In the course of the re-vitalization of its Typoart typeface inventory, Elsner+Flake decided in 2006 to offer the “Kis Antiqua” by Hildegard Korger, in a re-worked form and with an extended sortiment, as an OpenType Pro-version. After consultation with Hildegard Korger, Elsner+Flake tasked the Leipzig type designer Erhard Kaiser with the execution of the re-design and expansion of the sortiment. Detlef Schäfer writes in “Fotosatzschriften Type-Design+Schrifthersteller”, VEB Fachbuchverlag Leipzig, 1989: No other printing type has ever generated as far-reaching a controversy as this typeface which Jan Tschichold called the most beautiful of all the old Antiqua types. For a long time, it was thought to have been designed by Anton Janson. In 1720 a large number of the original types were displayed in the catalog of the „Ehrhardische Gycery“ (Ehrhardt Typefoundry) in Leipzig. Recently, thanks to the research performed by Beatrice Warde and especially György Haimann, it has been proven unambiguously that the originator of this typeface was Miklós (Nicholas) Tótfalusi Kis (pronounced Kisch) who was born in 1650 in the Hungarian town of Tótfal. His calvinistic church had sent him to the Netherlands to oversee the printing of a Hungarian language bible. He studied printing and punch cutting and earned special recognition for his Armenian and Hebrew types. Upon his return to Hungary, an emergency situation forced him to sell several of his matrice sets to the Ehrhardt Typefoundry in Leipzig. In Hungary he printed from his own typefaces, but religious tensions arose between him and one of his church elders. He died at an early age in 1702. The significant characteristics of the “Dutch Antiqua” by Kis are the larger body size, relatively small lower case letters and strong upper case letters, which show clearly defined contrasts in the stroke widths. The “Kis Antiqua” is less elegant than the Garamond, rather somewhat austere in a calvinistic way, but its expression is unique and full of tension. The upper and lower case serifs are only slightly concave, and the upper case O as well as the lower case o have, for the first time, a vertical axis. In the replica, sensitively and respectfully (responsibly) drawn by Hildegard Korger, these characteristics of this pleasantly readable and beautiful face have been well met. For Typoart it was clear that this typeface has to appear under its only true name “Kis Antiqua.” It will be used primarily in book design. Elsner+Flake added these two headline weights, which are available besides a separate font family Kis Antiqua Now TB Pro. Designer: Miklós (Nicholas) Tótfalusi Kis, 1686 Hildegard Korger, 1986-1988 Erhard Kaiser, 2008

Carlino is named after the cutest dog on earth. Why? Because it’s the cutest font ever made. Especially intended for stationery use, it’s loaded with lots of alternates and ligatures, not only in the lowercase but in the uppercase. All of them are Open-Type programmed, so the possibilities of having something unique are endless. Following nowadays trend, Carlino is a multi-layered font: shades, holes and dots were made to work alone or all together with fantastic results! The way it works is so easy that It’s impossible not to enjoy it: Just type a word; then the same one set in another style and voilà! The font has also a lot of sweet ornaments to embellish your projects. Find inside: hearts, fleurons, party icons, flags, and the funniest animals. To accompany Carlino, there’s nothing better than Carlino Capitals. Its cute flavor makes everything more lovely. Have fun with Carlino and oh! don't forget to feed this little pug or it will bark all day long! Special thanks to Maximiliano Sproviero, whose advice helped me make this dream come true.

Struffoli are small, marble sized deep fried dough balls from Naples. They are served with a variety of sweet condiments, like honey, sugar and sprinkles. There is nothing deep fried about Struffoli font, nor does it resemble a deep fried dough ball: I just liked the name and at least now I can say what Struffoli are! Struffoli was handmade using a brush and Chinese ink. It does look like a connected script font, but it is not (really): only a few letters connect, making it a more versatile font. Use it for your cookbooks, posters and toy packaging. Rest assured, it comes with a generous serving of diacritics.

One day my kids asked me: ‘would you rather be healthy and poor or super rich and sick?’ Without a doubt I answered: ‘healthy and poor’. Having money is nice, but it is not what life is about. At least, that is what I believe. Radical Fortune is a font I made after a period in my life that could have ended with a really nice sum of money in my hands - but which I didn’t take. I had to give up too much of myself and that just didn’t feel right. I made Radical Fortune to keep me from thinking too much - and, symbolically, I used a really old and cheap marker pen to draw out the glyphs!

Reva is an extremely aesthetic font that will warm you up. As well as being suitable for use in every field, Reva will be a good friend in your logo designs. In addition, magazines, brochures, posters will not leave you alone in your work. Reva will represent you well thanks to the round and hot images in the paragraphs. Also multilingual support, ligatures and more await