One design sparks another. As Alejandro Paul experimented with the strokes and curves of the monoline script Business Penmanship, he discovered interesting new forms and shapes that didn't fit the Spencerian theme of that typeface. These forms simmered in Ale’s subconscious over the next three years, during which time he visited New York City, pored over rare type specimen books in the New York Public Library, and explored Brooklyn’s neighborhoods. Brownstone, the face born from these explorations, is an original 21st-century design, yet one subtly infused with historical and cultural references -- keen observers might spot influences from decorative typefaces of 19th-century foundries. And just as faces from that era were influenced by contemporary architecture, the frames included with Brownstone echo the ornate iron railings of Park Slope’s row houses. (There’s also a slight 1960s vibe to Brownstone, of novelty swash-sans photocompositing faces, that can be played up at your discretion.) Influences aside, Brownstone has broad appeal to modern audiences. A soft, monoline sans-serif, with elements of Swiss geometry (see the ‘k’ and ‘x’), its marriage of highly legible, draftsman-like letterforms with decorative swashes and ornaments reflects the old-meets-new aesthetic of the DIY craft culture seen in Brooklyn and other urban centers. It’s ornamental but unfussy, romantic but understated. Brownstone includes character sets for Latin-based languages, including Western and Eastern European, Baltic, Turkish, Maltese, Celtic and Welsh. Over 1500 glyphs, including small capitals, swash characters, alternates, and ligatures, in both Light and Thin weights. Ornamental frames are also included in both weights. The Brownstone Frames fonts are available as separate fonts in the new Brownstone Slab family.

Boom. You asked for more, um, well just ‘more’—more swashes, more options, more weights, more of everything. I cannot give you more weights. The design just won’t allow it and anything else would be a compromise or a bastardization of the exemplars just to make money that I am unwilling to do. But, I did give you an overly indulgent, 90% cacao bar and espresso, Lust Script Fine. The ending strokes on these glyphs will literally draw blood. Enjoy it as much as I have. 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.

A charming confidant. Italic, but without the slant. Campuni is a sans-serif typeface that can be described as an “upright italic”: its letters are modeled on the handwritten forms of italics—but without the slant. This gives Campuni a contemporary, charming, and trustworthy character. As with most modern sans-serif typefaces, Campuni’s design is based on low-contrast, almost monolinear strokes with a neat and clear appearance. This is where Campuni’s steep and tapered joints come in: with a bit of contrast, they provide the perfect foundation for a steady rhythm between characters—just like you’d find in meticulous handwriting. Careful spacing ensures that this rhythmic character is preserved on the page and on screen, making for a pleasant reading experience. It’s not just the letterforms that gain from Campuni’s calligraphic heritage, though. This typeface is packed with calligraphy-style swash capitals and end swashes on lowercase letters, as well as discretionary ligatures. These are available via OpenType, allowing you to spice up your logo or headline with a hint of calligraphy in a breeze. Despite its flawless legibility in body text, Campuni is definitely eye-catching in display sizes. (Decrease letterspacing for some additional punch.) Besides logo design, Campuni is a great choice for branding, advertising, packaging, corporate design, or even signage and wayfinding. The range of topics that Campuni excels in varies from food, leisure, retail, e-commerce, music, and travel to games, toys, childcare, and family-themed events. Campuni has got an Extended Latin character set, seven sets of figures, case-sensitive forms, arrows, and a few other advanced typographic features—622 glyphs in total. Its eight weights span from Thin to Black.

We are very happy to announce the release of our first collaboration with master calligrapher, designer and illustrator Gabriel Martínez Meave from México. The first in the series of new designs is Wordless Script, an emotional calligraphic typeface published by Sudtipos. Speechless. Breathless. Wordless. There are letters that transcend simple functionality and sheer legibility, to be recognized instead by their style, their charm, their emotion. It’s like when we don’t remember the exact sentences, but we recall the tone of the voice of a loved one: it just doesn’t matter WHAT he or she said, but HOW he or she said it. Wordless Script is the font of choice for writing those things that go beyond words. Based on the connected-scripts of late 18th-century England, this typeface preserves the irregular finish and gestural strokes of the pointed nib. It is, so to speak, a personal rendition of the English roundhand as originally executed with the bird’s quill. Imbued with a Rococo, neoclassical, romantic spirit, Wordless radiates the gallantry of a time when the celebrated «douceur de vivre» that Talleyrand was so fond of was still alive and well; echoes of which still haunt us in our eclectic 21st-century, which has once again come to appreciate these magnificent styles of old. Wordless features alternate variants of most letters, ligatures and multiple calligraphic endings, ideal for elegant labels, high-end packaging and personalized stationery, as well as compositions for selected brands, exquisite titlings, verses, letters and short texts, like those meant to be read with the eyes only or intended for whispering into someone’s ear.