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Storm

Frantisek Storm founded the Storm Type Foundry in Prague in 1993 with the aim of restoring the values of classical typography for the benefit of digital technologies. We started by drawing alphabets which could be used in book printing, then we proceeded to alphabets for film- and photosetting and nowadays, in the era of computers, we use the experience we have gained to make digital type faces more human.

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88 font families from Storm

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Etelka™

by Storm
  |  available for Desktop and Web

Albums

38 fonts from $49.00
Etelka™ Etelka™

Etelka was designed in summer 2005 for purposes of corporate style, product package design and electronic publishing.

Quercus 10™

by Storm
  |  available for Desktop and Web

Albums

14 fonts from $69.00
Quercus 10™ Quercus 10™

Quercus is characterised by open, yet a little bit condensed drawing with sufficient spacing so that the neighbouring letters never touch. It has eight interpolated weights with respective italics. Their fine gradation allows to find an exact valeur for any kind of design, especially on the web. Quercus serif styles took inspiration from classicistic typefaces with vertical shadows, ball terminals and thin serifs. The italics have the same width proportion as upright styles. This “modern” attitude is applied to both families and calls for use on the same page, e g in dictionaries and cultural programmes. Serif styles marked by “10” are dedicated to textual point sizes and long reading. The sans-serif principle is rather minimalistic, with subtle shadows and thinned joints between curved shapes and stems. Quercus family comprises of the usual functionality such as Small Caps, Cyrillics, diacritics, ligatures, scientific and aesthetic variants, swashes, and other bells & whistles. It excels in informational and magazine design, corporate identity and branding, but it’s very well suited for book covers, catalogues and posters as well.

Trivia Serif™

by Storm
  |  available for Desktop and Web

Albums

14 fonts from $39.00
Trivia Serif™ Trivia Serif™

John Sans™

by Storm
  |  available for Desktop and Web

Albums

32 fonts from $49.00
John Sans™ John Sans™

The idea of a brand-new grotesk is certainly rather foolish – there are already lots of these typefaces in the world and, quite simply, nothing is more beautiful than the original Gill. The sans-serif chapter of typography is now closed by hundreds of technically perfect imitations of Syntax and Frutiger, which are, however, for the most part based on the cool din-aesthetics. The only chance, when looking for inspiration, is to go very far...

Zeppelin™

by Storm
  |  available for Desktop and Web

Albums

42 fonts from $41.00
Zeppelin™ Zeppelin™

Outside letterings, either hand-painted or machine-cut, have always a solid skeleton, clearly apparent in all weights and widths. Zeppelin shares much of those inspiration sources and its consistent monolienar drawing is nearly naive, with no trace of expression. That’s common to most of universal typefaces with a very broad field of application. Zeppelin type family is very good in magazines, posters, advertising, information systems inside/outside buildings, in traffic, being extremely legible in smallest point sizes or from longest distance.

Header™

by Storm
  |  available for Desktop and Web

Albums

5 fonts from $34.00
Header™ Header™

Useful for newspaper and magazine headlines, a must for all kinds of impacting posters.

Header includes hybrid glyphs encoded where small caps are normally found.

Academica™

by Storm
  |  available for Desktop and Web

Albums

10 fonts from $44.00
Academica™ Academica™

Josef Týfa first published the Academia typeface in 1967-68. It was the winning design from competition aimed at new typeface for scientific texts, announced by Grafotechna. It was cut and cast in metal in 1968 in 8 and 10 point sizes of plain, italic and semi-bold designs.

Baskerville Original Pro™

by Storm
  |  available for Desktop and Web

Albums

12 fonts from $69.00
Baskerville Original Pro™ Baskerville Original Pro™

Until recently the story of this typeface ended with mediocre digital versions, which did not get at the root of its inspiration. Our pursuit of this paramount body typeface of the 20th century began in Nové Hrady Castle, the place where a part of the depository of old prints of the National Museum Library is kept, in the summer of 1999. Thanks to the understanding of the librarian Petr Mašek we were allowed to study and photograph four rare volumes from Baskerville’s printing office, dating from about 1760. We selected as the most successful models for the digitization of this typeface its Roman and italics in the size of about today’s 14 points, which Baskerville used for the printing, among other things, of his folio Bible in 1763 and Vergil’s works in Latin in 1757. These were large-size, stately prints on paper smoothed out by hot copper calender rollers. When composing the pages, Baskerville emphasized the importance of the blank space, just as the effect of the majestic austerity of the setting, which became an inspiration for Neo-classical typographers. He strove to remove everything which obstructs legibility, working without ornaments and rules, neatly, and with large margins. He proceeded along these lines also when designing his new typeface. His punchcutter John Handy was given the task to make the typeface different from the then fashionable Caslon, which was a surprise for a certain part of typophiles of the period. Baskerville perhaps anticipated certain elements known from Bodoni and Didot, which is why nowadays everybody calls it a “transitory” phenomenon. A detailed evaluation of Baskerville’s heritage, however, remains a task for historians. Our analytical transcription enhances rather the artistic and visual qualities of his typeface.

Quercus Serif™

by Storm
  |  available for Desktop and Web

Albums

16 fonts from $69.00
Quercus Serif™ Quercus Serif™

Quercus is characterised by open, yet a little bit condensed drawing with sufficient spacing so that the neighbouring letters never touch. It has eight interpolated weights with respective italics. Their fine gradation allows to find an exact valeur for any kind of design, especially on the web. Quercus serif styles took inspiration from classicistic typefaces with vertical shadows, ball terminals and thin serifs. The italics have the same width proportion as upright styles. This “modern” attitude is applied to both families and calls for use on the same page, e g in dictionaries and cultural programmes. Serif styles marked by “10” are dedicated to textual point sizes and long reading. The sans-serif principle is rather minimalistic, with subtle shadows and thinned joints between curved shapes and stems. Quercus family comprises of the usual functionality such as Small Caps, Cyrillics, diacritics, ligatures, scientific and aesthetic variants, swashes, and other bells & whistles. It excels in informational and magazine design, corporate identity and branding, but it’s very well suited for book covers, catalogues and posters as well.

Trivia Sans™

by Storm
  |  available for Desktop and Web

Albums

14 fonts from $39.00
Trivia Sans™ Trivia Sans™

Walbaum 2010 Pro™

by Storm
  |  available for Desktop and Web

Albums

25 fonts from $54.00
Walbaum 2010 Pro™ Walbaum 2010 Pro™

Upon numerous demands of highly esteemed users of our fonts I decided to suppement the Walbaum type family by display and poster cuts. Because I obviously cannot compete with world’s renowned type foundries which already offer a number of renderings of forenamed typeface, I thought proper to decline a bit from the original Walbaum’s design, strictly speaking, from the apprehension we commonly keep about this typeface. Therefore I didn’t set forth the way of modernizing (shame!), but rather the opposite direction: towards an analysis of the original neo-classical intention. I took the 10-point character, magnified it enormously and cut off progressively all the optically thickened bobbles which raised by small-size correction. I ended up at the size of about 120 points, where it became obvious that any further thinning would lead to an undesired manneristic fragility. Resulting 8-member family Walbaum 120 is naturally usable in variety of sizes, as well as cuts marked “10” you can use, say, from 6 to 30 points. I only hope that mister Justus Erich won’t pull me by the ear when we’ll meet on the other side...

Splendid™

by Storm
  |  available for Desktop and Web

Albums

4 fonts from $32.00
Splendid™ Splendid™

The traditional division of a type-face family into four designs pertains to every body type. However, jobbing typography calls for a richer tonal scale. Its purpose is to decorate, to represent and to please. Splendid Quartet is an example of a combination of heterogeneous sources of inspiration into a single harmonious formation. An American-style script is accompanied by a subtle English-type Roman type face with a bold design. The whole is reinforced with a Germanic Grotesk. The designs as such do not surpass the significance of their models, but the real charm of this family consists in the sensitive interplay of perfect, even though antagonistic shapes.

Amor Sans™

by Storm
  |  available for Desktop and Web

Albums

8 fonts from $55.00
Amor Sans™ Amor Sans™

Antique monumental incriptional majuscule, originally carved in stone, and sometimes called “Roman Capital”, is the origin of the upper-case part of our latin alphabet. Its narrowed form, derived from handwritten originals used between the first to third century A. D., served as the inspiration for the Mramor typeface, which I drew with ink on paper in 1988 under Jan Solpera’s leadership.

Trivia Slab™

by Storm
  |  available for Desktop and Web

Albums

14 fonts from $39.00
Trivia Slab™ Trivia Slab™

Trivia Grotesk

by Storm
  |  available for Desktop and Web

Albums

48 fonts from $49.00
Trivia Grotesk Trivia Grotesk

Another 48-cut family from a typeface system which originally arose from the need to simply explain to some publishers what it is “serif, sans-serif, egyptian”, etc. including their style variations. Over time, the Trivia became quite popular, which was her goal. Now is the opportunity to explain what it is “grotesque.” Grotesque in art is generally synonymous with bizarre, repulsive impropriety, but also surreal abomination exciting an empathic pity. These are qualities that undoubtedly attract the viewer’s attention since the days of Gothic gargoyles, stone gorgons and chimeras. Grotesque font is unlike the cold sans-serif much warmer, more appealing for the title, poster or advertisement, and is usually given in a variety of widths and weights. With our Trivia it shares basic proportions and OpenType features.

Areplos™

by Storm
  |  available for Desktop and Web

Albums

8 fonts from $53.00
Areplos™ Areplos™

To design a text typeface “at the top with, at the bottom without” serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs.

Farao™

by Storm
  |  available for Desktop and Web

Albums

9 fonts from $21.00
Farao™ Farao™

If a text is set in a good Egyptienne, we can observe a kind of sparkle in the lines. Egyptiennes are cheerful type faces, possibly due to the fact that they developed simultaneously with sans-serif faces. The design principle of a sign from the first half of the 19th century does not have such firm and long-established roots as for example, the Renaissance Roman type face; it is, therefore, much more prone to mistakes which are symptoms of a “decline”.

Regula™

by Storm
  |  available for Desktop and Web

Albums

8 fonts from $32.00
Regula™ Regula™

Regula is a Baroque alphabet taken over from a historical model including the latter’s inaccuracies and uneven letter edges. It reminds one of the character of letterpress, but if we were to be consistent, the letters which repeat themselves should also differ from each other, which is not possible in the case of digital setting. It is named after the secular monastic order Regula Pragensis, in honour of the inspiration which emanates from every moment spent in the presence of the members of this order with a glass of some good beverage.

Quercus Whiteline™

by Storm
  |  available for Desktop and Web

Albums

3 fonts from $69.00
Quercus Whiteline™ Quercus Whiteline™

Quercus is characterised by open, yet a little bit condensed drawing with sufficient spacing so that the neighbouring letters never touch. It has eight interpolated weights with respective italics. Their fine gradation allows to find an exact valeur for any kind of design, especially on the web. Quercus serif styles took inspiration from classicistic typefaces with vertical shadows, ball terminals and thin serifs. The italics have the same width proportion as upright styles. This “modern” attitude is applied to both families and calls for use on the same page, e g in dictionaries and cultural programmes. Serif styles marked by “10” are dedicated to textual point sizes and long reading. The sans-serif principle is rather minimalistic, with subtle shadows and thinned joints between curved shapes and stems. Quercus family comprises of the usual functionality such as Small Caps, Cyrillics, diacritics, ligatures, scientific and aesthetic variants, swashes, and other bells & whistles. It excels in informational and magazine design, corporate identity and branding, but it’s very well suited for book covers, catalogues and posters as well.

Tenebra™

by Storm
  |  available for Desktop and Web

Albums

3 fonts from $21.00
Tenebra™ Tenebra™

Tenebra is an example of a combination of the Baroque inscriptional majuscule with decorative calligraphic elements and alchemistic symbols. The widespread forms of the letters allows for the use of the old German manner of writing of the “Umlaut” when, in place of two dots above the letter, there is a reduced E. In our case it is inserted in the open letters.

Pivo™

by Storm
  |  available for Desktop and Web

Albums

2 fonts from $21.00
Pivo™ Pivo™

The script font Pivo (czech word for Beer) is freely inspired by certain traditional brewery label from southern Bohemia.

It is very well suited for any advertising, music, restaurant or beverage design purposes.

Sebastian Pro™

by Storm
  |  available for Desktop and Web

Albums

10 fonts from $32.00
Sebastian Pro™ Sebastian Pro™

Sans-serif typefaces compensate for their basic handicap – an absence of serifs – with a softening modulation typical of roman typefaces. Grotesques often inherit a hypertrophy of the x-height, which is very efficient, but not very beautiful. They are like dogs with fat bodies and short legs.

Amor Serif™

by Storm
  |  available for Desktop and Web

Albums

8 fonts from $55.00
Amor Serif™ Amor Serif™

Antique monumental incriptional majuscule, originally carved in stone, and sometimes called “Roman Capital”, is the origin of the upper-case part of our latin alphabet. Its narrowed form, derived from handwritten originals used between the first to third century A. D., served as the inspiration for the Mramor typeface, which I drew with ink on paper in 1988 under Jan Solpera’s leadership.

Moyenage™

by Storm
  |  available for Desktop and Web

Albums

25 fonts from $55.00
Moyenage™ Moyenage™

Blackletter typefaces follow certain fixed rules, both in respect to their forms and to the orthography. Possibly, they were a reaction to the half-developed Carolingian minuscule which was soon to end in the Latin script. Narrow, ordered script was to replace the round, hesitant and shattered shapes of letters in order to simplify writing, to unify the meaning of individual letters, and to save some parchment, too. Opposed to the practice common in monasterial scriptoriums where Uncial, Irish and Carolingian inspiration flew freely and as a result, the styles of writing differed in each monastery, the blackletter type was to define one, common standard. It was to express spiritual verticality, in perfect tune with the architecture of the Gothic era. Typography became an integral part of the overall style of the period. The pointed arch and the blackletter type were the vanguard of the spectacular transformation from the Middle Ages towards the modern era, they were a celebration of a time when works of art were not signed by their makers yet.

Quercus Sans™

by Storm
  |  available for Desktop and Web

Albums

16 fonts from $69.00
Quercus Sans™ Quercus Sans™

“Quercus” is characterised by open, yet a little bit condensed drawing with sufficient spacing so that the neighbouring letters never touch. It has eight interpolated weights with respective italics. Their fine gradation allows to find an exact valeur for any kind of design, especially on the web. Quercus serif styles took inspiration from classicistic typefaces with vertical shadows, ball terminals and thin serifs. The italics have the same width proportion as upright styles. This “modern” attitude is applied to both families and calls for use on the same page, e g in dictionaries and cultural programmes. Serif styles marked by “10” are dedicated to textual point sizes and long reading. The sans-serif principle is rather minimalistic, with subtle shadows and thinned joints between curved shapes and stems. Quercus family comprises of the usual functionality such as Small Caps, Cyrillics, diacritics, ligatures, scientific and aesthetic variants, swashes, and other bells & whistles. It excels in informational and magazine design, corporate identity and branding, but it’s very well suited for book covers, catalogues and posters as well.

Lokal Script™

by Storm
  |  available for Desktop and Web

Albums

10 fonts from $32.00
Lokal Script™ Lokal Script™

Handwritten Typefaces are extraordinarily popular for their chattiness and playfulness. Most of them are inspired by local inscriptions and signs. They can imprint a human touch to any cultural, social, product and communication design.

So is Lokal Script.

Plagwitz™

by Storm
  |  available for Desktop and Web

Albums

1 font from $32.00
Plagwitz™ Plagwitz™

Plagwitz is the name of the part of Leipzig where the Werkstätten and Museum für Buchkunst are to be found, which, in September 2000, hosted the ATypI Congress. During the lecture on Black Letter type faces, a lovely quotation from Bismarck could be heard: “I never read German books set in Roman type.” These circumstances gave me the idea that it would be nice to create some distinctive Black Letter type face. The best Black Letter type faces we know date from the Gothic period, when books were copied by hand, with the use of a bevelled quill. Our alphabet still takes into account Neo-Classical influences when decorative ascenders of upper case letters were added. In 19th-century typography, such Black Letter type faces were frequently complemented with Didot-type Roman faces and steel-engraver’s scripts. I, too, would recommend to combine Plagwitz-Gotisch with type faces like, for example, Hercules, Genre, Excelsor Script and Splendid Quartett.

Excelsor Script™

by Storm
  |  available for Desktop and Web

Albums

2 fonts from $32.00
Excelsor Script™ Excelsor Script™

Excelsor Script is inspired by lithographically produced scripts. It is softer and simpler than, for example, engraved Splendid Script, because its designer used pens and lithographic needles. The graver for steel is held in a quite different way and this has an influence on the shape of the letter. Similar type faces were in use from Neo-Classicism until the beginning of Art Nouveau, when they were pushed aside by a completely different view of festive typography.

St Croce

by Storm
  |  available for Desktop and Web

Albums

6 fonts from $28.00
St Croce St Croce

This typeface is based on worn-out lettering on tombstones in the St. Croce Basilica in Florence. For hundreds of years, microscopic particles of marble are being carried away on the soles of visitors: the embossed figures become fossilized white clouds, fragments of inscriptions are nearing the limits of legibility. First missing are thin joins and serifs, then the main strokes finally slowly diminish into nothingness over time. Unlike an archaeologist, for whom even a completely featureless stele is valuable, the typographer must capture the proper moment of wear, when the type is not too “new” but also not too much decimated.
Such a typeface is usable for catalogs, book jackets, invitations and posters.

Hercules™

by Storm
  |  available for Desktop and Web

Albums

12 fonts from $26.00
Hercules™ Hercules™

Where Modern is too fragile and Century too boring, Hercules comes with its elegant forms and, at the same time, with sufficient firmness to be usable for longer texts. In its heavy, bold designs it approaches Falstaff, while in the light ones it has some features which are taken over from Didot or from Modern. The text designs have been corrected for small sizes. The range of its use is, therefore, quite extensive - from dictionaries and technical literature through magazines to art posters and advertising materials.

Genre™

by Storm
  |  available for Desktop and Web

Albums

6 fonts from $26.00
Genre™ Genre™

The official terseness and grey of Neo-Classical type faces will stand out when we narrow them. The consistently vertical shading of the letters suppresses one’s desire for eccentricity, just like tea with bromine. It would, however, be wrong to consider Bodoni as the originator of this - vertically shaded - trend in type face production. In his Manual we can also find type faces with a slanted axis of shade, picturesque italics and a number of normal, more human type faces. It remains a mystery why his name is connected only with one of his many works.

Abalda™

by Storm
  |  available for Desktop and Web

Albums

1 font from $21.00
Abalda™ Abalda™

Abalda adds to the number of “bad-taste” alphabets as seen on faded commercial inscriptions painted on neglected old houses. To enhance its warm character, some picturesque discretionary ligatures were added.

Technomat™

by Storm
  |  available for Desktop and Web

Albums

1 font from $10.00
Technomat™ Technomat™

Technomat takes inspiration from matrix or thermal dot printers. Minimalistic construction and soft edges makes it legible from 3 point size.

Teuton™

by Storm
  |  available for Desktop and Web

Albums

23 fonts from $31.00
Teuton™ Teuton™

The present font project is inspired by a tombstone inscription on one German grave in northern Bohemia. Suitable combination: Plagwitz, Modell.

Teuton is ideal typeface for graves and posters, for advertising as well as magazines.

Antique™

by Storm
  |  available for Desktop and Web

Albums

6 fonts from $26.00
Antique™ Antique™

The concept of the Baroque Roman type face is something which is remote from us. Ungrateful theorists gave Baroque type faces the ill-sounding attribute “Transitional”, as if the Baroque Roman type face wilfully diverted from the tradition and at the same time did not manage to mature. This “transition” was originally meant as an intermediate stage between the Aldine/Garamond Roman face of the Renaissance, and its modern counterpart, as represented by Bodoni or Didot. Otherwise there was also a “transition” from a slanted axis of the shadow to a perpendicular one. What a petty detail led to the pejorative designation of Baroque type faces! If a bookseller were to tell his customers that they are about to choose a book which is set in some sort of transitional type face, he would probably go bust. After all, a reader, for his money, would not put up with some typographical experimentation. He wants to read a book without losing his eyesight while doing so.

Pepone

by Storm
  |  available for Desktop and Web

Albums

24 fonts from $43.00
Pepone Pepone

This typeface is primarily optimized for the setting of belles-lettres. The regular styles are balanced to suit small text sizes and enable the reading of long portions of text. The development of the typeface was guided by the goal of creating a contemporary, discreet book serif, with modern expression and numerous functions. Letters feature reduced contrast, the lighter styles may evoke wired letters, while the heavier ones bear distinct slab serif references. The extremes thus work in harmony and fulfil the demanding requirements of advertising and magazine layout. The typeface is suitable for bottle labels, invitations, exhibition catalogs and posters, for printed and online presentations alike.

Walbaum Grotesk Pro™

by Storm
  |  available for Desktop and Web

Albums

12 fonts from $54.00
Walbaum Grotesk Pro™ Walbaum Grotesk Pro™

From what we can tell, Justus Erich Walbaum probably never intended to create a sans-serif typeface. As it is quite difficult to find an appropriate sans-serif counterpart to the Walbaum 2010 Pro that would share the same austere German feeling, vertical proportions, OTF features and multi-lingual support, we took the liberty to create one. Among the useful benefits you may find Cyrillics, Small Caps and several sorts of figures. It can be used not only along its older serifed brother, but also independently on posters, in magazines and catalogues.

Trivia Serif 10

by Storm
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Albums

4 fonts from $41.00
Trivia Serif 10 Trivia Serif 10

It’s an extension to the Trivia font system. Serif 10 has been meticulously adapted for sizes of about 10 points, to be used for all kinds of literature: magazines, newspapers, books, including large scientific volumes.

Jannon Pro™

by Storm
  |  available for Desktop and Web

Albums

11 fonts from $55.00
Jannon Pro™ Jannon Pro™

Serapion™

by Storm
  |  available for Desktop and Web

Albums

4 fonts from $39.00
Serapion™ Serapion™

Another variation on the Renaissance-Baroque Roman face, it extends the selection of text type faces. In comparison with Jannon, the contrast within the letters has been enhanced. The dynamic elements of the Renaissance Roman face have been strengthened in a way which is illustrated best in the letters “a”, “b” and “s”. These letters contain, in condensed form, the principle of this type face - in round shapes the dark stroke invariably has a round finial at one end and a sharp one at the other. Another typical feature is the lower-case “g”; the upper part of this letter consists of two geometrically exact circles, the inner of which, a negative one, is immersed down on the right, upright to the direction of the lower loop and the upright knob.

Bahnhof™

by Storm
  |  available for Desktop and Web

Albums

7 fonts from $13.00
Bahnhof™ Bahnhof™

Poster type faces from the twenties and thirties are enjoying a new wave of popularity. The summary, even rather hard principle of the sign is required for a view from a distance. The information appearing on the poster must be readable even from the opposite pavement. And, as is often the case with monumental type faces, these type faces are legible even in small sizes. The name Bahnhof suggests the hypothetical use of the type face on railway station buildings.

Preissig Antikva Pro

by Storm
  |  available for Desktop and Web

Albums

6 fonts from $39.00
Preissig Antikva Pro Preissig Antikva Pro

This vintage, iconic typeface of original Czech letter-founding has been faithfully revised, extended and newly rendered in 2012.

Mramor Pro™

by Storm
  |  available for Desktop and Web

Albums

10 fonts from $52.00
Mramor Pro™ Mramor Pro™

The Mramor family first appeared in the Stormtype catalogue in 1994. The first sketch arose in 1988 through the narrowing of Roman capitals. It has uniform width proportions and, above all, original lower-case letters, unprecedented with Roman Capitals.

DynaGrotesk™

by Storm
  |  available for Desktop and Web

Albums

72 fonts from $28.00
DynaGrotesk™ DynaGrotesk™

Has altogether 60 designs, because it was originally produced as a Multiple Master typeface. The entire big family is grouped into eighteen independent, smaller four-design families, of which the user may choose, for example, only two or three which suit him as regards colour and width. The somewhat confusing use of abbreviations to designate the individual designs is, nevertheless, simpler than giving them numbers or full names. The abbreviations denoting weights are as follows: L - Light, R - Regular, D - Demi; and those denoting widths are: XC - Extra Condensed, C - Condensed, M - Semi Condensed, E - Extended, XE - Extra Extended.

Vida Pro™

by Storm
  |  available for Desktop and Web

Albums

34 fonts from $55.00
Vida Pro™ Vida Pro™

The new typeface family Vida was specifically designed for Czech Television in the framework of a competition for a new logo in summer 2006.

Trivia Humanist™

by Storm
  |  available for Desktop and Web

Albums

10 fonts from $53.00
Trivia Humanist™ Trivia Humanist™

I decided to draw the Regular style of Trivia Humanist not too light and the Bold not too dark. Delicate anatomy and moderate contrasts of serifed humanist typefaces aren’t usually born by interpolating between extremes, but rather by meticulous care for each individual letter. A delicious blend of a trace of punchcutter’s tool and calligrapher’s hand with as few historical reminiscences as possible. It stays away from any strong aesthetic colorations as well, which is a common feature of the Trivia family system. I wanted a clear and majestic typeface for book jackets, LP cover designs, posters, exhibition catalogues and shorter texts. But at the end it turned out excellent for largest books as well.

Friedhof™

by Storm
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Albums

5 fonts from $25.00
Friedhof™ Friedhof™

Friedhof family is inspired by a tombstone lettering dated from about 1900.

Beside the solid, fat style, it contains handtooled and shadowed (Geist + Deko) variations, as well as narrowed & lowercase styles.

Note: Very complex, shadowed fonts may not work on slow machines!

Anselm Sans™

by Storm
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Albums

10 fonts from $63.00
Anselm Sans™ Anselm Sans™

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates.

Comenia Serif Pro™

by Storm
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Albums

4 fonts from $69.00
Comenia Serif Pro™ Comenia Serif Pro™

Comenia was developed as typographic system for use on all levels of schools and universities.

It introduces new aesthetic standards aimed at improving reading and writing skills and the perception of texts for pupils, students, teachers, office and IT staff at schools.

Solpera™

by Storm
  |  available for Desktop and Web

Albums

8 fonts from $32.00
Solpera™ Solpera™

This type face fills one of the gaps between the world of Roman alphabets and that of linear alphabets. The first to be designed was the set of upper-case letters. The expression of these characters cannot conceal that they were originally intended only for the sculptor’s use, as a type face for three-dimensional inscriptions. Their width proportions reflect a dialogue between the contemporary feeling and the legacy of classical Roman inscriptions.

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