Harri –“stone” in Basque language– is a display font based on the peculiar letter forms used in signs and fascias all over the Basque Country. This idiosyncratic lettering style, very often used as an identity signifier, evolved from ancient inscriptions carved on gravestones which can still be found in the French part of the Basque Country.
Polygon are unique fonts with a modern character based on the rational thinking of the enlightenment with its classic forms and timeless elegance. This first installment will be followed by more extreme and by less extreme designs on the same design basics. You get many embellished characters in each font. The font has over 1100 glyphs, but you need to have Open-Type-Savy software to use the font to its full extend. These fonts have been designed to work great as bodycopy, the heavier weights are meant to be used for smaller sized typesetting and the lighter ones should be used when the sizes get bigger. Enjoy!
Polygon are unique fonts with a modern character based on the rational thinking of the enlightenment with its classic forms and timeless elegance. This first installment will be followed by more extreme and by less extreme designs on the same design basics. You get many embellished characters in each font. The font has over 1100 glyphs, but you need to have Open-Type-Savy software to use the font to its full extend. These fonts have been designed to work great as bodycopy, the heavier weights are meant to be used for smaller sized typesetting and the lighter ones should be used when the sizes get bigger. Enjoy!
Polygon are unique fonts with a modern character based on the rational thinking of the enlightenment with its classic forms and timeless elegance. This first installment will be followed by more extreme and by less extreme designs on the same design basics. You get many embellished characters in each font. The font has over 1100 glyphs, but you need to have Open-Type-Savy software to use the font to its full extend. These fonts have been designed to work great as bodycopy, the heavier weights are meant to be used for smaller sized typesetting and the lighter ones should be used when the sizes get bigger. Enjoy!
DINosaur is the typographical mise en scène of a calligraphic standard for technical writing, found in a 1967 manual. Although its base is a regular grid and its main reference is the DIN norm, it is full of a multitude of small original features. The microtypographic details refer to the tools originally used for its reproduction.
Kiperman is a text typeface designed in honor of Henrique Leão Kiperman, founder of the publishing house Artmed, now Grupo A.
Its forms are simple and straightforward, with no unnecessary embellishments that could disturb the reading. The fonts are slightly narrower than normal, which yields higher efficiency without compromising reading comfort. Besides that, its italics are not just a slanted version of the romans, but rather a separate drawing. With a slope of 8°, its calligraphic structure provides the right amount of emphasis when necessary. The Kiperman typeface works best when setting books, magazines, ebooks and websites. It will also work very well in branding and packaging projects where a sober typeface is needed.
The inspiration for the design came from the personality of the honoree. Just as Henrique always wanted to stay away from spotlights, the Kiperman typeface was designed so that it would not call attention to itself or impose any obstacles in the understanding of the text. In this way, the fonts revere Henrique’s legacy by respecting and honoring the published content.
Henrique Leão Kiperman began his career in 1958, selling medical books in travels through the interior of the Brazilian states of Paraná and Santa Catarina. In 1973, he opened a bookstore in downtown Porto Alegre, the Artes Médicas Sul, and a few years later edited his first book. Since then, his company has grown to become one of the most important publishers in Brazil in the area of scientific, technical and professional books, with more than 2400 active titles distributed among the McGraw Hill, Bookman, Artmed, Penso and Artes Médicas imprints. Henrique passed away in 2017 at the age of 79. The Kiperman type family has been commissioned by Grupo A and is available for licensing. This was the way found for the fonts to be read by more people, spreading some of his spirit around the world.
Poly is serif typeface, inspired by vintage travel guides, it comes in 5
weights and 2 styles, a total of 10 weights. Each weights comes with around
500 glyphs and opentype features. Poly is best used for editorial publications.
Indikator is a family of humanist-style sans serif fonts. There are five weights in the Indicator family; these range from Light through Bold. Each weight has both an upright as well as an italic font on offer. The italic fonts contain slanted, or oblique-style letters. The letters in each of Indikator’s weights appear virtually monolinear, in terms of stoke contrast. Strokes end in either horizontal or vertical cuts, rather than in diagonals. The fonts have a large x-height, and the lowercase letters’ ascenders are taller than the heights of the capital letters. Indikator’s numerals are tabular lining figures; these are just as tall as the fonts’ uppercase. The fonts’ OpenType features include alternate forms for the ‘I’, ‘J’, ‘4’, ‘i’, and ‘l’ – as well as a more Scandinavian version of the ‘Å’. There is also an alternate version of the zero, with a slash running through its counter. Indikator had a lot of character and verve than many other humanist sans serif families. It feels a little ‘old-timey,’ like it is channeling design ideas from the first half of the twentieth century, rather today’s Silicon-Valley-style designs. Indikator is an excellent selection for use in corporate communication or editorial design work. It will surely also come to good use in publications about contemporary culture and lifestyle issues. Indikator is the work of Frode Helland, a type designer from Norway.
Author is a family of humanist sans serif fonts. They are optimized for use in modern publications – hence the the name ‘Author.’ Its letterforms are slightly expanded, which gives the counter-forms inside of them enough space to breathe, thus increasing their legibility and helps with their on-screen rendering, too. Author’s family includes six weights, ranging from Extralight through Bold. Each weight has an upright and an italic font on offer. The uppercase letters are virtually mono-linear in appearance; however, several of the lowercase letters have visible stroke contrast. The tops of Author’s strokes terminate in diagonal cuts; these are reminiscent of the broad-pen that would be used to write the humanist letterforms the typeface is based on. In Author’s upright fonts, the lowercase ‘a’ and ‘g’ are double-storied; there is a single-storey ‘g’ in the fonts as an OpenType alternate. In the italic fonts, the ‘a’ and the ‘g’ are both single-storied. The ascenders of Author’s lowercase letters a slightly taller than the tops of the capitals. The family’s fonts include both lining and old-style figures; in both versions, the ‘3’ has a flat top. Author was designed by Satya Rajpurohit, the founder of Indian Type Foundry.
Kamber is a playful and approachable, neo-grotesque sans-serif with a handful of humanist flourishes. Subtle convex terminals and a curved structure create it’s friendly personality and bouncy rhythm. If you're looking for a warm typeface that’s affable without straying into cliché, then Kamber is your new best friend – like the labrador of typefaces.
Kamber’s balanced yet quirky nature makes for a fun and interesting display face, without compromising on legibility at smaller sizes. The lowercase letters have an elevated x-height, sitting at around 70% of the cap height – this means running copy remains clear and readable.
Available in 8 weights, each with a corresponding italic, Kamber is a widely functional typeface that can hold it’s own, regardless of the use case. It includes all the usual open type features for further adaptation and variation, including small caps, ligatures, stylistic alternates and more. The primary numerals are lining figures, but tabular figures, old style figures, and a combination of both are also included.
If you're looking for something to stand out from the sea of overly geometric faces and soulless helvetica variants, then Kamber is ready and waiting. Perfect for editorial design, branding or anywhere you use text – Kamber is the typeface that smiles.
Genia is a script typeface that carries roundhand calligraphy DNA. Instead of using pointed nib pen, Genia was created using a fine brush resulting in clean and wavy character. With the OpenType features, Genia creates the natural feel of calligraphy writing. This contextual feature makes the font ‘smart’. It knows which letters are the initial and which one is the finial. The feature can be activated in the OpenType section under the names of CALT or Contextual Alternates. Genia also gives you old style and proportional number options.
Our advice is always turn the contextual alternates, and don't use the OPTICAL kerning on Adobe softwares. The preview on this site does not support the contextual alternates.
Tejuela (Spanish for “Wood Shingle”) is a neoclassical type inspired by the wooden architecture of the ancient churches of Chiloé, an archipelago in southern Chile; which are World Heritage Sites. This typeface has rough and broken forms but with soft strokes.
The neoclassical characteristic of Tejuela is due to the architecture of these temples, which belong to this style but adapted to wood with excellent quality and ingenuity by Chilote builders using a material available in the area. Therefore, this typeface reflects the tradition of the fonts of that period, but adapted to the coarseness and warmth of the southern wood of the new world.
Tejuela is useful for extensive texts in literature, history, art and heritage; as also for short and large phrases in headlines according to the occasion.
Tejuela has eight variants in Roman a Italic versions, with small caps, Old Style and Lining numbers, ligatures, alternative glyphs, among other OpenType features; special mention to the capital letters Swash of the italic versions, which serve to generate delicate compositions. In addition, it has two stylistic sets to compose border ornaments inspired by the Chilote Architecture: colonnades and corners, only using the numbers on the keyboard; it is important that the line spacing has the same value as the font.
Its 800 to 940 glyphs are suitable for writing 219 different languages.
I appreciate the great help of Franco Jonas, Alexis Navarro, Marcela Aguilera, Pedro González & Diego Aravena in this process, among many people of the craft that they supported selflessly.
Aktifo is designed with two Flavour which carries a modern and contemporary style, based on elementary geometric shapes and constructed of monolinear lines, it was invented to be functional, leaving behind anything that can be regarded as superfluous.
Aktifo comes in 28 styles: there are two types of families Actifo A and Aktifo B from Light to Black, which both have differences in characters and spaces. Developed with powerful opentype features, equipped with extended language support: Cyrillic, Greek (BETA) and fractions, tabular figures, arrows, ligatures and more.