OTF | 1.45 MB
LeanO Sans FY is the newest companion of our existing font LeanO. This beautiful sans serif keeps the same width & weight and continues certainly some particularities like for example the big tail of the Q and the rounded K. Only bold and black weight are more restrained to retain always a good legibility as well as a pretty shape. Due to its big contrasts from thin to black, these five weights of LeanO Sans are waiting to be used in magazines, brochures or for corporate identities.LeanO Sans FY was co-created by Benjamin Lieb, Jérémie Hornus & Alisa Nowak on fontyou.com, the first collaborative type foundry.
OTF | 1.87 MB
Chameleon consists of 16 fonts based on 3 completely different designs. Different but specially designed to complement each other. Together they form a well-balanced design kit suitable for many different projects, e.g. invites, menus, magazines, brochures, packaging, etc.Chameleon comes in three styles: 2 outline versions and a basic (solid) version. To combine Chameleon with Chameleon Fill, you will need an application that allows you to stack text frames. Once you start layering different fills, like a true chameleon, you can change colors and patterns. Simply place several layers on top of each other, choose from 7 fills to determine your pattern and assign a color to the fill. Always place one of the outline versions of Chameleon on the top layer.Chameleon Pen was added to give you the possibility to spice up your design with a personal touch. It is a charming handwritten font, which was first written out with a dip pen and ink, then scanned in and digitalized. It comes in regular and italic.And then there is Chameleon Sketch for a bit of nonchalance to add to your designs. The Outline, Hatch and Solid version can be used separately, or stacked to create a shadowy or multi-colored effect. On top of that, you'll find 102 glyphs of extra fun to play with in Chameleon Sketch Extra.
Now my feelings about didones are more than evident. After some years of roman-abstinence (1) I present Heroe, an interesting combination of elegance and sensuality. Heroe, spanish for hero, takes some aspects of roman typefaces to the extreme like my main inspiration, the great Herb Lubalin, did in the majority of his works: Thins turned into hairlines, altered proportions (for display purposes), unique ball terminals, poetic curves and a graceful way of placing them together on a layout. Its classy style makes the font perfect for a wide range of uses. Imagine Heroe Inline (my favorite) dancing over a bottle of perfume; printed on the cover of a fashion magazine; lighting wedding invitations up. Its partner, Heroe Monoline, may help you to make more elaborated pieces of design. Just combine it with Heroe, or Heroe Inline and see how perfect they match. The difference between Pro and Std styles is the quantity of glyphs. While Pro styles have all the decorative characters available, Standard ones have only the basic set of them. Heroe Monoline Big and Heroe Monoline Small where made for better printing purposes. If you need to print the font in small sizes, then your choice should be Small. Heroe Monoline has the same alternates (and open-type code) as Heroe Pro and Inline, plus some decorative ligatures.
OTF | 5 Fonts | JPEG Preview | 4.2 Mb RAR
Geogrotesque Stencil is the newest member of the popular Geogrotesque family, it has been thought as a display typeface, but it goes one step further and tries to solve some of the typical problems of stencils fonts. Most stencil fonts don't have a wide range of weights, Geogrotesque Stencil has a range of 7 weights. Another characteristic of this type of fonts is that the cut usually does not adapt well to the size or the use of different materials, generally it has a wide cut that works well in small sizes but in larger sizes is not very elegant, on the other hand a thin cut does not work in small sizes and affects the reading. Geogrotesque Stencil tries to solve these problems with 3 levels of cut (A, B and C). The thin cut (version A) matches the stem width of the Thin weight, in version B is twice as wide and in the version C is three times more wide. The cut maintains the same width through all weights and are not rounded, also other details have been modified for this stencil version, such as the “notch” of the n, a, b, d, p and q, or k where the horizontal arm disappears, these adjustments allow a better functionality of the typeface. The cuts not only allow a better performance when printing at different sizes, but also allow you to use the version A, B or C in accordance to the rigidity of the material you have, for rigid materials use the version A where the cut is more thin and passes unnoticed, while for lighter materials you can use the version C where cuts are wider and help keeping the material more stable. The type family consists of 21 styles, 7 weights (Thin, UltraLight, Light, Regular, Medium, SemiBold and Bold) available in 3 versions (A, B and C) in Open Type format with support for Central and Eastern European languages.
OTF | 21 Fonts | JPEG Preview | 4.8 Mb RAR
OTF | TTF | 2.47 MB
Trump Gothic is a reconception of ideas from Georg Trump’s seminal 1955 Signum typeface and its later reworking (Kamene) by Czech designer Stanislav Marso. Originally cobbled together for a variety of film projects in the late 1990s and early 2000s, the Trump Gothic family was made available for the general public in 2005. Shortly thereafter, it became a common sight in movie credits, on posters and magazine covers, in fashion branding and on corporate web sites.
Eduardo Danilo’s dramatic redesign of El Universal, a leading Mexico City daily, introduced Cyrus Highsmith’s Zocalo. The original text, and display series was tuned for distinct character frequency and repetition when set in Spanish. Nicholas Kis’s oldstyle and Chauncey Griffith’s classic newsface Ionic No. 5 inspired the sturdy text while the “energetic character of Mexico City” influenced the display. Zocalo Display has sharp, slightly bracketed & tapered serifs, plus a higher contrast between thick and thin strokes, giving it great elegance and sparkle. Its crisp and energetic details shine forth in headlines and titles. In medium sizes, Display lends a vibrant panache to callouts and pull-quotes.
OTF | 8 Fonts | JPEG Preview | 5 Mb RAR
Dulcinea is the title of Ramiro Espinoza’s in-depth look at Spanish Baroque calligraphy’s most extreme tendencies, and especially at some of those produced by the writing masters Pedro Díaz Morante and Juan Claudio Aznar de Polanco.
OTF | 1 Font | JPEG Preview | 5.1 Mb RAR