CA Capoli is a fine script typeface with a vintage touch. Perfect for illustrative titles or logotypes. It comes in two styles, Regular and Stroke. The inspiration came during our trip to Italy, where we took a short rest in a bar during a hot day. We discovered a simple ceramic ashtray on the table. The word “Nido” was inscribed in a typeface that looked like it dated back to the 1950s. We made some investigations about the word, its meaning and origin but it still remains a big mystery. Was it the name of a hotel or a restaurant or some vintage Italian cigarettes? We don’t know. We were so amazed about the design of the logo that we decided to create a typeface out of it. A sophisticated endeavor because we just had four letters. How could the rest of the letters – if it ever existed – have looked like? Our hypothesis is CA Capoli. A typeface with a full Central European character set and some nice alternative letters to chose from. When we thought about “Nido” and its possible derivation of hotel business, we felt like creating a small side project for this typeface, a brand for a fictional hotel called Hotel Capoli with business cards, letterheads, a reception book, key fobs and embroidered patches for the service dress of the hotel service stuff. The Hotel Capoli is located at the wonderful beach of Cape Arcona on the fictional country of Arcona Islands where our type foundry is located.

Called by some the "Archetype of the millennium", Verve is a seven-weight typeface family. It features a complete Adobe character set with kerning and fit to match. The alternate characters offer some variations on s,f,h,j,k,S,T,Y and others, plus this font has the Euro symbol. Verve is the fourth in an on-going series of condensed typefaces that I’ve been designing since 1989. My concept was to create an elegant condensed typeface that would be a "typeface for the millennium," in style and functionality. At the very core of all my designs is a typographic problem I wanted to solve, or a market niche that I think needs filled. Verve addresses both of those concerns, without copying or borrowing from its predecessors. There’s the challenge of creating a rich and interesting typeface with an austerity of line and elegance of form. I’m a minimalist by nature – but I wanted Verve to have a sensuous feel in certain respects – yet have that sensuality balanced by the uniformity of the uniform character widths. Gottfried Pott always stresses "theme and variation," and "point and counterpoint," and that’s what I’m doing in Verve. What one finds in musical composition is evident in Verve. Perfect for book covers, CD packaging, club flyers, retail packaging (especially bottles!), identity design and multimedia. The adventurous can try it in text, but it will give you a headache. The beauty of Verve is in thesize and weight variations which create a rich typographic texture in this font.

Jürgen Weltin's Mantika Informal is pretty difficult to categorize, but very easy to like. This particularly reader-friendly typeface in regular and bold weights, brings to the table the informal fluidity of a script, the consistency of an inclined italic, and the open and airy forms and contrast of a humanist sans. The result is a warm, approachable, and very legible typeface that is never static and staid, but rather invites an attentive, reading eye. The original idea behind Mantika Informal lay in the challenge to create a typeface for setting children's books. German designer Jürgen Weltin aimed to create a reading typeface for those just starting to learn how to read. On the one hand, it should help create clear word-images; on the other, its letterforms should remain uncomplicated but resist mechanical and industrial sterility. Mantika?s subtle cursive lines stress the printed word's connection with handwriting, in addition to making the transition from school writing exercises to printed texts seamless and effortless. The resulting slightly organic and cursive forms that developed during the design process are so captivating that Mantika Informal may be used for a multitude of unintended applications - anywhere a friendly and informal yet sophisticated character could lend a helping hand, Mantika is there, giving a fresh accent to anything from packaging design to food products. With a broad character set encompassing support for Cyrillic and Green, Mantika Informal's two fonts make for a versatile and dynamic typeface that surely will find its place in a broad range of applications.

The ideal typeface for cartography The Swiss designer/typographer Felix Arnold designed Cisalpin during the late 1990s, after he had challenged himself to create a contemporary typeface that could be used for cartographic uses. Arnold came to the subject of cartographic typefaces after analyzing many maps and atlases, and discovering that there was no standard typeface for these types of documents. Like any good cartographic type, Cisalpin is very legible at small sizes. While he was drawing this typeface on his computer, Arnold used a reduction glass to refine his design, making it work in these situations. Cisalpin is a linear sans serif face, with slight resemblance to renaissance serif types. The various weights are all clearly differentiated from one another. And because space is often a premium on maps, Cisalpin runs narrow. Words close in around themselves to help them become more identifiable. The letterforms in Cisalpin are durable, and can maintain their readability when placed over complex backgrounds. They have open interior forms, flattened curves, tall x-heights, and a capital height that almost reaches the tops of the ascenders. Cisalpin also has pronounced Italics, with a very clear angle of inclination. Each letterform in the family has been optimized so that they cannot be easily mistaken for another. This again helps minimize the misunderstandings that often occur because of illegibility. Although Cisalpin was developed for use in cartography, it may be used for countless other purposes; any font that can work well in small sizes on a map could be used almost anywhere else!

Mushym Arabic Typeface is an elegant and sophisticated font product that is designed to add a religious and Islamic touch to your designs, making it an excellent choice for Ramadan promotions and other Islamic design projects. The font's carefully crafted design is sure to impress your audience and enhance the visual appeal of your designs. One of the standout features of Mushym Arabic Typeface is its support for PUA Unicode, which ensures that users can easily access all of the font's characters without any issues. The font also supports multilingual characters, making it perfect for use in various languages other than Arabic. With 845 glyphs characters, Mushym Arabic Typeface offers a vast range of options, allowing users to create unique and eye-catching designs. The font's characters are well-crafted and easily readable, making it an excellent choice for any design that requires an Arabic font. As a bonus, Mushym Arabic Typeface comes with a Mushym Dingbats font that includes a collection of 304 Islamic symbols and ornaments. These extra glyphs can be used to add a Islamic touch to your designs and enhance their visual appeal, especially during the holy month of Ramadan. In summary, Mushym Arabic Typeface is a versatile and elegant font product that is perfect for Ramadan promotions and other Islamic design projects. With PUA Unicode support, multilingual characters, 845 glyphs characters, and a bonus Mushym Dingbats font with 304 characters, this product offers everything you need to create stunning designs that resonate with your audience.

Since my first contact with blackletters in 1999, I became more and more fascinated by these artistic looking typefaces. It all started in the USA at the age of 16, when I took an art class. I decided to trace some blackletter typefaces because they looked very interesting. From this point on I was intrigued by blackletter fonts from all over the world. I studied their different body structures and their cultural background as well as the type designers behind it. Full of information and inspiration I started to draw my own blackletter typeface in 2006. While studying in Hamburg I got in touch with the studio of URW++, where I got skilled in type software and development. Creating a type takes an eye for detail and patience but also lots of time and so it took almost 4 years until the project was finished. And so Ruca was born. Ruca is a refined and expanded typeface. When you look at the spines, the tails or the flags you can see the detailed drawing, which makes the font also extremely good looking in very tall letters. The full character set contains over 400 characters, many ligatures, two number sets and all important currency symbols. Over 300 kerning pairs and many OTF-features make the font easy in use for professional type applications. The typeface is very well applicable for strong headlines and mastheads. Because of its unique appearance, Ruca is perfectly suitable professional graphic applications such as fashion design or branding.

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.