OTF | 2 MB
The playfulness of the Foco font family’s design details belie its serious quality. Foco can be equally well employed in the toughest of corporate identities, or to entice in advertisements. While the playful details shine through in titling or display sizes, the font family’s primary task, functionality, is clearly demonstrated at text sizes. The distinctive and open character shapes ensure the highest legibility. Foco is best applied where high visibility and recognition are demanded, yet with careful use it can support quiet communication with a subtle and sympathetic voice.The Foco Standard Edition includes the Latin Extended A character set. Please see the Corporate Edition of Foco for an extended character set including Latin, Greek and Cyrillic scripts.
118 Font Family 875 Fonts $20000 (With Lost Fonts)
OTF | TTF | 168 MB
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Parachute is an independent award-winning type foundry. It landed in 1999, but it wasn’t till 2001 that it started operating as a full-scale company. Since then, 13 designers have joined in to form a select group of open minded, free spirited individuals, all coming from diverse design fields.Over the years, Parachute has built a strong network of valuable relationships with customers in Europe, United States, Canada, Asia and Australia. It’s clientele includes multinational companies and organizations such as the European Commission, American Express, UEFA, Disney, Time Warner, McGraw-Hill, Ikea, Samsung, Nestle and Unilever, advertising and branding agencies such as BBDO, McCann Erickson, TBWA, MetaDesign, JWT, Interbrand, Wieden+Kennedy, publications such as Financial Times, National Geographic, Harper’s Bazaar, Grazia, PC Magazine, PC World, as well as many others.The year 2003 marked the beginning of a new era for Parachute with the release of an award-winning catalog (Print European Design Annual 2004). Since then an emphasis was placed on multilingual support and opentype technology.During the last 5 years Parachute has won several major international typeface design awards, with the most recent the red dot: grand prix 2012 for original typeface. All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin, Greek and Cyrillic. Latest entries support Arabic as well.
Hipster Script is another of my habitual attempts at trying to reduce the divide between manual and digital. In this case, I try to articulate brush lettering, try to get the computer to emulate continuous painting. The process wasn't that different from my work with Feel Script's shot at computerized commercial lettering, though here we have a more casual contrast, rather than the high seriousness of the Copperplate script. Swashes, alternates, ligatures — too many of them, all trying to make the interplay between the tool’s two extreme widths remain faithful to hand movement subtleties. I also toyed with ligatures containing apostrophes, something I've never seen before. With this typeface I think I've become more balanced in uniting the spontaneity of post-war ad lettering with the current trends in illustration and design. Hipster Script received a Judge’s choice Certificate of Excellence at the Type Directors of New York and was selected to be part of the Bienal Tipos Latinos 2012.
OTF | 1 Font | JPEG Preview | 18 M bRAR
Simplo is a geometric sans serif typeface, built in sixteen styles. It is a tribute to the 1930s typeface Semplicita, designed by Nebiolo’s Alessandro Butti. Although many details of Simplo differ from Semplicita, it preserves the spirit of the original. Simplo is ideal for use in display sizes. It is also quite legible in text, and is well suited for graphic design and corporate identity design. Simplo has sixteen styles, extensive language support, eight different kinds of figures, sophisticated OpenType features — so it’s ready for advanced typographic projects. The most notable characteristics of this typeface are the t and the f. The t is the culmination of simplicity: a vertical line with just a simple right-side crossbar. The f also has just a right-side crossbar, and is really tall: it reaches both the highest and lowest vertical position of the typeface. The top of the distinctive s, is much narrower than its bottom. The a, b, d, g, p, q, and u are spurless, and show a family resemblance with Hans Reichel’s 1990s typeface Dax. However, these letters are rounder and more geometric than Dax’s counterparts, because of Dax’s higher x-height and narrower design. In Paul Shaw’s Imprint article about typefaces that have been overlooked and/or underappreciated, “Overlooked Typefaces”, he concluded his discussion of Semplicita as follows: “These idiosyncrasies suggest that Semplicita might find a warm reception today, given the current love affair with Gotham, Neutraface and Proxima—and the resurgence of ITC Avant-Garde Gothic.”
OTF | 16 Fonts | JPEG Preview | 4.5 Mb RAR