Beginning in January, 1932, Becker, at the request of then-editor E. Thomas Kelly, supplied SIGNS of the Times magazine’s new Art and Design section with an alphabet a month, a project predicted to last only two years. Misjudging the popularity of the “series”, it instead ran for 27 years, ending finally two months before Becker’s death in 1959, for a grand total of 320 alphabets, a nearly perfect, uninterrupted run. In late 1941, almost ten years after the first alphabet was published, 100 of those alphabets were compiled and published in bookform under the title, “100 Alphabets”, by Alf R. Becker. And so, as published in August, 1937, The Fontry presents the truly "modern" version of Becker’s 187th alphabet, Moderne Caps, complete with OpenType features and Central European language support.

A great UGLY font. Beauty lies in the eye of whoever. Maybe the beholder is a beast or a Swiss artist. The SHIFT key will give you alternative character shapes. Remember: beauty doesn’t lie in the eye of the beholder – it lies in yours!

Stefan Claudius developed this font while he was sitting in a small chalet in Denmark with a hot wood-oven and nothing but snow outside. Probably the amount of white led him to make it so thin and to have as much space between the lines as possible. If you have that in mind, it looks best in large sizes.

Domani from CounterPoint is a faithful digital revival of an old photo-typositing face called ITC Didi. Originally designed by Herb Lubalin and Tom Carnase, Domani brings to life a font that has been somewhat neglected by the digital era until now. Brought to the attention of Jason Walcott by graphic designer Rob King, this font immediately captured Jason with its 1970s high contrast Didone style, typical of that time period. It has some unique design details that set it apart from other didone style typefaces. “Domani” is the Italian word for “tomorrow”. The name was suggested by Rob King, and Jason felt it was perfect for this revitalized design. Walcott has created a professional quality digital version that is both faithful to the original design while expanding the character set to make use of OpenType features. A full set of swash capitals and several swash lowercase, designed by Walcott, has been added, as well as support for Latin-based and Eastern European languages.

Sadina™ CA is a small caps version of Sadina™ font family, designed separately to minimize the font incompatibility for applications that cannot support this feature. Generally, some applications support this feature, but not exactly with the right stems. For example, in some apps, all glyphs applied with this feature are scaled only, which makes characters not have the approximative proportional thickness with capital characters. Specimen

CA Coronado is a nice display font for use in titles, logos and headlines. With its used look it creates a friendly and human feeling. Upper- and lower-case characters differ in details and can be mixed to get a vivid look. For the best authentic look, the ‘Regular’ can be used as filling and complements the Shadow-style.

CA 12C13C was designed by sticking letters together with tape. Use it when right angles are strictly forbidden!

CA Texteron is a modern text font family to cover the most common typographical needs with a minimum of weights. It is aiming for a serious but unconventional look, which is achieved by combining round and edgy forms in the same font, often in the same glyph, and by using Humanist and modern form-principles at the same time. It merges classical type-design with an experimental spirit. CA Texteron combines elements of the dynamic renaissance principle with the static neo-classic style, which makes it hard to classify. The result is a post-modern hybridization. The Regular weight works best in text size, and with more letter-space also for footnotes. The low contrast makes it robust and legible even in very small sizes. Bold, Italic and Small Caps are intended for emphasis. Bold, Bold Italic and Heavy make good headlines, that reveal the unconventional details. The Italic is not just a slanted version of the Regular weight but has individual forms and typical italic characteristics.

C.P. Company is a group of types including 4 different forms and it is a complementary sign of communication for the C.P. Company clothes maker. C.P. Company communication makes use of media such as the press and the web and that’s the reason why we have always felt the need for a font that would not show incongruities through the monitor. Therefore we have decided to change the structure of glyphs like a, e, g, s… in the most contrasted versions to prevent the serifs from touching the internal parts of the letters and in this manner we have made a really unusual stylistic choice for a group of types. The difference between the height of caps and smalls is very low (about 20%) so that the smalls are easy to read even when their dimensions are on a very small scale. Moreover this stylistic solution gives the possibility to avoid using the small capitals in case of charts and catalogue codes (i.e. Tricot M5) and provides more vertical compactness between the lines. Even a sentence written in capital letters next to another one written in smalls does not look so much contrasted from a typographical point of view and then it is not unpleasant. The limits due to different constructive principles have been overcome by means of a grid based on the automatic division of EM square of 9-point type and in this manner the letters have a wider face. The font is even more unusual owing to the style chosen that belongs to the classical tradition of hair-lined types for glyphs like e and also thanks to ligatures like ? in the characters set. CP Company is a geometrical font whose alphabet makes use of the style of types that preceded the Helvetica, matched with more experimental and updated solutions. Numbering is monospaced. The bending of number 2, the slight raising of the oblique serif of number 4 and the presence of a hair-line in number 7 are the solutions adopted to make the types match in a more balanced manner.

A dinner is not complete without a fine appetizer. Whatever you dinner will be, CA Negroni is the perfect introduction. Delivered in three flavors, Normal (Light + Black + Fill), Inline and Round. Versatility is proved by the extensive language support, covering whole Central Europe. CA Negroni is the well aged and improved version of a typographic classic: in the beginning of the 20th century, type in advertising was mostly drawn by hand. A master of this art and pioneer in logo-design was Wilhelm Deffke (1187–1950). CA Negroni is inspired by his kind of bold and solid letterings, picking up some of the charming details while leaving away other that might have a disturbing effect on the general look. Two stylistic sets let you choose between a more serious or a more playful look.

The initial inspiration for CA Spotnik was the opening title of an early Andrei Tarkovsky movie. There was this very unconventional hand drawn “s” which drew my attention. Despite its strange shape, it felt totally natural in that context. So we made a few screenshots and started to sketch some more letters in order to catch the spirit that attracted us so much. The result is a grotesque typeface with a slight contrast, the proportions are rather wide with a large x-height. The bolder the weight, the wider it gets. In case you find the swirly “s” uncomfortable, there is a standard s included as well. The general atmosphere of the typeface, which could be described as “nerdy but friendly” doesn’t depend on this detail. It’s rather the sum of details derived from the original inspiration.

CA Postal is a cute and clever little stamp-font. It was originally intended for a record-cover only, but when the artist wanted all lyrics printed in the booklet, it was time for a font. The initial inspiration was a moveable-stamp printing-set, which had a nice Futura-like style, being very pleasant to read, especially in small sizes. But of course it’s the loose and irregular outlines that give the font its special charms. CA Postal features two sets of characters and the "Contextual Alternates" feature will make sure that never two identical characters will stand next to each other, so that the stamp-look becomes even more authentic.

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.

Bookseller Cp is a typeface designed for books and legible text at a smaller sizes, with an old book feeling. This typeface is the reinterpretation of a sample found in a French book, published between 1882 and 1893 and its author —Ernest Michel— lived between 1837 and 1896. This sample has influence from Didot, Scotch Roman and Clarendon (typefaces which were in use at that time). This reinterpretation expands the basic set for the contemporary era. Bookseller Cp includes small caps, old style figures, lining figures, fractions and basic Cyrillic alphabet. Everything in 3 different optical widths. You can save some lines with Reduced weight or fill some lines with Ample weight. All of them with italics, bold and bold italics. Bookseller Cp is also available in Book size. 12 fonts for legibility at small sizes. Subhead & Title sizes are now in development. Finally this typeface was the result of the course Digital Reinterpretation of Classic Typography by Oscar Guerrero Cañizares at Domestika. Do you require additional glyphs? Please contact me to consider your request in order to expand Bookseller in further updates.