Gerücht Typeface is a family of digital fonts designed in 2019 by Gabriele Bellanca for Rumors Foundry in three different weights and their corresponding slanted versions. All rights reserved. Gerücht (in English rumor) is the name of the font-family: today the name of a font is part of the graphic design itself, unlike in the past, where it usually consisted of a simple retrospective description (such as in the case of Gothic Condensed No.2) of its characteristics. It's a "one-word advertising slogan", writes Tobias Frere-Jones, which serves to build an idea and a charm to associate with that type of character.

June was first published in 2019 but it got a redesign and upgrade in the character set. It now supports Latin Extended and Vietnamese. It also has OpenType features such as stylistic alternates, case sensitive punctuation, small figures, arrows, superscript, subscript, fractions, and many more. June Pro was inspired by the work of Adrian Frutiger and his exploration into font design and legibility. June Pro is a modern sans-serif family in 10 weights ranging from Thin to Heavy with true italics. It was designed with legibility in mind. It is a versatile and distinctive font that makes it useful for various applications like editorial, web design, or branding.

Though Zigarre can easily be categorized a brush script, Jim Rimmer actually drew it using a big marker. Jim’s original face, inspired by inter-war German poster lettering, was a rough one, with the marker’s juicy ink roughing it out all over the place. The smooth version, Zigarre Script, was produced as part of a major update and remastering the design underwent in 2012. Both Zigarre Script and Zigarre Rough come with extended Latin language support, as well as a few built-in stylistic alternates. 20% of this font’s revenues will be donated to a GDC scholarship fund, supporting higher typography education in Canada.

Masiva font family has been designed for Graviton Font Foundry by Pablo Balcells in 2018. It is a geometric sans serif typeface with carefully crafted curves that provide a soft and pleasant appearance. Its universal shapes make it suitable for any kind of project, text length and size. It can be used as a powerful display typeface in big sizes. Also, thanks to its legibility, it can be used in long body texts in very small sizes and everything in between. It performs just as well in classic style projects as in contemporary or modern ones. Masiva consists of 12 styles, each containing small caps and glyph coverage for several languages.

2015 First Prize TipoType award. Agatha is a new typeface for titles and short texts in big sizes. It can be use both in editorial publishing and brand design. From gothic geometric bases, the letters resemble the Nordic style in order to be more feminine, rhythmical and vertical. The two versions, Regular & Outline, let the designer choose between two contrasts: one heavy version that emphasize the rhythm and a lighter one that intensifies the subtlety. The third version, Blossom, combines light and color with ornaments that highlight the style. The three fonts have in addition a ligature set and some decorative glyphs that increase the possibilities of use.

German type designer Verena Gerlach created this slab FontFont in 2011. The family has 10 weights, ranging from Light to Black (including italics) and is ideally suited for advertising and packaging, editorial and publishing as well as logo, branding and creative industries. FF Karbid Slab provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript character, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Karbid super family, which also includes FF Karbid, FF Karbid Display, and FF Karbid Text.

Based on the Hiragino Sans (Kaku Gothic) design, this is the first Chinese-language font from a Japanese font manufacturer to be certified compliant with China’s GB 18030-2000 standard. Unique features are a contemporary typeface design that sets it apart from existing Chinese typefaces and a dedication to high quality down to the slightest detail. Multi-language composition using both Japanese and Chinese Hiragino fonts offer a sense of unity With demand growing rapidly in China, Hiragino Sans Simplified Chinese is the optimal font for uses in those fields that need both readability and contemporary vibe such as product packaging, catalogues, books, magazines, websites, and sign and displays.

Canadian type designer Nick Shinn created this display, script, and sans FontFont in 2001. The family has 8 weights, ranging from Ultra Light to Extra Bold (including italics) and is ideally suited for advertising and packaging, festive occasions, film and tv, music and nightlife as well as software and gaming. FF Fontesque Sans provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Fontesque super family, which also includes FF Fontesque.

Manifesto was designed for an article written in response to opinions that philosophy and personal expression have been wiped clean from today's design profession. Contemporary design is sterile and sublime. Enter Ken Garland's revision of the original 1964 Manifesto. The publishing of the "First Things First" manifesto 2000 is exhibit A that a trend for social belief systems is growing. Or is it? Many comfortably accept that designers are indeed "engaged in nothing less than the manufacture of contemporary reality". The four 'voices' of the TX Manifesto Family (Regular, Slant, Stout and Stencil) is intended for your typographical response, and push for conscientious design.

Bodoni Campanile Pro is a font that bridges the gap between a “fat” and a compressed traditional serif typeface. It was originally designed in 1936 by Robert H. Middleton for Ludlow. International TypeFounders exclusively licensed the family from the Ludlow Collection, and Steve Jackaman (ITF) produced a digital version in 1998. Jackaman completely redrew the font for its 2017 release. Bodoni Campanile Pro, much like its transitional status as a font, is successful in both formal and casual roles. The free-flowing aspects of the family, seen especially in the lowercase ‘g’ and the leg of the uppercase ‘R,’ give the family an air of elegance.

Inspired by 1920's Art Deco, Artisual Deco is a 2020's celebration dedicated to the hundred-year-old history of geometric design. This retro typeface will be the perfect fit for your logo designs or graphic project. Drawn, created and published in 2021, the typeface has vintage letterforms with a classy personality. Artisual Deco contains ten high-quality styles: Thin, Light, Regular, Bold and Black with each weight provided as Upright and Italic. It has extensive lingual support, covering all Latin-based languages, from North Europa to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

About Pastel font family: Pastel font is a simplified Arabic digital Ruqah font, which adopts horizontal formatting characters, The font is available in two styles: Pastel Regular and Pastel Bold. The difference between the two fonts: The Pastel regular font has short ends, The Pastel bold has extended and extended characters. Pastel font for desktop applications Pastel is suitable for large display sizes, especially in the area of advertising, while still functioning well as a text face. The font includes a matching Latin design and support for Arabic, Persian, Kurdish and Urdu. Language families: Arabic, Persian, Urdu, Latin, Kurdish Designer: Sultan Maqtari Design date: 2020

The Bitstream version of Linotype Janson. Nicholas Kis (Miklos Kis) was a Hungarian punchcutter who worked in Amsterdam. His types are some of the greatest in the Dutch old face style and have been used as models for a number of developments in this century. The Linotype version of this style, Janson, was created by Chauncey H.Griffith in 1937 and based on an original face cut by Kis in 1670–90. The face is named after Anton Janson, a Dutchman who worked in Leipzig, with whom the face has no connection. The typeface is used for text setting. Cyrillic version was developed at ParaType in 2001 by Vladimir Yefimov.

The typeface Raw Delta Hand Street is designed in 2012 for the font foundry Typo Graphic Design by Manuel Viergutz. The rough hand-made geometric typeface based on a triangle shape with a dirty DIY street style. 432+ glyphs incl. 50+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes, decorative ligatures (type the word LOVE for ❤ or SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates. For use in logos, magazines, posters, advertisement and packaging plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE!

Devoid is a sans serif typeface with a no frills stripped down design. The design has all the features of the neo grotesk typeface, horizontally cut endings, modern capitals, oval counters, with a bare bones appearance. The typeface comes in three subtle widths, Devoid Slim, which is spaced most narrowly, Devoid and Devoid Set, which have a wider letterspacing. There are regular, medium and bold weights with accompanying italics. The vertical metrics align across weights and widths, this allows for optical size adjustment as well as adjusting for same size text fit. Dutch designer Pier Taylor designed the typeface in 2020 for use in catalogs, lists and registers.

After releasing Amsi in 2015, this year Sans Beam is now ready to launch with the design that support many different usability from Headline to Body text, and specifically designed to be compatible with other font families of Stawix Foundry. This typeface has been designed under the simple idea of ‘Choose. Play. Repeat.’ on the limited space of typographic layout, in which most of the time faces the problem of choosing appropriate font weight that would serve the right intention. This typeface is designed to erase those problems, preventing impossibility in designer’s layout in both Body Text and Headline, which comes in 15 different weights.

Superba Pro is a condensed Egyptian font family with short ascenders and descenders. The dots on the lowercase ‘i’ and the German umlaut-vowels are square. Haas Type Foundry created the original Superba in 1928-1930. Steve Jackaman (ITF) designed and produced a digital version of the bold weight in 1992. In 2017, Jackaman completely redrew the bold weight, added an accompanying wide weight, and expanded the glyph set to support Central and Eastern European languages. Like other slab serif faces, Superba excels at display sizes and is comfortable at subhead sizes. ­ It is robust, and has “superb” legibility, allowing it to dominate attention in any project it is utilized in.

2015 First Prize TipoType award. Agatha is a new typeface for titles and short texts in big sizes. It can be use both in editorial publishing and brand design. From gothic geometric bases, the letters resemble the Nordic style in order to be more feminine, rhythmical and vertical. The two versions, Regular & Outline, let the designer choose between two contrasts: one heavy version that emphasize the rhythm and a lighter one that intensifies the subtlety. The third version, Blossom, combines light and color with ornaments that highlight the style. The three fonts have in addition a ligature set and some decorative glyphs that increase the possibilities of use.

Bornholm Tejn is named after a village »Tejn« on the only rocky island in Denmark »Bornholm« Bornholm Tejn Low is the lowercase variant of Bornholm Tejn, released in 2012, the first face in a series of rough stone cut typefaces, that shares proportions, but differs in any other aspect like different pieces of rock. It is a powerful face, but still very friendly. Good for very big sizes, but can be used for small texts, movie titles, cartoons … Bornholm Tejn Low has a large x-height which supports the heavy and black look of the typeface. It contains tabular and proportional old style and lining figures.

Nata is a sans serif family with fourteen weights plus matching italics. It was designed by Candi Erwanto in 2019. This sans serif family is based and influenced by geometric styles that were popular during the 1920s and 30s and have been optically corrected for better readability. Nata has a functional look with a warm touch. While thin and black weights are great players in display size, lightweights, regular, and medium are suitable for longer texts. Small x-height and curbed shape provide a distinctive elegance. Nata is equipped for complex and professional typography. This OpenType font family has extended characters to support Central and Eastern European and Western European languages.

Scientia (means 'knowledge', 'science' in Latin) is a neutral serif typeface in eight styles. It contains four weights (Regular, Medium, Bold, Black) with corresponding italics. All the styles support Western and Central European Latin, basic and Asian Cyrillic and Greek. Regular and Medium styles include smallcaps for all supported languages. In addition to the standard set of non-alphabetic characters Scientia has arrows and some supplemental mathematical symbols. The font was created by Natalia Vasilyeva. Being a professional book designer, Natalia uses Scientia in astronomy books. Scientia is a good choice for literary fiction and academic non-fiction texts. The typeface was released by ParaType in 2016.

Vandelvira is a typographic project that delves into the historical legacy of the province of Jaén (northern Andalusia), aimed to spread the culture and tradition of this territory, based on one of its greatest artistic exponents: the architect Andrés de Vandelvira. In the forms and ornaments of these letters, the characteristics of his work during the 16th century are graphically reflected, and it serves as a memory and honor, as a historical legacy of this marvelous "genius loci" of the Spanish Renaissance. 363 CHARACTERS / 636 GLYPHS / 2 INSTANCES (Regular & Italic) / 37 LANGUAGES / 14 LAYOUT FEATURES / Designed by Fran Lara in 2020 - "Cuchi qué Tipo" Foundry

Danish type designer Ole Søndergaard created this display FontFont in 2011. The family contains 3 weights: Book, Bold, and Black and is ideally suited for advertising and packaging, film and tv as well as music and nightlife. FF Signa Serif Stencil provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Signa super family, which also includes FF Signa, FF Signa Correspondence, FF Signa Serif, and FF Signa Stencil.

Mediator Serif is a balanced contemporary serif typeface that performs well both in display sizes (like in packaging or branding) and body text (books or periodicals where narrow styles will be extremely useful). Mediator Serif is a complementary serif face for Mediator Sans. The family contains 32 fonts in 2 widths: 8 romans with matching italics, of slightly extended proportions, from Thin to Black; and 8 narrow styles with matching italics too. The character set in all faces was expanded to include small caps and old style figures. The typeface was designed by Manvel Shmavonyan with the participation of Alexander Lubovenko and released by ParaType in 2017.

Jali is a humanist sans serif typeface particularly suited for wayfinding. Jali comes in versions that support Arabic, Greek, and Latin. The name ‘Jali’ means clear in the Arabic language. The design of Jali reflects the ethos of its name. The combination of low-contrast strokes, ample counters, dots, and distinguishable marks make Jali a versatile typeface. With its humanistic voice and clear letterforms, Jali aims at offering a warm and efficient reading experience. Similar to other wayfinding type families, Jali is also well suited for demanding typographic environments. Jali has received two renowned awards: TDC Certificate in Typographic Excellence and Granshan’s 1st Prize, Arabic & Latin Category in 2019.

Brewmaster was inspired by the Budweiser logo from the late 1800s and its updated revival in 2000, this style of script was very popular in the 1800s and could be found in use on old billeads and letterheads. Although Brewmaster looks accurate in detail to the Budweiser logo, this font has not been approved as official artwork for Budweiser. If you're looking for Budweiser’s official artwork it is recommended that you contact Anheuser Busch, Inc. and ask for their logo and usage guidelines. Companies are always changing their logo designs so it is always best to contact each companies advertising department for official artwork.

Modesto Open is now a Chromatic Font Family. The old font Modesto Open has been improved, renamed Modesto Open Primary and joined by four new fonts that ornament and augment the Primary font in many different ways. All Caps. Modesto is a loose-knit group of Font Families based on a signpainting lettering style popular in the late-19th and early-20th centuries. It evolved from the lettering I used for the Ringling Bros. and Barnum & Bailey Circus Logo. The Modesto family was not planned. It just happened, a few fonts at a time over about fifteen years. In 2014 seven new Italic fonts and two Chromatic families were added.

Alpineo is a display type family, optical mono linear and a bit squarish in nature. It has a distinct stroke-joint style, which is a prominent feature of its design. It has been designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasis the message. It is graphically strong and command viewer’s attention. The overall appearance of type is suitable in setting it as logotype, punchline, title, headline, etc. The type family consists of six weights viz. Thin, ExLight, Light, Regular, Medium and Bold. Alpineo is designed by Aakash Soneri, founder Soneritype in the year 2017.

Red Tape is three fonts that were designed by sticking letters together with red tape. It makes for a wonderful makeshift set of fonts. And I really enjoyed sticking those letters together. Of course I did it on screen using bits and pieces of scanned red tape. Just use it as you like, I won't give you any red tape in how to use the fonts. »Red Tape« is since February 2012 on permanent display in the »German National Library« – next to the likes of »Bodoni«, »Garamond« and »Helvetica« – being part of the exhibition about type through the ages. Your (now a little famous) unproblematic type designer, Gert.

Work on Scene began some time after designer Sebastian Lester joined Monotype Imaging in 2000. Clean, calm, and highly legible — thus the design brief Lester set for himself. With Scene, he wanted to provide graphic designers and creative directors with a suite of fonts that would serve as a strong foundation for identity projects, incorporating what he had learned about on-screen and print legibility. Scene was developed during two years of after-hours and weekend work. The family comes in six weights with matching italics, there is a set of “semi-sans” characters to introduce more expressive word rhythms into headlines and blocks of copy.

The purpose of the original DIN 1451 standard was to lay down a style of lettering which is timeless and easily legible. Unfortunately, these early letters lacked elegance and were not properly designed for typographic applications. Ever since its first publication in the 1930’s, several type foundries adopted the original designs for digital photocomposition. By early 2000, it became apparent that the existing DIN-based fonts did not fulfil the ever-increasing demand for a diverse set of weights and additional support for non-Latin languages. Parachute® was set out to fill this gap by introducing the PF DIN series which has become ever since the most comprehensive and sophisticated set of DIN typefaces. It was based on the original standards but was specifically designed to fit typographic requirements. Its letterforms divert from the stiff geometric structure of the original and introduce instead elements which are familiar, softer and easier to read. The first set of fonts was completed in 2002 as a group of 3 families which included condensed and compressed versions. With its vast array of weights, the extended language support, but most of all its meticulous and elaborate design, it has proved itself valuable to numerous design agencies around the world. Ever since its first release, it has been used in diverse editorials, packaging, branding and advertising campaigns as well as a great number of websites. It was quoted by Publish magazine as being “an overkill series for complex corporate identity projects”. The whole PF DIN Text type system (with normal, condensed and compressed styles) includes 45 weights from Hairline to Extra Black including true-italics. Additionally, every font in the Pro series is powered by 270 very useful symbols for packaging, environmental graphics, signage, transportation, computing, fabric care. There are 2 versions to choose from: The PRO version is the most powerful. All weights support Latin, Cyrillic, Greek, Central/Eastern European, Romanian, Baltic and Turkish, with 20 advanced opentype features including small caps. The standard STD version is more economic. All weights support Latin, Central/Eastern European, Romanian, Baltic and Turkish, with 18 advanced opentype features including small caps. In 2010 Parachute® released 4 new families DIN Monospace, DIN Stencil, DIN Text Arabic and DIN Text Universal. All these are complemented by the popular DIN Display version. Altogether the Parachute DIN series is a set of 8 superfamilies with a total of 96 weights.

Super Puff MX is a Y2K inspired variable display typeface that takes from early 2000's futurism, pop, and cartoon aesthetics. Due to its heavy weight and alternates it offers, it's perfect for a variety of logos, 3D, and motion graphics. SPMX was designed specifically for those use cases, and its wide range of styles and alternates gives you lots of freedom for creating unique graphics that still capture the same fun, futuristic, and playful early 2000's aesthetic. Features & What's Included: Variable font file that allows you to choose any slant degree from Regular to Full Tilt. OTF font files in 4 styles or slants, from Regular to Full Tilt. This is included because many young, talented designers around the world don't have access to programs that can take advantage of a variable font. I want them to have the option of using properly slanted and kerned oblique instances of Super Puff. Robust OpenType features including a vast pool of alternates and stylistic sets giving you lots of choices when choosing letters, numbers, and punctuation. Two stylistic sets for letters and numbers One stylistic set for punctuation and symbols One stylistic set that replaces punctuation with Y2K style icons Extensive Latin language support covering almost all of Europe and South America. All multilingual glyphs have access to alternates as well. Super Puff MX was designed and developed by Abe Zeinali/Xuveki.

The typeface Brush Poster Grotesk is 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. The rough sans serif display typeface is created analogous by hand and brush. 875 glyphs incl. 150+ decorative extras like arrows, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word LOVE for or SMILE for as OpenType-Feature dlig) and stylistic alternates (3+ stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Name: Brush Poster Grotesk Font Weights: Regu­lar + Misprint + EXTRAS (Illustration) + DEMO (with reduced glyph-set) Font Cate­gory: Dis­play for head­line size Glyph Set: 875 glyphs Lan­guage Sup­port: 28+ for extended Latin. Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portugese, Romanian, Slovak, Slovenian, Spanisch, Swedish, Turkish, Zulu Spe­cials: 150+ deco­ra­tive extras like arrows, ding­bats, emojis, sym­bols, geo­me­tric shapes, catch­words, deco­ra­tive liga­tures (type the word “LOVE” for ❤ or “SMILE” for ☺ as OpenType-Feature dlig ) and stylistic alternates (3+ stylistic sets), German Capital Eszett Design Date: 2017 Type Desi­gner: Annette Wüsthoff, Manuel Vier­gutz, Alexander Branczyk, Mascha Wansart (Illustration)

PT Serif Pro is an universal type family designed for use together with PT Sans Pro family released earlier. PT Serif Pro coordinates with PT Sans Pro on metrics, proportions, weights and design. It consists of 38 styles: 6 weights (from light to black) with corresponding italics of normal proportions; 6 weights (from light to black) with corresponding italics of narrow proportions; 6 weights (from light to black) with corresponding italics of extended proportions; and 2 caption styles (regular and italic) are for texts of small point sizes. The letterforms are distinguished by large x-height, modest stroke contrast, robust wedge-like serifs, and triangular terminals. Due to these features the face can be qualified as matched to modern trends of type design and of enhanced legibility. Mentioned characteristics beside conventional use in business applications and printed stuff made the fonts quite useable for advertising and display typography. Each font next to standard Latin and Cyrillic character sets contain alphabet glyphs of title languages of the national republics of Russian Federation and support the most of the languages of neighboring countries. The fonts were developed and released by ParaType in 2011 with financial support from Federal Agency of Print and Mass Communications of Russian Federation. PT Serif family together with PT Sans won the bronze in Original Typeface category of ED-Awards 2011. Design – Alexandra Korolkova with assistance of Olga Umpeleva and supervision of Vladimir Yefimov

This all started with a love for Minister. This is a font designed by Carl Albert Fahrenwaldt in 1929. In the specimen booklet there’s a scan from Linotype’s page many years ago. They no longer carry the font. I’ve gone quite a ways from the original. It was dark and a bit heavy. But I loved the look and the readability. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. I needed fonts to show the typography I was talking about. At that point oldstyle figures, true small caps, and discretionary ligatures were rare. More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps—never both. So, I designed the Diaconia family (using the Greek word for minister). It was fairly rough. I knew very little. I later redesigned and updated Diaconia into Bergsland Pro —released in 2004. It was still rough (though I impressed myself). In 2006, I found myself needing a readable sans serif. So I went to Bergsland Pro, and eliminated the serifs. I named the font Brinar. I kept a flare in place for the serifs and cupped the ends. I was stunned. People loved it. It’s remained my bestseller until very recently. So, at the end of 2016 I decided that Brinar really needed some help. The flares were basically random. The stem width and modulation variances all needed to be fixed. My old OpenType feature code was quite limited and clumsy. So, I created the 6-font Biblia family. I cleaned up or redesigned all the glyphs. I updated the fonts to the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. These are fonts designed for book production and work well for text or heads.

🏆 Selected for Tipos Latinos 9. 🏆 Selected for the 13th Biennial of Brazilian Graphic Design. 🏆 Hiii Typography 2018 Merit Award. 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.

THE SPARK Uniform started as a spark of inspiration one day while I was shopping at the store. I was looking at some typography on a can of dog food and the idea popped into my head, “What if there was a geometric typeface with a circular O that when condensed, the O became straight sided, instead of becoming an oval?” I quickly sketched out the concept of Uniform and liked what I saw, the only problem was I was working full time as a graphic designer, and as a newly married husband, I didn’t have any time to make the extensive typeface. LETDOWN A year and a half later, shortly after the birth of my first child, my boss cut my hours in half. Although stressful, I saw this event as an opportunity to finally have time to complete the typeface I had in my head. I spent a couple months putting together a Kickstarter campaign, thinking it would be a smashing success, and I would be able to live off the donations long enough to complete the typeface. Wrong! The campaign was a flop and I was left discouraged and dejected, thinking that the great idea I had in my head would never become a reality... PERSEVERANCE At the end of the year, in December 2013, I decided to go for it and make this new type family no matter what it took. I began waking up a few hours before work each morning (getting only four hours of sleep each night) carefully crafting each individual glyph day by day. After nine months of hard work (and just about killing myself in the process!) in October 2014, I finally had a finished product ready to be released to the public! THE PINNACLE Fast forward a few years and now Uniform has reached it's pinnacle, Uniform Pro. Uniform Pro now offers extended language support including Cyrillic and Greek character sets, integrated italic styles, additional weights, and additional OpenType features.

Combine, designed by Carlos Fabian Camargo G, is powerful and attractive, multi-layered chromatic type family that consists of 12 fonts, typographically grouped in two logics: “Script and Caps”, so that they could be colored separately or in group. Both designed with contrasting optical techniques and combinable at the same time. The unforgettable central idea of Combine was inspired by unique types of speedball letters designed by ancient artists in Canadian posters of shows and fairs in 1930. This is why its Typographical tools work independently or in group, resulting in highly polished designs that need fonts with coupled effusiveness. Their combined resources offer guaranteed distinguishing letters with shadow effects and worn, in order to help enhance their expressiveness. Combine is excellent in any project on paper or screen as it has more than 2100 glyphs and features of OpenType distributed strategically in fonts easy to use. SEE BELOW THE MAIN ADVANTAGES: • Combine Script & Shadow: It offers incredible case sensitive fluency and eloquence drawn with vertical cursive letters with ornamental non-stop excitement and complementation. It also has a variety of significant upward and downward, alternative strokes combined with its vintage ties that also give authenticity to their designs. • Combine Caps 1,2,3 & Shadow1,2: Guarantees you a colorful horizontal area of narrow case with 2 types of shadows, sound and other shade with diagonal stripes. Its geometric uniformity gives a friendly, open and subtle character by Typographic and special resources and visual properties coloring layers separately or in groups. In addition, its 2 layers of skeletal illuminations, adding internal lines and simultaneously contributing to play perfect confrontation and contrast with their geometric ideas and aesthetics for special attention. • Combine Words & Shadow: It can be used to design a perfect tone in each one of the 50 slogans written diagonally, making a brilliant feeling suggestive seductive style. Compatibility and flexibility works by monoline thin cursive strokes ideal for featured items with and without shade. Combine was selected at the Bienal Tipos Latinos 2016