Selini Display is a font that incorporates the classic and the modern: “mathematical” curves, classic proportions, thin body, needle-like serifs. It brings the lightness and modernity present in the Didot style, with more classic and wide forms. It is composed of capitals and small capitals, and an extensive set of ligatures, initial and terminal swashes. It came in five widths: condensed, semi condensed, regular, semi expanded and expanded. Selini Display is a thin, elegant and light font ideal, for luxury-related designs, traditional events, fashion magazines and brands and any material that needs a delicate, light and refined touch. Its use is recommended for large sizes and short texts, such as titles, logos, banners and posters.

Introducing All Americans Font Duo, a classy, contemporary pair of brush and sans fonts. With a stylish didot-style serif font and a free-flowing, expressive script companion, All Americans offers beautiful typographic harmony for a diversity of design projects, including logos & branding, wedding designs, social media posts, advertisements & product designs.

Beauty Feminine Serif on Bureau adapted from didot with a very narrow width and high contrast Serif. Our Goals was to make this font with double function which is Headline and Text. To achieve that goal we use all of our resource and start researching the archive and the typography history.

Gens De Baton is based on a charming lower case alphabet that appeared in the Almanach des Enfants pour 1886 (Paris 1886) under the heading “Amusing Grammar Lessons.” Gens De Baton means simply “Stick People.” The unknown designer turned the bare letter forms into drawings of people for the enjoyment of the children for whom the almanac was intended. The letter forms themselves were based on the French Romain du Roi (King’s Roman), except for the ‘g’ and the ‘j’ -- which were based on Baskerville. The letters ‘w’ and ‘y’ were not included, as they are seldom seen in French. We have left the letters somewhat rough, as they appeared in the Almanach des Enfants , resisting the temptation to clean up all the lines and render them with digital perfection. We have used our HiH Firmin Didot to supply an upper case and auxiliary characters, as Didot was originally a modified version of Romain du Roi. It is interesting to observe the contrast between the polished look of the Didot upper case and the rough, hand-drawn look of the lower case. Purchasers of this font have our permission to use it for the amusement of adults as well as children. We recommend setting Gens De Baton at 24 points or larger.

Mazette is a modern display typeface with a distinctive elegant look. Inspired by the refined forms of a nineteenth century Didot, Mazette offers the freedom to break contours in the manner that a stencil font would. Its sharp construction logic and great readability make it an ideal display font for publishing or branding.

Fortezza is a family of fonts inspired by the great masters who have created the Modern Roman style: Firmin Didot (1764 -1836) and Giambattista Bodoni (1740 -1813) Both typefaces can be similar, but a trained and close vision, show clear differences in the final result, like its weight and the degree of transition of the strokes. The type of Didot suggests greater warmth and elegance, they are characterized by extreme contrast in thick strokes and thin strokes, by the use of serifs very thin and by the vertical stress of the letters. while the Bodoni type conveys a greater robustness and hardness. Fortezza brings together the elegance and spirit of both types, but proposes a contemporary vision, establishing a distance with certain features typical of the baroque that was manifested at that time.

Mark Jamra based the design for Jamille on the forms of the 18th century Modern Face fonts of Didot and Bodoni, but was also influenced by the work of artists like Adrian Frutiger, who reworked such fonts to adapt to the demands of modern technology. A very legible font, Jamille will give text a classic, elegant feel.

Styla is a refined romantic sans, in the best tradition of Didot and Bodoni. The combination between Styla’s feminine grace and sharp endings creates an air of seduction, ideal for magazines, ads and books on fashion, fine arts, philosophy, luxury goods, women and love. A typographic jewel, Styla brings romantic sensuality and refinement to the world of sans-serifs.

This revival of the Bruce Foundry’s No. 11 is typical of the nineteenth century types derived from the work of Didot and Bodoni; the face remains popular with lawyers and government printers. In fact, Theodore Low De Vinne opposed this kind of design as hard to print and read; he had Century designed to replace it.

ITC Fenice font (pronounced fe-nee-chay) is the work of designer Aldo Novarese and was influenced by the traditional designs of Didot, Bodoni, and Ibarra. It displays the fine serifs of a Bodoni but blends such characteristics with a contemporary structural style. ITC Fenice font is perfect for applications requiring the economical use of space.

Regonia is a high-contrast display serif typeface inspired by neoclassical Didot style typography. Thin hairlines and many unique details make Regonia an elegant and contemporary typeface. Regonia has a large x-height and works perfectly in headlines or bigger sizes. It is also equipped with many ligatures and alternative glyphs, which will make your projects more unique.

As a successor of Didots famous font, which marked the beginning of modern typography, the Monceau has inherited the spirit, elegance and sophistication of french style, although in a revamped design, typical for the first years of the 21st century. Liberated from its serifs and with soft and round small letters the Monceau approaches ornamental typography and thus perfectly lends itself to being enlarged: it’s a font that loves to be closely looked at. Its name, lent from the famous parc Monceau in Paris, evokes and reinvents in a modern graphical way all of the Parisian chic at the end of 18th and the beginning of the19th century (the time Didot was born), the French Revolution and Empire, the architecture of this business quarter and notably the arabesques of the monumental gates still present in our times.

A revival of “Gras Vibert”, a French fat face originally cast by the Didot typefoundry in Paris. It was cut in 1840 by Vibert, an engraver employed by the foundry. The capitals are heavier than the lowercase letters, and the characters g, k, y and & are rather peculiarly shaped, exaggerating the vertical stress. The font is designed for large sizes.

Hailing its roots from the much-prized Modern Didot and Bodoni families of the late 19th century, Pyes Pa re-introduces the intuition of calligraphic script while utilizing the contrast available to contemporary digital fonts to produce a highly refined alternative for those of us who are bloody serious about our Bodoni Poster Italics. Pyes Pa features automatic OpenType ligatures and contextual alternatives.

Boldoni is like a caricature: it brings with itself exaggerated elements of the modern typefaces, that has as main names Giambattista Bodoni and François-Ambroise Didot. Boldoni takes to the limit its width and serifs, causing a ultra fat type feeling, and its styles causes a monochromatic effect that remember the colors Black, Gray and White. Boldoni is good for titles, initials, drop caps, lettering, posters and vertical writing.

Introducing Madjestic Comfort font duo, a contemporary pair of scripts and serif fonts. The term Madjestic is not a mistake, but it was an accent game of an area in asian, by adding "d" before "j". With a didot style serif font and flowing script companion, Madjestic Comfort offers beautiful typographic harmony for a variety of design projects, including logos & branding, wedding design, social posting media, advertising & product design.