The idea that mathematical precision and the supposed "purity" of geometric forms are part of the discourse of us graphic designers is not new. Studying typography for some time now and learning about all the small alterations and adjustments that this geometry undergoes to better adapt to the imperfect human eye, I found myself with a new way of seeing things. Compasso is, in a way, a result of my growth as a designer. Established and recognized fonts like Futura, Avenir, and their predecessors (including Tempo - published by the Ludlow foundry in the early 20th century) informed the result of Compasso at some level. Others opened my mind to possibilities. Mallory, Azo Sans, the font designed for Audi by Bold Monday, and many other contemporary sans-serif fonts that left me speechless are also responsible for details present in this font. From the first sketch, the family grew on both sides, gaining condensed and extended counterparts. From there - and from a brilliant insight from designer Nicole Rauen - I learned that Compasso was not about geometry. Compasso is about rhythm. It's about the rhythmic movement that provides a foundation, supports, and also makes you dance and swing. My musical taste is too eclectic, I can go from classical to funk in less than two songs on Spotify. Compasso is also eclectic. It's a font to take your project anywhere, a record to listen to on any occasion.

Vesta™ was originally designed as an orientation and information system for the city of Rome, the birthplace of the roman alphabet. The forms are inspired by letterforms found on a frieze in the Vesta temple in Tivoli. Vesta has more contrast than the average sans serif but, like many of other designs of Gerard Unger, let in a lot of light - the letterforms are open, the counters generous. Relatively narrow and hence economical - without feeling too compressed - Vesta is an ideal solution for newspapers and magazines, and numerous other applications, including corporate identity and more. Big Vesta was intended as Vesta's display partner. However, it also performs very well at small sizes - its large x-height and short ascenders and descenders make it particularly economical, making it ideal when space is limited; for example on a mobile display. Vesta and Big Vesta are now available in seven weights - from Light to Black - and include everything necessary for setting extended texts well: italics, small caps, and a range of figures, including old style, lining, and tabular figures. All in addition, Vesta is available as a family of OpenType fonts with a very large Pro character set and supports most Central European and many Eastern European languages.

I decided to create Hebrewish because the only Hebrew Latino font I have ever seen didn't really live-up to my expectations. Each Roman letter and Arabic numeral in this font is based directly on one or more of the Hebrew characters. Originally I was tempted to create an upper case only - since there is no lower case in Hebrew that I know of. But, as this would have limited it's usefulness, I changed my mind and added a lower case also. Nevertheless, those who want to create very Hebrew looking text, need only use the upper case. I've also added some typical Judaic symbols for the artistic minded, e.g. David's star *, the Menorah ^(Jewish candelabrum) and brackets{ } based on this, as well as brackets [] which, used together, produce a 'Ten commandments' stone-tablet symbol(use this [~] for another version). In short, you can either have some fun with this font or use it for serious work - the choice is yours.

We are happy to introduce Prague Metronome, inspired by the city of Prague and the metronome in the heart of this city. Prague Metronome, a font made manually by hand that we set in such a way that everything is connected in a neat rhythm, just like metronome used by musicians to set the tempo. This font has alternate stylistic for Uppercase and Lowercase, we also complement lowercase with alternate swash and titling. No half-hearted, we added 142 ligature to get the impression of natural handwriting. Comes with two thicknesses namely hairline and monoline as well as a unique shape appearance that will attract interest when used as your brand identity. This font can be used for brands, quotes, headers, websites, and other broader graphic designs. Prague with its metronome is a symbol for everything, beauty, history and personal impression that cannot be described. If European cities were a necklace, Prague would be a diamond among the pearls. Enjoy our font. thanks.

Sagarana is an elegant display typeface rooted in the style of romantic or didones letterforms; however, it is a sans serif with a cleaner appearance. The contrast and the vertical stress maintain the modern style, while the terminals, the finials, the proportions and the narrow look enhance its stylish personality. It could be suitable for editorial projects such as magazines, books or even for sophisticated environments, let’s say, fashion, department store, perfumes, cosmetics and so on. Sagarana was initially inspired by a Brazilian book cover from 50’s. The name itself combines the words “saga” (as in the English sense of “story”) and “rana,” a Tupi word (Indigenous language) that roughly means “showing similarities”.