layout demands from pouring body copy to setting feature headline spreads.

These Opentype fonts contain a full array of features: Smallcaps, Ligatures, Alternates, Fractions, Scientific Inferiors, Superscript, Swashes, Oldstyle Figures, Lining Figures, Tabular Figures, Numerators, Denominators and Ordinals.

Glosa

Thu, 1 May 2008 0:00:00

Glosa by Dino dos Santos
Glosa is part of the DSType Premium Typeface Collection, painstakingly crafted for editorial and informational design. Glosa possesses an earnest, antiqued quality in its chiseled, unbracketed serifs and subdued embellishments. Its structure is reminiscent of fine copper type designs and would pair well with any classic engravers workhorse revival. What makes Glosa a truly contemporary design for the 21st century are its ample x-height and conservatively stressed true italics. It maintains readability, never distracting with misplaced flair.

A full array of Opentype features guarantees Glosa's reliability in today's design world. Included are Small Caps, Old Style Figures, both Lining and Old Style Tabular Figures, Fractions, Numerators, Denominators, Superscript, Scientific Inferiors, and a modest offering of stylistic alternates and ligatures.

Prelo

Tue, 25 Mar 2008 0:00:00

Prelo by Dino dos Santos
Prelo was designed to be a neutral, highly readable typeface, for identity, editorial and information design.

With nine weights and nine true italics, from Hairline to Black, Prelo is a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others. Like other DSTYPE fonts, most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters. The curves are soft and smooth, providing legibility, even in very poor conditions and the neutrality allows this typeface to be used with any serif companion.

Ginza

Thu, 13 Mar 2008 0:00:00

Ginza by Neil Summerour
Sometimes you get an idea stuck in your head and the only way to get rid of that demon is to put something down on paper. A year later the doodles became a skeleton, and then the skeleton had a body, then the body had a name, then the name got a personality.

What was left was a clean set of ten fonts that encompass a very simple skeleton with a lot of visual appeal. During the process, I saw ways to expand the typeface's display capabilities by producing inline styles as well as a down-and-dirty rough set.

Each font has a full set of glyphs that include Central European and Small Cap characters.

Ginza Display

Thu, 13 Mar 2008 0:00:00

Ginza Display by Neil Summerour
Sometimes you get an idea stuck in your head and the only way to get rid of that demon is to put something down on paper. A year later the doodles became a skeleton, and then the skeleton had a body, then the body had a name, then the name got a personality.

What was left was a clean set of ten fonts that encompass a very simple skeleton with a lot of visual appeal. During the process, I saw ways to expand the typeface's display capabilities by producing inline styles as well as a down-and-dirty rough set.

Each font has a full set of glyphs that include Central European and Small Cap characters.

Ginza Complete

Thu, 13 Mar 2008 0:00:00

Ginza Complete by Neil Summerour
Sometimes you get an idea stuck in your head and the only way to get rid of that demon is to put something down on paper. A year later the doodles became a skeleton, and then the skeleton had a body, then the body had a name, then the name got a personality.

What was left was a clean set of ten fonts that encompass a very simple skeleton with a lot of visual appeal. During the process, I saw ways to expand the typeface's display capabilities by producing inline styles as well as a down-and-dirty rough set.

Each font has a full set of glyphs that include Central European and Small Cap characters.

Adriane Text

Tue, 12 Feb 2008 0:00:00

Adriane Text by Marconi Lima
Adriane Text was designed between 2006 and 2007. With objectives focusing on text composition and unique typographic characteristics, it can be classified as a transitional typeface. Details within the characters provide both personality and excellent legibility at small sizes. The typeface has medium contrast, a predominately vertical axis, and an x-height to maximize legibility.

Adriane Text comes in Roman and Bold weights with corresponding italics. Small caps, tabular figures, proportional figures in old style and lining, an extensive set of ligatures, ornaments, various dingbats, and several alternate ampersands are provided in each weight.

The Italic possesses a fluidity that contrasts with the more severe nature of the Roman weight. The degree of the inclination of the uppercase and lowercase characters are slightly different, offering more visual rhythm in text settings.

Estilo Text

Sun, 27 Jan 2008 0:00:00

Estilo Text by Dino dos Santos
Estilo Text is Dino dos Santos's expert extension to his popular Estilo and Estilo Script fonts. This six weight set includes advanced typesetting features, giving the typeface added usefulness beyond display settings.

Double-storey a's and old style figures make for optimal readability. A full Central European character set, international currency symbols and a full palette of traditional ligatures make Estilo ready for copy setting all over the world. Of course, Small Caps and Tabular Figures are standard fare for any DSType release and are included.

Epic - Pack B

Wed, 19 Dec 2007 1:01:01

Epic - Pack B by Neil Summerour
What started out as a typographic exercise to produce the logotype for TypeTrust, turned out to be the product of obsession—Epic is the culmination of two years of work that has yielded a versatile and respectful contemporary garalde.

There are so many subtleties to the glyph construction, that this acts as a visual treat to see each interact with its neighbor. With a full complement of six weights and true italics, the family offers itself as a true workhorse for typesetting while ensuring visual interest as an effective headline face with the numerous standard and discretionary ligatures, majuscule ligatures, stylistic alternates and swash characters available.

Epic - Pack A

Wed, 19 Dec 2007 1:01:01

Epic - Pack A by Neil Summerour
What started out as a typographic exercise to produce the logotype for TypeTrust, turned out to be the product of obsession—Epic is the culmination of two years of work that has yielded a versatile and respectful contemporary garalde.

There are so many subtleties to the glyph construction, that this acts as a visual treat to see each interact with its neighbor. With a full complement of six weights and true italics, the family offers itself as a true workhorse for typesetting while ensuring visual interest as an effective headline face with the numerous standard and discretionary ligatures, majuscule ligatures, stylistic alternates and swash characters available.

Epic

Wed, 19 Dec 2007 0:00:00

Epic by Neil Summerour
What started out as a typographic exercise to produce the TypeTrust logotype turned out to be the product of obsession. Epic is the culmination of two years of work that has yielded a versatile and respectful contemporary garalde.

With a full complement of six weights and true italics, the family offers itself as a true workhorse. Numerous standard and discretionary ligatures, majuscule ligatures, stylistic alternates and swash characters ensure visual interest as an effective headline face.

Cooter Slim

Wed, 28 Nov 2007 0:00:00

Cooter Slim by Silas Dilworth
Cooter Slim is Cooter's condensed sibling, perfect for young and scrappy marketing campaigns, silkscreened protest signs, or your indie band's latest t-shirt design. It's got loads of DIY charm and makes a 57% narrower footprint than the original!

Breuer Headline

Mon, 12 Nov 2007 0:00:00

Breuer Headline by Silas Dilworth
Breuer Headline exhibits a modern geometric structure tempered with subtle strokes of friendly humanism. Its neutral forms and sturdy rhythm are convincing without being forceful. The lowercase has a slightly casual feel. Set in all caps for a sterner message.

Breuer Headline is the display complement to the Breuer Text family. Differences are found in the inside curvature of the lowercase arms and the simplified Oblique as opposed to the Text Italics.

Breuer Headline is equipped with Small Caps, Old Style Figures, Tabular Figures, and a selection of dingbats.

Breuer Text

Mon, 12 Nov 2007 0:00:00

Breuer Text by Silas Dilworth
Breuer Text is a simple geometric sans with relaxed curves and slightly condensed proportions suitable for moderate lengths of body copy. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs for a warmer read.

Breuer Text offers the distinct aura of technical precision in a personable tone, ideal for instructional copy or safety warnings. Its basic structure and conservative letterforms maintain a level voice without turning robotic or sterile.

Pair with the two-font Breuer Headline family for a simple and complete editorial type system.

Breuer Text includes Small Caps, Old Style Figures and Tabular Figures.

Anubis Pro

Sat, 18 Aug 2007 1:01:01

Anubis Pro by Dino dos Santos
Anubis Pro is a slab serif display type. X-height majiscules is a defining characteristic — an experimental nod to uncial script structure.

Its peculiar framework and collection of unique letterforms are balanced with traditional slab strokes, making Anubis Pro a worthy candidate for visual identity and branding applications where an inventive yet classic feel is desired.

This Opentype release includes swashes, ligatures, and Central European diacritics.

Esta Pro

Sat, 18 Aug 2007 0:00:00

Esta Pro by Dino dos Santos
Esta Pro is a mystifyingly elegant yet practical serif typeface. The stoic and well-proportioned uppercase fail to distract from the deeper nuances found in the thoroughly humanistic and pleasantly jubilant lowercase.

A tempered calligraphic hand is consistently evident in the Romans, but the demure curves really begin to make their moves in the Italics, begin to dance in the Display style, and really let loose in the Swash style.

Add a vast palette of ligatures and alternates to the choreaography and you have the makings of a visual ballet of perfect rhythm and graceful gestures.

Ventura

Sat, 18 Aug 2007 0:00:00

Ventura by Dino dos Santos
Ventura is inspired by the calligraphic work of Ventura de Silva, "Regras Methodicas", publish in Portugal in 1820.

While the stroke quality is fine and flourished, the letterforms embody a slightly Roman structure making Ventura a somewhat more legible script. This Opentype release includes a plethora of stylistic alternates for advanced typesetting. Swashes, ligatures, and flowing loops abound.

Leitura Display

Fri, 17 Aug 2007 1:01:01

Leitura Display by Dino dos Santos
Leitura Display is part of Leitura Type System and was specially designed for editorial purposes.

Includes small caps, ligatures, alternates and swashes.

Sansarah

Wed, 15 Aug 2007 0:00:00

Sansarah by Silas Dilworth

Sansarah began as a custom type commission for Columbia College Chicago. Sarah Faust, photographer and designer on the school's Creative Services staff, had been contributing her own handwriting to the brand. When it came time for Sarah to take maternity leave, we developed a limited character set in the regular weight for the staff to use in her absence.

Since that time, the school has shifted its look and feel, although Sarah's oversized lettering can be seen on many a streetcorner where Columbia College Chicago claims real estate. Rather than let the design disappear, I decided to resurrect and expand upon it for this retail release.

There are 4 sets of alternate alphanumeric glyphs, with 6 alternates for more common lowercase letters. The Stylistic Alternates feature in Opentype-savvy applications will automatically rotate the alternates for a more varied, handwritten appearance.

Organic

Sun, 18 Mar 2007 0:00:00

Organic by Neil Summerour
Organic was designed to be highly legible and flexible. I wanted to created a very refined sanserif that could be used for display or body copy, for print or digital. The Opentype flexibility allowed me to expand the look of the family with alternate characters, small caps, oldstyle figures, and ligatures.

Insofar as personality of the typeface goes...I wanted it soft and approachable while remaining strong and robust.

Leitura

Wed, 28 Feb 2007 1:01:01

Leitura by Dino dos Santos
Leitura is part of Leitura Type System and was specially designed for editorial purposes.

Opentype features include SmallCaps, Oldstyle Figures, Lining Figures, Tabular Figures, Ligatures, Alternates, Swashes, Fractions, Scientific Inferiors, Superscript, Numerators, Denominators, and Ordinals.

Leitura Headline

Wed, 28 Feb 2007 1:01:01

Leitura Headline by Dino dos Santos
Leitura Headline is part of Leitura Type System and was specially designed for editorial purposes. Opentype features include SmallCaps, Ligatures, Alternates and Swashes.

Leitura News

Wed, 28 Feb 2007 1:01:01

Leitura News by Dino dos Santos
Leitura News is part of Leitura Type System and was specially designed for editorial purposes.

Opentype features include SmallCaps, Oldstyle Figures, Lining Figures, Tabular Figures, Ligatures, Alternates, Swashes, Fractions, Scientific Inferiors, Superscript, Numerators, Denominators, and Ordinals.

Leitura Sans

Wed, 28 Feb 2007 1:01:01

Leitura Sans by Dino dos Santos
Leitura Sans is part of Leitura Type System and was specially designed for editorial purposes.

Opentype features include SmallCaps, Oldstyle Figures, Lining Figures, Tabular Figures, Ligatures, Alternates, Swashes, Fractions, Scientific Inferiors, Superscript, Numerators, Denominators, and Ordinals.

Leitura Symbols

Wed, 28 Feb 2007 1:01:01

Leitura Symbols by Dino dos Santos
Leitura Symbols is part of Leitura Type System and was specially designed for editorial purposes. The three font set includes a variety of arrows, simple UI graphics, and cartographic and directional symbols ideal for signage, metrics art and special notation.

Argenta OT

Tue, 27 Feb 2007 1:01:01

Argenta OT by Alejandro Paul
Argenta is handwritten and fresh. The casual spirit of this face is evident, but complemented by very specific typographic details. A playful script with an immensely useful array of alternate characters.

Malbeck

Tue, 27 Feb 2007 1:01:01

Malbeck by Alejandro Paul
Malbeck is a script which is both as elegant as it is unique. Very playful typographic treatments can be produced using the large selection of alternate characters.

Aaux Pro

Tue, 13 Feb 2007 1:01:01

Aaux Pro by Neil Summerour

Headroom

Sun, 8 Oct 2006 1:01:01

Headroom by Lee Fasciani
Headroom is an all-caps mechanical design from twenty minutes into the future. Whether labeling munitions crates for your mech fleet or posting low-clearance warnings, the message will be clear. Headroom broadcasts to all frequencies.

Plexes Pro

Wed, 4 Oct 2006 1:01:01

Plexes Pro by Dino dos Santos
Plexes Pro is just at home in an architectural rendering as it is in a sci-fi movie poster. It's clean, progressive lines present an optimistic view of communication in the age of mechanical reproduction.

The nuanced glyph structures and narrow footprint make Plexes Pro ideal for subtly decorative display and headline use. The lighter weights and true italics are comfortably readable in longform copy.

Extended Opentype features and character sets ensure its usability. Plexes Pro includes SmallCaps, Alternate Figures, Stylisitc Alternates, Ligatures, Swashes and full Greek and Central European support.

Titan Pro

Wed, 4 Oct 2006 1:01:01

Titan Pro by Dino dos Santos
Titan Pro is a trim and sturdy display type with a sleek finish and minimal flourish. It is ideal for larger sizes and quick reads -- think billboards and other outdoor messaging.

The masculine, boxy structure would suit sports-related design packages and projects that require broad shouldered, optimistic copy.

Includes plenty of OpenType features, like SmallCaps, Alternates, Ligatures and Swashes.

Titan Text Pro

Wed, 4 Oct 2006 1:01:01

Titan Text Pro by Dino dos Santos
Titan Text Pro is a refined version of Titan Pro, embellished with delicate stem extensions, inktrap detailing and alternate glyphs for improved legibility. Maintaining the rectangular forms and rounded corners of Titan Pro, Titan Text Pro brings a slightly more delicate touch to longform copy settings. The strong competitor's spirit remains apparent.

Includes plenty of OpenType features, like SmallCaps, Alternates, Ligatures and Swashes.

Andrade Pro

Wed, 4 Oct 2006 0:00:00

Andrade Pro by Dino dos Santos
Andrade was inspired by the typographic work of Manoel de Andrade de Figueiredo (b.1670-d.1735), Nova Escola para Aprender a Ler, Escrever e Contar, printed in 1722 at Officina de Bernardo da Costa de Carvalho.

This is one of the most important books, and almost forgotten, about Portuguese calligraphy and typography, and the work of Andrade de Figueiredo is among the most amazing examples of type design of the Eighteenth Century. His work inspired Ventura da Silva, a Portuguese typographer, who in 1803 published Regras Methodicas, for which he redesigned some of Figueiredo’s type specimens.

Ventura’s intention was to create a more elegant and readable typeface than Didot and Bodoni. This kind of typeface was once called “leitura” and is a transition between baroque and modern typography.

Andrade is my tribute to Portuguese typography and to the work of Manoel de Andrade de Figueiredo in particular.

Andrade Pro is available in six styles. Includes plenty of features, like SmallCaps, Alternates, Ligatures, Swashes and Greek.

Ezzo

Tue, 3 Oct 2006 1:01:01

Ezzo by Dino dos Santos
Initially created for a design bureau, Ezzo is now available in 6 weights with italics and alternates.

Includes plenty of OpenType features, like SmallCaps, Alternates, Ligatures and Swashes.

Large Pro

Tue, 3 Oct 2006 1:01:01

Large Pro by Dino dos Santos
Large is very condensed and very bold, for use at very large sizes. Includes a vast array of alternates and full CE support.

Boycott

Tue, 3 Oct 2006 1:01:01

Boycott by Ryoichi Tsunekawa

Penn Station

Tue, 3 Oct 2006 1:01:01

Penn Station by Anuthin Wongsunkakon
Inspired by time table board at Penn Station in New York City. When I was living in New York. I usually took KeyStone service train ride on weekend to Pennsylvania. Back then the time table at Penn Station operated by using old-fashion flip board using somewhat like Helvetica. It served all the travelers very well with charm but I sometime found it quite boring. The new board was installed at around the turn of millennium. I was about to moved back to Bangkok. The very last trip to Pennsylvania was when they were taking down the old board. I revisited New York a couple times later on but they were no where near Penn Station. I did not get to see what the new board look like until two years ago (2004). I took a bunch of photos while the securities were watching me like a hawk. Off corse it might look kind of suspicious to them after 911. The new board has an interesting complex grid design which I think it would be even more interesting in printable format. I passed the original file to Neil Summerour. He tweaked it up to perfection and add a solid version to the design.

Jaguarundi

Thu, 28 Sep 2006 1:01:01

Jaguarundi by Ryoichi Tsunekawa
Like a backfiring raygun, Jaguarundi explodes with a flash and a fizz. Putting the pieces back together makes a seemingly randomized collage of disparate bits and fragments caked with plasma ash. A second style layers on the distressed texture, all scratched up and overinked.

Tokyotrail

Thu, 28 Sep 2006 1:01:01

Tokyotrail by Ryoichi Tsunekawa
Tokyotrail is inspired by the capital of Japan. Over 2,000 square kilometers to explore. Lines run vertical, horizontal and diagonal. The keyline CAD aesthetic of the thin weights will give any design an air of intricacy, while the heavier weights are ideal for the simplest of logotype applications.

Depot

Wed, 27 Sep 2006 1:01:01

Depot by Chris Dickinson
Depot is a solid confident sans-serif, available in 8 weights with supporting true italics and ready for everyday use.

A robust body text, Depot is ideal for corporate use, but with enough character to tackle a variety of branding and identity applications.

Ayumi Pro

Wed, 27 Sep 2006 1:01:01

Ayumi Pro by Neil Summerour
Ayumi is one of those precocious sans. At first glance, I wanted it to look simple...basic characters, moderate modulation, common structure...but at closer inspection, it is filled with all kinds of fun and expressive movement. The italics are...well, fun. They're curvy and expressive and truly compliments the face. The new Pro version includes a tightened character set, central european glyphs, and remastered kerning.

Alber

Wed, 27 Sep 2006 0:00:00

Alber by Chris Dickinson
The older brother of Depot, Alber is sturdy with added subtleties, a hard-working, cultivated all-rounder. Its industrious charm makes it suitable for body copy as well as headline or display settings.

Alber is cross platform with support for Western Latin and Central European character sets.

Yumi

Tue, 26 Sep 2006 1:01:01

Yumi by Neil Summerour
Did you ever wanna just do something thin and curvy? I did. So I did Yumi. I wanted to create something smooth, stream-lined, with a bit of curviness. Not too much that it would become presumptious, but just enough to solve the movement through this very monoline sans.

Altar

Mon, 25 Sep 2006 1:01:01

Altar by Neil Summerour
Altar was developed from charcoal rubbings made of a headstone in a cemetery in New Orleans. For me it recalls memories of hand-carved lettering in the furniture of old Southern Baptist churches (which inspired the name). Only a few of the characters from the original rubbing show up in the final version of the typeface, but compressed naive serifs still show through.

Estilo Script

Mon, 18 Sep 2006 1:01:01

Estilo Script by Dino dos Santos
Estilo Script is the perfect addition to Estilo, adding rounded alternates, elegant swashes and more ligatures.

Priva Pro

Mon, 12 Jun 2006 0:00:00

Priva Pro by Dino dos Santos
Priva Pro has a certain business-casual appearance which makes it ideal for corporate ID systems, while its full array of Opentype features make for pleasingly intricate and warmly humanist typographic exploration.

Includes Greek and Cyrillic characters, along with small caps, ligatures, alternates and swashes.

Sneakers Script

Sun, 11 Jun 2006 1:01:01

Sneakers Script by Neil Summerour
A derivation of the popular Sneakers font family, the Script version incorporates robust swash connections and stylist alternates.

With this new cut of the font a complete Central European character set has been added.

Do Gothic

Mon, 5 Jun 2006 1:01:01

Do Gothic by Anuthin Wongsunkakon
A couple of the fonts I have designed in recent years have been inspired by OCR typefaces. I have always found OCR characters fascinating. It must be the fact that true OCR typefaces can be read by both human and machine. They also have a very distinctive texture when set as text.

I often interpret the OCR look with an industrial sans drawing style. This is the same process I applied to Reform (2001) and OCRX (2000). Amazingly, you can derive various outcomes from the same concept. Do Gothic is the latest which moves the furthest from the original OCR inspiration.

Volupia

Wed, 24 May 2006 1:01:01

Volupia by Dino dos Santos
I started designing Volupia in 2004 and the main goal was to create a very casual font with some characteristics than we can find in some old commercial advertisements.

After designing the basic character set I decided to go OpenType because it would allow me to go deep into the script, correcting the balance of the spaces and the kerning, along with the possibility to create Ligatures and Swashes.

The result is a typeface ideal for use in very big sizes. Volupia includes Small Caps, Ligatures, Fractions, CE Characters, Swashes and Alternates. The ligatures and the ending swashes allow the user to make the text more calligraphic and personal.

Reservation Wide

Wed, 24 May 2006 0:00:00

Reservation Wide by Silas Dilworth
Reservation Wide is intended for headlines with its relatively snug letterspacing and extended forms. Its simplicity will accommodate smaller sizes and lower resolution displays. Opentype Stylistic Alternates for characters 'a', 'g' and 't' lend an even simpler finish.

The hand-drawn curves and angled stroke endings temper the otherwise rigid proportions of the family. This painterly tendency becomes more apparent in the heavier weights keeping them from looking too imposing. I see the angles beginning to smile back with a sort of reserved, almost cheerful nonchalance.

The design first took shape as a custom font named Majestos for the cable channel The Food Network. It can be found in their growing online and printed presence in addition to their broadcast identity for which it was developed.

Estilo

Thu, 13 Apr 2006 1:01:01

Estilo by Dino dos Santos
Estilo is a very elegant monoline display type in a 30s style. It includes small caps, ligatures and alternates for advanced design options, as well as full Greek and Central European character sets.

Everafter

Wed, 5 Apr 2006 0:00:00

Everafter by Silas Dilworth
There are no straight lines in Everafter. The vectors were all drawn and tweaked by hand (and mouse) for a softened, wobbly appearance. The result is a naive serif type that doesn't take itself too seriously.

The large x-height and occasional brushy flair read like an illustrated children's fairytale compendium — rich in verbal tradition and playfully illuminated.

Opentype features include Old Style Figures, Fractions, Ornaments and Contextual Alternates.

Musee

Mon, 3 Apr 2006 1:01:01

Musee by Dino dos Santos
First inspired in a leaf from Missale Romanum ex Decreto Sanctrosancti Concilii Tridentinii Restitutum, printed by the Plantin Workshop at Antwerp in 1642, Musee was designed for booktext purposes and is very elegant and highly readable even in small sizes.

Includes plenty of OpenType features, like SmallCaps, Alternates and Swashes.

Rickety

Tue, 21 Mar 2006 0:00:00

Rickety by Silas Dilworth
Rickety was inspired by a lettering style that my friend Chris May had been using in his silkscreen projects. I collaborated with him on the full character set to produce this digital version.

It has a junk art feel that would work well in children's books, humorous greeting cards, or twee indierock album covers. All it needs is a good home and some tender loving typesetting.

Baka

Wed, 8 Mar 2006 0:00:00

Baka by Neil Summerour
I originally intended this font to be an experiment only, but as I continued to put letter after letter to paper, it just screamed to be made into a 'real' font. All original glyphs were hand-lettered on Arches paper using a Parker fountain pen with an angled nib.

I wanted to capture the expression of the letters. Once in electronic form, little was done to adjust for imperfections found in the selected glyphs...in this case, the work was just the work and not a refined, optically perfect font. The results left me surprisingly pleased.

Additionally, in January 2006, Baka was named Best Rough Script Font for 2005 on MyFonts.com. Thank you to everyone.

Baka Too

Wed, 8 Mar 2006 0:00:00

Baka Too by Neil Summerour

Cen Pro

Sun, 5 Mar 2006 1:01:01

Cen Pro by Neil Summerour
I like to say that this font is 12 styles of monoline goodness. The simplified skeleton and optical adjustments across weights to insure crisp letter reproduction make it a personal favorite of mine.

Distinctive characteristics of this typeface include the 'broken leg R' as well as a complete small caps, lining and tabular numerals and a complete Central European character sets.

Lump

Tue, 28 Feb 2006 1:01:01

Lump by Silas Dilworth
Lump started as a series of handdrawn buttons I made for a Lumpen event in 2005. This digital version keeps the linework loose and the corners choppy.

Use Lump wherever you need a hefty urban feel. Stack the letterforms like bricks to build a wall of type. The negative space and counters form patterns of cracks and mortar, obscuring the copy but binding the message in a neo-constructivist grid.

Cynapse Pro

Mon, 27 Feb 2006 1:01:01

Cynapse Pro by Neil Summerour
Several years ago I was faced with a project that required very small type to be used in a directory. In general, there was a need for a lot of 'fine print'. Faced with this, all of the tests I was making with existing faces was producing to much bleed of the individual glyphs...Cynapse was born.

It evolved into this pseduo-techy looking type that standardized and glorified the ink trap (the small, tiny allowances of white space that reduces the amount of ink hitting the page,and in effect, reducing the appearance of bleed). The results was promising. Last year, the family was expanded to include Small Caps and a revised Italics.

Gepetto

Sun, 26 Feb 2006 1:01:01

Gepetto by Amondó Szegi

Headcold

Sat, 25 Feb 2006 1:01:01

Headcold by Neil Summerour
I have to admit. This face was done for no other reason but for fun...and to kill time during a particularly annoying cold. The name of the font dictated the direction of the font. Swollen and chunky, the font lumbers along on the page like a sick, pouting guy. The pill bottle glyph guys that are peppered through the font as dingbats were inspired by the magnificent bottle of wonder pills that kept my nose from being so stuffed up.

Fatty

Sat, 25 Feb 2006 0:00:00

Fatty by Silas Dilworth
Fatty is based on the lettering in a series of silkscreened posters by my friend Chris May. Upon transforming it into a full-fledged digital font, I developed alternate letterforms for the lowercase.

The bloated forms maintain a playfully lighthearted presence with all the rounded edges. The Solid weight takes on a more ominous air -- faceless and mildly foreboding in the absence of the counters.

Sneakers Pro

Tue, 21 Feb 2006 1:01:01

Sneakers Pro by Neil Summerour

Sneakers

Tue, 21 Feb 2006 1:01:01

Sneakers by Neil Summerour

Vandermark

Wed, 8 Feb 2006 0:00:00

Vandermark by Silas Dilworth
Vandermark began as a simple daydream of what became the 'n' glyph. I considered the elegant balance of a terminal stroke that would never join its supporting stem. The premise was simple, but further experimentation was required for other parts of the alphabet. Vandermark follows a somewhat flexible array of structural rules and curve arrangements that called for considerable sketching to harmonize.

The names I choose for my typefaces have to look decent when set in the signature type. Considering its improvisational development, it was only fitting that the namesake is a jazz musician and fellow Chicagoan, Ken Vandermark.

Diego

Thu, 2 Feb 2006 0:00:00

Diego by Silas Dilworth
Diego was originally produced as a custom font for the San Diego Padres broadcast graphics package. I was imagining Copperplate Gothic dressed in a black linen suit sipping Cuervo gimlets in the pressbox at PETCO Park.

Diego is fitted with a fairly even stroke width for solid headline settings, especially in all caps. The prickly Latin style serifs conjure a Southwest or Tex-Mex aesthetic suitable for the booming poker industry, spicy steakhouses, or biker apparel tailored for the nouveau riche.

Cooter

Fri, 27 Jan 2006 0:00:00

Cooter by Silas Dilworth
"Cooter is an amalgam of two of my other fonts, incorporating the loose linework of Lump and some of the roundness of Fatty. It's a cheeky homage to what I like to call "suburban graffiti", the kind of quick hand lettering that you might find plastered across sale signage at the hipster boutique of your local megamall.

"The name is in homage to the Dukes of Hazzard mechanic, with a double nod to the southern slang for a burrowing turtle and the comedic poise of Tina Fey."

-Silas Dilworth

Kari Pro

Wed, 25 Jan 2006 0:00:00

Kari Pro by Neil Summerour
"I have always enjoyed this typeface and have had fond memories from the time I originally drew its predecessor, Kari. Now with almost 100 new ligatures, alternate and swash characters, Kari Pro has a great deal more personality and versatility. Subsets from the original Kari have been integrated into each unified weight adding both lining and hanging (oldstyle) numerals as options as well." - Neil Summerour

Neo Gothic

Tue, 10 Jan 2006 1:01:01

Neo Gothic by Lee Fasciani
Neo Gothic is a fusion of blackletter brushstrokes and the precision of computer generated typography.

Novacane

Tue, 10 Jan 2006 1:01:01

Novacane by Lee Fasciani
Equal parts Bauhaus and deep house, Novacane speaks a modernist dialect in fashion mags and discotheques from New York to Ibiza. Lather it with coconut oil and rub some on your gums. This typeface works hard, drives fast, and soothes the pain.

Dispose

Tue, 10 Jan 2006 1:01:01

Dispose by Lee Fasciani
Dispose finds a unique balance between techy geometry and high legibility. Each glyph exudes individualism within a deceptively relaxed system of curves. At once progressive and casual, its personality can easily anchor any project calling for a contemporary feel that reaches just beyond tomorrow.

System02

Tue, 10 Jan 2006 1:01:01

System02 by Lee Fasciani
System02 was designed to reflect the fascinating and sometimes complex road and rail systems throughout the UK. The result is a unique structure of angles and junctions that turn and break in sharp, vibrant rhythms.

Use System02 for dance club flyers, videogame interfaces, hovercraft nameplates, and logotypes for interstellar logistics firms and sushibars.

Donatora Complete

Tue, 1 Feb 2005 0:00:00

Donatora Complete by Neil Summerour

Plastek

Sat, 9 Oct 2004 1:01:01

Plastek by Neil Summerour

Finura

Sat, 1 Jan 2000 0:00:00

Finura by Dino dos Santos
Finura was inspired by the american lettering from the 60's, specially the "Stunt Roman for ruling pen and compass" presented in the Speedball Textbook for Pen & Brush Lettering by Ross F. George, but also by looking carefully to University Roman characteristics. Finura is an experience on very thin poster typefaces and the possibilities to design extreme delicate typefaces, with plenty details, that sheer simplicity and readability to the classic forms.