Twentytwelve typefaces are the outcome of my project at the Jan van Eyck Academie in 2012. There're two sets of numbers: lowercase proportional and uppercase tabular (OpenType Stylistic Set 1).

Armadura font family has been designed for Graviton Font Foundry by Pablo Balcells in 2012. It is a display typeface with a geometric angular look. Armadura consists of 6 styles.

Twentytwelve typefaces are the outcome of my project at the Jan van Eyck Academie in 2012. There're two sets of numbers: lowercase proportional and uppercase tabular (OpenType Stylistic Set 1).

Twentytwelve typefaces are the outcome of my project at the Jan van Eyck Academie in 2012. There're two sets of numbers: lowercase proportional and uppercase tabular (OpenType Stylistic Set 1).

Twentytwelve typefaces are the outcome of my project at the Jan van Eyck Academie in 2012. There're two sets of numbers: lowercase proportional and uppercase tabular (OpenType Stylistic Set 1).

Eslava font family has been designed for Graviton Font Foundry by Pablo Balcells in 2012. It is a display typeface with a geometric angular look. Eslava consists of 6 styles.

Twentytwelve typefaces are the outcome of my project at the Jan van Eyck Academie in 2012. There're two sets of numbers: lowercase proportional and uppercase tabular (OpenType Stylistic Set 1).

Franklin Gothic EF is a font family from the Elsner+Flake Library. It had its debut in 2000. In 2016 it was renovated and an additional weight "Italic“ was added.

Habanero is a hot, bold and happy typeface.  The font was created by Måns Grebäck in 2016, and it contains contextual alternates and ligatures to make your type stand out.

Twentytwelve typefaces are the outcome of my project at the Jan van Eyck Academie in 2012. There're two sets of numbers: lowercase proportional and uppercase tabular (OpenType Stylistic Set 1).

Twentytwelve typefaces are the outcome of my project at the Jan van Eyck Academie in 2012. There're two sets of numbers: lowercase proportional and uppercase tabular (OpenType Stylistic Set 1).

Brother XL & XS is an expansion of Brother 1816, one of the best sellers of 2016: myfonts.com/fonts/tipotype/brother-1816 We decided to add new widths to the type system, designing a condensed version (XS) that is perfect for narrow spaces without loosing legibility, and an expanded version (XL) with a lot of character for display uses but without abandoning funcionality. Both typefaces where created to adapt in diverse design languages being able to be “retro” or “modern” making it very flexible and working well in texts or titles, in print or screens. Brother XL & XS mixies Geometric shapes with Humanistic strokes at the same time. You can choose between a pure geometric or humanistic style, condensed or expanded, or even mix between XS, XL, or its alternate characters to create the feeling that you need for your projects. Its humanistic nature makes it easy to read, legible in small sizes; perfect for branding, editorial and signage. It has a total of 32 fonts, which are divided into 2 groups: XS (16 condensed weights) & XL (16 expanded weights). Each weight has +460 characters, +20 alternates, angular and straight edges, swashes, fractions, ordinals and much more.... Brother has also been specially designed for web (using hinting instructions), making it work in small and large sizes on different types of screen resolutions.

When you hear that name, you likely ask yourself, ‘why?!’ I did too, but the number of requests could not be ignored. Once I finally decided to move forward with it, the only way to solve the offering would be to adhere to the same theme of indulgence, I planned for the same number of optical weights AND Italics. Yeah, italic stencils… ok, why not? It’s not a new concept. One thing to note and a creative liberty I assumed during the design. Lust Stencil would not be just a redaction or removal of stress to produce a quick stencil. To do that, would just be a cheap solution. Strokes had to resolve themselves correctly and/or uniquely to the concept of the stencil format. And, it had to be heftier. For it it to look correctly, it needed about 8% additional mass to the strokes for it to retain the effervescent flow of the curves and the resolute scalloped lachrymals. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine. It would have taken even longer if not for font engineer and designer, Potch Auacherdkul. Thanks Potch.

Appetite is a bold sans font with a lot of sweet ligature glyphs. Specially designed for logotype, packaging & editorial design projects. Look at the new Appetite version — Appetite Pro — Release 2016!