Project Soft is the more playful version of our 2017 release, Project Sans. The font features the same 10 weights and matching italics but while the Sans version was more structured, the Soft version shows a cheeky side that creates
Kaneda Gothic is a whole new basic gothic. Philosophically, Kaneda Gothic is the one of the niche answers in the interspace between these antinomies. Image of near-future and giant metropolis in 80s, 90s vs our real life in the 2010s,20s.
Sequel 100 Wide was designed in 2018 by type designer Jeschke in Berlin. It is based on the sans-serif typefaces of the early 19th century. A characteristic feature of the Sequel 100 is the almost equal thickness of the vertical
Wacky, crazy and kooky is what we feel like when we use this font. If you’re looking for a fun and fancy font that screams over top, fantastic energy then look no further. If you want to make an impact
KIONA is simple but significant, and defined by its crisp edges and modern touches. It is designed for optimal legibility. An all caps sans-serif, KIONA makes a statement without making a scene. Four weights, four very different personalities. KIONA Bold.
Kittle Rough is a robust display font with a time-worn texture. It has a strong, pared down look based on bold geometric forms. Loaded with personality, Kittle Rough features a full upper and lower case character set and an extended
Unfortunately we rarely meet typefaces which still show the formal quality of the time of our grandfathers or even the technical progress in their interior with the design of their exterior. A rare example is Sequel Rounded whose shapes combine
Chopsee is a fun, fluid, versatile font family of 8 weights and matching italics designed by Dan Jones for TypeUnion. The font aims to encompass movement and fluidity with its accentuated curves and terminals. The raised x-height creates more synergy
The typeface Brush Poster Grotesk was designed in 2017 for the children exhibition 1,2,3 Kultummel from Labyrinth Kindermuseum Berlin by xplicit, Berlin (Annette Wüsthoff, Alexander Branczyk, Mascha Wansart (illustrations)). Manuel Viergutz extended the font with some further glyphs & extras.
Sequel Sans is an homage to Max Bill, the influential mid-century Swiss architect, artist and industrial/graphic/type designer. Designed in cooperation with the Max Bill Georges Vantongerloo Foundation in Zurich, this is a modern response to the traditional Max Bill themed
Talbot Type Kitami is a minimal, geometric, stencil display font, inspired by Herbert Bayer’s Universal Typeface, created at the Bauhaus in the 1920s. Each character is created from a single continuous stroke, or combination of strokes. Kitami features an extended
Morton, delivered as a 9 weight font family, is a modern grotesque typeface that delivers an extraordinary typesetting for all your design projects. Published by DeltatypeDownload Morton
Mighty Slab is a very heavy slab-serif font that works best for titling, captions and logo design work. Mighty Slab contains 531 glyphs, 4 layer styles, a design that contains extraordinary impact and a super big x-height for more visual
Cowboy Western is based on an old woodtype font from the late 1800’s Saddle up boys and girls the new Cowboy Western is here, the perfect font for when you need to put a little giddy up in your chickabiddy.
With its solid slab form, mixed with subtle curved terminals, Arbour is a unique font with the versatility to work in many different scenarios, from branding to digital applications. It comes in 7 weights, from a delicate extra-light to a
El Enra is a bold and condensed typeface that is suitable for headlines, posters and titles. This is the rounded corners version — El Enra Rounded. Published by Hanken Design Co. Download El Enra Rounded
Designed by Steve Jackaman. In the early 1980’s, Steve worked at Typographic House in Boston, Massachusetts. At the time, ‘Typo’ House, as it was affectionately known, was the largest type house in New England. This font was designed and produced
A text and display font with square proportions, inspired by the type styles of soviet-era Russia. Very shallow ascenders and descenders and a large relative x-height, exaggerate the compact and geometric look. Related to Kursk 105, its squarer-edged cousin. Published