The new typeface system is based on legibility of Renaissance and Baroque Antiqua. It maintains the quality of drawings without an overpowering historical legacy. The current concept makes the system a universal whole. Abrading of sharp edges which could catch one’s attention leads to a fine rounding of details. In this way, a sans drawing does not look hard and sterile unlike most of its contemporaries. Special attention was paid to every detail of each letter. The professional question of how to incorporate brightening wedges into the dark places of individual strokes’ onsets was resolved by rounded shapes that have their graphic response in the detail of the serifs. Particularly in larger sizes the typeface offers drawing sophistication and dimensional interconnection. Apart from Cyrillic alphabet, the alphabet design includes ­Vietnamese ­accents.

Lycia (Lycian: 𐊗𐊕𐊐𐊎𐊆𐊖 Trm̃mis; Greek: Λυκία, Lykia; Turkish: Likya) was a geopolitical region in Anatolia in what are now the provinces of Antalya and Muğla on the southern coast of Turkey, bordering the Mediterranean Sea, and Burdur Province inland. Known to history since the records of ancient Egypt and the Hittite Empire in the Late Bronze Age, it was populated by speakers of the Luwian language group. Written records began to be inscribed in stone in the Lycian language (a later form of Luwian) after Lycia's involuntary incorporation into the Achaemenid Empire in the Iron Age. At that time (546 BC) the Luwian speakers were decimated, and Lycia received an influx of Persian speakers. Ancient sources seem to indicate that an older name of the region was Alope (Ancient Greek: Ἀλόπη, Alópē). Lycia fought for the Persians in the Persian Wars, but on the defeat of the Achaemenid Empire by the Greeks, it became intermittently a free agent. After a brief membership in the Athenian Empire, it seceded and became independent (its treaty with Athens had omitted the usual non-secession clause), was under the Persians again, revolted again, was conquered by Mausolus of Caria, returned to the Persians, and finally fell under Macedonian hegemony upon the defeat of the Persians by Alexander the Great. Due to the influx of Greek speakers and the sparsity of the remaining Lycian speakers, Lycia was rapidly Hellenized under the Macedonians, and the Lycian language disappeared from inscriptions and coinage.

New York vibes FS Irwin was born in New York while Senior Designer, Fernando Mello, was studying an intensive 5 week typeface design course at the Cooper Union. His brief was to design a perfectly clear typeface that could communicate well, without loud or overtly mannered design features. Fernando was influenced by the subway font in New York: ‘It is very in your face and clear, always in bold. It doesn’t shout much but at the same time is very present and unique. The design is completely different but it was this spirit I wanted to capture for FS Irwin.’ And the vibe of the city: ‘In a similar way to London, New York is so mixed and so cosmopolitan. I was amazed by the different styles and identities I saw there, and tried to encapsulate this essence to create something new, relevant and very now.’ Incisive quality Rather than focusing on quirks or distinctive characteristics, the key to FS Irwin is the quality of its design and spirit of simplicity. The design, proportions and details are usable and authentic and it is suitable for countless situations, without running the risk of being instantaneously noticeable. Families like this can be used on nearly anything, from more playful designs to serious corporate IDs. ‘Extensively tested and precisely drawn text-oriented typefaces are what I enjoy designing the most. There is a beauty and a different approach, a different way of making them interesting, sellable and usable rather than adding flicks or unexpected details.’ Inscriptions and calligraphy FS Irwin’s origin lies in Fernando’s studies in inscriptional lettering and writing-calligraphic exercises at the Cooper Union. Mello started the process by digitising his explorations and adapting them into a more workable sans serif structure. The traditional forms of writing which gave the basis to Latin type as we know it today were the perfect place to start. This influence can be seen in the proportion of the capitals and in slight writing-calligraphic details in the lowercase, such as the slightly angled, chiselled spurs and their open terminals.

Rufina was as tall and thin as a reed. Elegant but with that distance that well-defined forms seem to impose. Her voice, however, was sweeter, closer, and when she spoke her name, like a slow whisper, one felt like what she had come to say could be read in her image. Rufina's story can only be told through a detour because her origin does not coincide with her birth. Rufina was born on a Sunday afternoon while her father was drawing black letters on a white background, and her mother was trying to join those same letters to form words that could tell a story. But her origin goes much further back, and that is why she is pierced by a story that precedes her, even though it is not her own. Maybe her origin can be traced back to that autumn night in which that tall man with that distant demeanor ran into that woman with that sweet smile and elegant aspect. He looked at her in such a way that he was trapped by that gaze, even though they found no words to say to each other, and they stayed in silence. Somehow, some words leaked into that gaze because since that moment they were never apart again. Later, after they started talking, projects started coming up and then coexistence and arguments, routines and mismatches. But in that chaos of crossed words in their life together, something was stable through the silence of the gazes. In those gazes, the silent words sustained that indescribable love that they didn't even try to understand. And in one of those silences, Rufina appeared, when that man told that woman that he needed a text to try out his new font, and she saw him look at her with that same fascination of the first time, and she started to write something with those forms that he was giving her as a gift. Rufina was as tall and thin as a reed, wrote her mother when Rufina was born.

From the beginning “Esmeralda” was born with a strong influence of the classical “capitalis monumentalis”, carved in stone. In the same way, the origin of this majuscule writing emerged from the brush, from a way of writing made merely by hand. For this reason, these two universes were intended to lie beneath the shape of each letter, redefining them. And this combination of styles should also be reflected in a lower case set that also allows to open up the spectrum of usage possibilities. Foundational calligraphy represented a solid base for the development of lower case glyphs, ensuring proper interaction with the upper case letters. “Esmeralda” features a great number of ligatures that mix classic structures with a more contemporary impression. With more than eleven hundred glyphs, it provides a multiplicity of uses across a wide combinatory of ligatures, alternative signs, initial caps, miscellaneous and connectors; each one of them accessible through Open Type. “Esmeralda” is perfect to speak with a classical yet fresh, modern – and a little bit bold – tone of voice. Designed by Guille Vizzari, together with the tough and remarkable work of Ale Paul, in use “Esmeralda” stands out in a subtle and unexpected way that’s almost unnoticeable. Its delicate yet solid curves, serifs and endings give each composition a fine, elegant and exquisite feeling, along with a firm and sturdy look. “Esmeralda” was initially born as a typographic project developed by Guillermo Vizzari – tutored by Ale Paul and Ana Sanfelippo – under completion of the Specialization in Typography Design at University of Buenos Aires, Argentina, during the years 2011 and 2012.

Happyjamas is a playful serif font - the pizzadude way! :)

This is the kind of font which is up to trouble. Not trouble in a bad way, but trouble like when you are in no way prepared what is going to happen. The font is handmade and playful - and to help that playfullness come to live, the 5 different versions of each letter helps! Watch your words change while you write with Budskab! And, by the way..."budskab" is message in danish...just thought you should know!

Apparently, Lexicon is the most expensive font in the world. ‘Skiart Lexiconic’ has been on a long growing path getting to where it is now. This font family was originally inspired by the san serif font ‘Skia’, by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any actual serifs. It took a small step between sans serif and serif fonts. Next on the path towards a serif font came Skiart Serif Mini, with tiny serifs added. This was a true serif font, although they were subtle. Then came ‘Skiart Serif Leaf’. and now... We present to you... DT Skiart Lexiconic. Having evolved from the Skiart family, we chose to give it the serifed styling of Lexicon. This is no way a copy or clone of Lexicon. It still has the basic bones of the original Skiart font, but the position, shape and size of the serifs were very much influenced by the world famous Lexicon font. DT Skiart Lexiconic is not the most expensive font in the world.

Switched On and Switched Off where two fonts developed by placing points on a pre-defined square grid template. The experiment was to explore all the variations possible by just using straight connecting lines on a grid. I stumbled on the final concept, almost accidentally, and was amazed by the numerous possibilities. Both designs where created to work together. By adjusting the stroke and inline proportions between the two fonts, I was able to achieve a good overall color balance between 'Switched On' (dark letters on a light background), and the 'Switched Off' design as a knockout treatment (light letters on a dark background). Used in this way, both fonts visually appear similar in overall weight and proportion. They harmonize well together. Used separately, they make for some interesting visual effects and headline treatments. The fonts are best used at large point sizes, but they are still legible in a variety of smaller sizes. I think that by experimenting with these two fonts one can achieve some stunning visual effects. Explore and have fun.

A wedding begins long before the "I Do's" on the big day—everyone works together throughout the process to make sure that everything happens as planned: details, color combinations, decorations, the way we convey the magic of the visual elements and deliver our message of love. Through this beautiful font, we would like to deliver to you that very message, you make it your own and express yourself in your own way—through the perfect invitation on your wedding day. No matter how sweet or wild your invitation looks, try to be yourself. Save the Date is a font collection consisting of 9 styles and 4 variants: Script, Sans, Serif and Small. The font set is intended to provide users with a wide range of choices for any design project. Save the Date was designed by Paula Nazal and Daniel Hernández. Digital editing by Rodrigo Fuenzalida. Photos by Mónica Muñoz. Mónica specializes in wedding photography. You can find more of her work here: www.thewildbrides.com

The idea behind the font called Chaco originated after testing the deficiency shown in road signs in Latin America. The design began after a long documenting period. Throughout the various stages of the work,  there were several  tests and checks  conducted of the formal solutions implemented which, based on the results, would gradually be changed until we finally reached, in this way, its definite design. The original project for the font features three steps, namely: regular, light and bold, yet by making progress in the development, it was possible for us to perceive that by enlarging the black and thin variances, the family with 5 different weights could offer very good results in mass media, such as newspapers, magazines and television. In order to expand its possibilities of utilization, the set was completed with italics and small capitals.

Babyhome Elegant Script If you are needing a touch of casual chic calligraphy for your designs, this font was created for you! Babyhome was built with OpenType features and includes beginning and ending swashes alternate characters for both lowercase letters, loads of different swash alternates for lowercase letters, numbers, punctuation, alternates, ligatures and it also supports other languages :) Accessing the swashes / opentype features / glyphs: This font works best in a program that supports OpenType features such as Adobe Indesign, Adobe Illustrator CS, or Adobe Photoshop CC. You can access the swashes and alternates from the 'Glyphs Panel' in these programs. More Questions? Here are some (potential) answers! You are not permitted to resell this font in any way. Multilingual Support is included for Western European Languages Also, the sans-serif font used in the preview images is Gotham :)

SL Che is a homage to Ernesto Guevara de la Serna, “El Che”, who lived between 1928 and 1967. El Che turned into an universal icon through a memorable photograph which was reproduced and multiplied to the infinite. It was that way he became a synonymous of resistance, revolution and change for lots of generations. That "Che" comes back today by the hand of the genial Jorge Alderete, who designed heroic, laughing and cool variations of that popular first icon. SL Che unfolds like a fan of thousands of "Che", in a development plenty of metaphors. SL Che abridges a sum of original iconographic illustrations in True Type format, which masterly synthesizes the most important themes of the grand genius of the literature. SL Che takes part of the "Icons of Icons" Gallery, developed by SinergiaLab for Sudtipos

Police JNL was modeled from one of the many fonts created by the late Alf Becker exclusively for Signs of the Times magazine during the 1930s through the 1950s. This was a bit of a difficult design to translate into a digital font file, because the individual characters did not follow a formal structure as to the width and length of the cast shadows or the letter shapes—such is the way of the hand-lettered alphabet. Special thanks to Tod Swormstedt of ST Publications (and curator of the American Sign Museum in Cincinnati) for providing the archival material to work from in creating this font. Police JNL has a limited character set. The basic A-Z character is on the upper and lower case keys, along with numbers, some punctuation and the dollar and cents signs.

Merengue Script is the second typeface designed by Panco, once again together with Ale Paul, who supervised the whole development. In this opportunity, the process of shape research and the systematization of signs led him to dive into new waters. The objective was to generate a system of signs in which the construction of such was not directly bound to traditional calligraphy, nor to texts typography. Instead, the point was to create signs inspired in “Brush pen” calligraphy but with their main features drawn or literally illustrated. The result was a font with personality, authenticity and uncommon formal aspects that make Merengue Script an interesting, highly attractive and rather unusual font. From the very beginning, the search was based on creating a font with weight and good presence in big formats, but, at the same time, efficient for brief texts of small formats. The aim was to make it usable mainly in candy, sweets and chocolate packaging. The predominance of round shapes, harmonious modulations and funny and friendly-looking visual rhythms spark a special effect in the usage of Merengue Script. Texts are enhanced with an interesting visual charm, capable of transforming a very simple text into a virtual illustration that semantically reinforces the messages in a simple way, without putting legibility at risk. With a basic set of stylistic alternatives full of frills and flounces for initials, ornamental and final letters, plus a set of disconnected signs, Merengue Script offers a wide and versatile range of options for graphic designers in the process of packaging design.

Since the beginning, Palsam was intended to be a super multilingual family, with a real cursive Arabic companion, and a display cut. The typeface was designed to be used for setting text and titles of contemporary Arabic content, specially magazines, and websites. The Arabic and Latin scripts were designed at the same time, to make a true authentic bilingual typeface. Both scripts have affected each other in several ways through the entire design process, which happened within ten years. Palsam has an inviting, approachable, fashionable and humanist look. Thanks to its low contrast, open apertures, detailed calligraphic strokes, and smooth counters, which also make it easy to read at smaller sizes. The main highlight for Palsam was the Cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. Since the Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh. Moreover this script was used in margins, and to highlight specific content inside a paragraph in older manuscripts. With true cursive companions in five weights, and many opentype features, Palsam grants all the tools needed to set complex information and editorial designs applications. More than 1000 characters are included per weight, including small caps, fractions, old style and lining numbers, ligatures, contextual ligatures, and discretionary ligatures. It supports over 40 languages that use the Latin extended, as well as Arabic, Farsi, and Urdu Languages. The latin script was designed in collaboration with the Slovenian type designer Alja Herlah.

Business Penmanship is an ode to the business handwriting from the era penmanship was a highly-valued part of business education and practice.
  In the early 1800s, Platt Rogers Spencer (1800-1864) created what would become the most widely accepted and prized cursive writing method used in business. Before the American Civil War, Spencer was the undisputed king of handwriting. He was also an outspoken supporter of American business education. By the late 1800s business education included some focus on penmanship, and there were many colleges that specialized in it. One of the most influential penmanship schools was founded by Charles Paxton Zaner and his partner E. W. Bloser. Later on, in the early 1900s Austin Palmer introduced the Palmer Method of business penmanship, and it soon became the most popular handwriting system in the United States.
  Business Penmanship is a single feature-rich font that includes over 1100 characters, covering ligatures, alternates, a large set of beginning and ending extensions, as well as a wide range of Latin-based languages, including Turkish and the languages of Central and Eastern Europe and the Baltic region. To take advantage of all the OpenType features included in the font, please use within programs that support such advanced typography.

Sticky Shoes was inspired by a sign at a local flea market. The artist behind the sign obviously didn’t care much about painting the letters “in the right way” - leaving a slobby and uneven impression. And what is wrong with that? Nothing, if you ask me. I tried my best to capture the charm and innocence behind that sign in Sticky Shoes. I even made the paint version go outside the outline in the Regular version! I added 6 different versions of each letter, and they automatically changes as you type. That goes for all 4 versions, and they even mix very nicely!

Grafista is an extrapolation on what fonts are used for: in spite of the possibility to use it for setting text, Grafista strives when used as a texture library, the same way that one would set up tiles. Thus, Grafista was built as two different things compiled in the same font: the letterforms (for setting text) and the texture library. Both of the sets are monospaced (with every glyph having the same width), but the letterforms are half of the texture tiles' width. On the tech side, the letterforms are 500/1000 UPMs, while the tiles are 1000/1000 UPMs.

SK Pangramma is a modern universal geometric typeface. For greater universality, it was developed in two stylistic variations: sans serif and slab serif. The uniqueness of the typeface is supported by stylistic alternatives that give the character set the spirit of modern typeface design. The SK Pangramma typeface is named this way because it supports more than 200 languages, including the Extended Latin Alphabet, Cyrillic, and even Greek. Thanks to a wide range of characters, alternatives, and two stylistic variations, the typeface is great for design projects of any complexity, no matter whether it is printed products or web design.

Filarion is inspired by a bit of 60s typography. At first glance it looks contrasting but is executed in a different way. The lines are drawn irregularly so that it looks casual and not stiff. From a clean basic form (Regular), Filarion was developed into three different variants, namely Bulbous, Noetic and Print. Each of them has an oblique style. So you will get 8 fonts from Filarion family. This font is suitable for use as a title in broadcast videos, movies or poster designs. It can also be used on quotes and other promotional materials that require extra attention.

Amongst a batch of antique sheet musical instruction booklets offered for sale online was a piece with Art Nouveau hand lettering on the cover entitled “Seven Musical Travelogues for Piano”. This design served as the inspiration and model for Ragtime Gal JNL, which is available in both regular and oblique versions. The font’s name comes from the line ‘Hello my baby, hello my honey, hello my ragtime gal…’ from the 1899 song “Hello Ma Baby”; a tune that found a new burst of popularity in an odd way within a 1955 Warner Brother’s cartoon [“One Froggy Evening”].

Heartbright Handwritten Script Font Introducing the warm handwriting "Heartbright" Script Font! If you are needing a touch of casual modern calligraphy for your designs, this font was created for you! What's Included: Uppercase and Lowercase Ligatures Number and Punctuation Support Language All above mentioned available in ( OTF ) This font works best in a program that supports OpenType features such as Adobe Indesign, Adobe Illustrator CC and CS, or Adobe Photoshop CC and CS also CorelDraw More Questions? Here are some (potential) answers! Do not to resell this font in any way. Multilingual Support is included for Western European Languages Cheers!

Introducing a cute handwriting "Bagelen" Handwritten Display Font! If you are needing a touch of casual modern display for your designs, this font was created for you! What's Included: - Uppercase and Lowercase - Number and Punctuation - Support Language - Alternate -Standart Ligature This font works best in a program that supports OpenType features such as Adobe Indesign, Adobe Illustrator CC and CS, or Adobe Photoshop CC and CS also CorelDraw More Questions? Here are some (potential) answers! Do not to resell this font in any way. Multilingual Support is included for Western European Languages Have a Wonderful Day, Gatra Std

Introducing a cute handwriting "BUFFALO'S" Thin Stronger Sans-Serif Font! If you are needing a touch of casual modern San-Serif for your designs, this font was created for you! What's Included: Uppercase and Lowercase Number and Punctuation Support Language This font works best in a program that supports OpenType features such as Adobe Indesign, Adobe Illustrator CC and CS, or Adobe Photoshop CC and CS also CorelDraw More Questions? Here are some (potential) answers! Do not to resell this font in any way. Multilingual Support is included for Western European Languages Have a Wonderful Day, Gatra Std

Introducing a cute handwriting "GOOD DELL" Handwritten Display Font! If you are needing a touch of casual modern display for your designs, this font was created for you! What's Included: Uppercase and Lowercase Number and Punctuation Support Language All above mentioned available in (OTF) This font works best in a program that supports OpenType features such as Adobe Indesign, Adobe Illustrator CC and CS, or Adobe Photoshop CC and CS also CorelDraw More Questions? Here are some (potential) answers! Do not to resell this font in any way. Multilingual Support is included for Western European Languages Have a Wonderful Day, Gatra Std

POLIGRA is an experimental typefamily and a homage to traditional printing of the pre-war era in Poland. Most of the typefaces based on traditional printing are either clean, geometric typefaces or completely distressed lettering. The POLIGRA project explored everything in between. The letters, cleaned up, redesigned where necessary, and defined in their entirety, have a friendly and warm character, as if taken out of the press. The selection of typefaces was based on theater and sports posters. All of them have blocky and geometric character, each of them is an all-caps typeface. The POLIGRA family includes 13 typefaces.

Introducing a cute handwriting "Christoria" beauty script If you are needing a touch of casual modern calligraphy for your designs, this font was created for you! What's Included: Uppercase and Lowercase Ligatures Number and Punctuation Support Language All above mentioned available in (OTF) This font works best in a program that supports OpenType features such as Adobe Indesign, Adobe Illustrator CC and CS, or Adobe Photoshop CC and CS also CorelDraw More Questions? Here are some (potential) answers! Do not to resell this font in any way. Multilingual Support is included for Western European Languages Have a Wonderful Day, Gatra Std

Risoluto is an italic font made to mimic the beautiful italic typefaces used in the 19th and 20th century by music publishers. It was based on an italic typeface found in a publication by Max Eschig from the 1950s. Hundreds of specimen for each glyph were studied and carefully drawn in a way to have a sharp rendering without losing any of the old charm. The oblique "g" is one of the characteristics of such old typefaces. Risoluto covers a large range of languages and symbols and offers stylistic alternates for numerals, contextual ligatures and music accidentals.

MILLESTONES Brush Font Introducing "MILLESTONES" Brush Font! If you are needing a touch of horror sensation for your designs, this font was created for you! What's Included: All Set Character in Uppercase & Lowercase style Number and Punctuation Support Language Ligatures All above mentioned available in (OTF) This font works best in a program that supports OpenType features such as Adobe Indesign, Adobe Illustrator CC and CS, or Adobe Photoshop CC and CS also CorelDraw More Questions? Here are some (potential) answers! Do not to resell this font in any way. Multilingual Support is included for Western European Languages Cheers!

Architype Universal is a collection of avant-garde typefaces deriving mainly from the work of artists/designers of the inter-war years, whose ideals underpin the design philosophies of the modernist movement in Europe. Their ‘universal’, ‘single alphabet’ theory limits the character sets. Architype Bill was developed from the few letterforms created by Max Bill for a 1949 exhibition poster. All the forms, with the exception of the letter ‘o’, were constructed using only straight lines and triangles on a purely mathematical basis, that showed the continued influence of his earlier Bauhaus training, and the universal alphabet principle.

Stannard speaks to us of the happy days of the inter-war period, of enamel advertising 'street-jewelry' as seen on the railways and in all the best shops, of youngsters' train set boxes and toy catalogues, of traditional magazine mastheads, of a simpler, happier and just maybe better era, when summers lasted for ever and all was well with the world. It's a great family of faces for use in nostalic poster design, for nostalgic packaging design or signage or book covers, or even just for making a bold statement anywhere. Four decorative faces are offered.

LeBrush is a contemporary Roman typeface based on real brush lettering, in 10 styles from Thin to ExtraDark, inspired on the classic Roman proportion of the “Capitalis Monumentalis” present into the Trajan Column and another Greek architectural structures. The “LeBrush classic” weight was specially developed to easily design ‘Movie titling’ graphics, cover books & magazines and posters. More skilled designers and pro-Users can even set the type, in a very smart way, in logotypes and labels as well, using its multiple advanced opentype options and extra ornamental sets. Lowercases allowed users to work in lecture size requirements.

Withyou so warm and beautiful handwriting Introducing the warm handwriting "Withyou" Script Font! If you are needing a touch of casual modern calligraphy for your designs, this font was created for you! What's Included: Uppercase and Lowercase Ligatures Number and Punctuation Support Language This font works best in a program that supports OpenType features such as Adobe Indesign, Adobe Illustrator CC and CS, or Adobe Photoshop CC and CS also CorelDraw More Questions? Here are some (potential) answers! Do not to resell this font in any way. Multilingual Support is included for Western European Languages Cheers!

Rattani the graceful nature of the typeface, along with carefully designed details, allows to use it in large point sizes, for example in magazine layouts, packaging design and in many other ways. Rattani was unapologetically conceived as a display typeface meant to be used large as in magazine openings, drop caps or everywhere there’s a need for elegant impact. Rattani is perfect choice for people looking for clean, modern, minimalist, elegant, beauty design styles. Suitable for almost any graphic designs such as logo, business cards, t-shirt, cover, branding materials, poster, print, photography, thumbnail, gift cards.etc

Introducing a cute handwriting "NIGHT BUTTERFLY" Handwritten Display Font! If you are needing a touch of casual modern display for your designs, this font was created for you! What's Included: Uppercase and Lowercase Number and Punctuation Support Language Standart Ligature This font works best in a program that supports OpenType features such as Adobe Indesign, Adobe Illustrator CC and CS, or Adobe Photoshop CC and CS also CorelDraw More Questions? Here are some (potential) answers! Do not to resell this font in any way. Multilingual Support is included for Western European Languages Have a Wonderful Day, Gatra Std

Architype Konstrukt is a collection of avant-garde typefaces deriving mainly from the work of artists/designers of the inter-war years, whose ideals have helped to shape the design philosophies of the modernist movement in Europe. Due to their experimental nature character sets may be limited. Architype Aubette is based on Theo van Doesburg’s 1928 signage lettering for the Café Aubette in Strasbourg. A collaborative project with Jean and Sophie Arp, the design and decoration of the entire restaurant and leisure complex was one of the largest projects to exemplify 1920s avant-garde, and the theories of Dutch De Stijl.