Kustomtype’s “Atlantic Cruise” font is one of the fonts that was used in the 50’s for travel and cruise posters. It shows the typical look of that era but has been refined. The Atlantic Cruise fonts are based on geometric forms which have been optically corrected for a better legibility. Cruise suites perfectly well for your graphic design applications, ranging from editorial and corporate design to all your other graphic work. The Cruise family is coordinated into letterforms, metrics, and weights to work better together. Why still looking for foreign or strange types for your posters, headtext, editoral design, magazines, etc.? Enjoy your Cruise!
Aelita is a low contrast serif typeface in 6 styles. It’s distinguished by lowercase character alternates that noticeably change the text pattern. The main character set is quite strict and is characterized by sharp and clear terminals and stiff junctions between stems and bowls. Alternates are more facile and calligraphic. Neutral design of the main character set makes the typeface suitable for scientific and literary texts. Alternates are ideally suited for science fiction, fantasy and art books. The typeface was designed by Natalia Vasilyeva and released by ParaType in 2014.
Some folks say we’re too prone to hyperbole in these font descriptions, but we can’t help ourselves some times. And this is one of those times. YWFT Psychosis is THE CRAZIEST OpenType font we have ever released. No joke, you will swear that the OpenType controls themselves are possessed of a human brain as they change and morph about you. (No surprise there, since it was the Shaolin type-monks at PintassilgoPrints that took care of the business.) ↵↵This is a monster, with a deep emotional character too modern to be evil, yet too peripheral to be fully kind. Any situation where darkness or mystery needs to be heralded, let this Psychosis take over.
By twisting and weaving separate strands of rope together, a stronger TWINE is created. The distinctive “valleys” that give the twine its twisted and wavy appearance is the result of the twining process.
I started designing Ingra in 2007, as a derivative of a typeface specifically drawn for newspapers’ info-graphics. The earlier design of the typeface was a narrower, made in order to optimise the use of space in a newspaper setting. After a few years, I came up with the wider version for a broader range of uses, since designers already used it in different ways. After a few attempts, I left the old fonts behind and I decided to redraw it as a brand new typeface. The resulting typeface has a strong connection to its ancestor in terms of functionality, but it has a different character.
Begum is a Latin display serif typeface with contrast. With an ultra-contemporary appearance, its characters share DNA with classic Anglo-Dutch types like Caslon, Fleischmann or Times. The family shines in shorter-length texts, multi-line article introductions, and even on packaging. Begum is part of a larger family that supports also Devanagari and Tamil scripts.
Latex was initially a single multi-script all-cap font commissioned in 2012 by a company we can't name, to market a billion-dollar superhero movie we also can't name. A year later the commission grew to include a shaded variant and a set of DIY-like fonts, with different layering possibilities for dimensional manipulation.
Aesthet is a sans serif type family of 4 weights. Based on the personal experience of rural living, Aesthet is a reflection to embrace simple, community and nature inspired lifestyle. The idea created during experimental exploration demonstrates the evolutionary transition between the handmade and conventional typeface. The challenge of retaining natural essence of the individual approach on one hand and producing a functional text based font on the other was the driving force behind the design process.
Here comes the serif! After her big sisters version, Saya Sans and Saya Semi Sans, meet Saya Serif! With its lightly condensed letterforms and its elegant sharped serifs, this font family is both suitable for text and display use. It’s elegant style and well balanced shapes afford a unified structure in small size and elegant shapes in larger sizes.
Mix it with the Sans and SemiSans versions to create beautiful magazines designs, deli packagings or serious logotypes.
Saya Serif FY comes out with 6 weights from thin to black in roman and delicate italic.
Tita is for my grandmother Hebe. Arrabalera, impertinent. It refers to letters of milonga, which have become the lettering Buenos Aires. He imagines in Paris at the Moulin Rouge. On. Funny. Amorosa. Evokes Tita Merello, and my grandmother singing. Argentina to the core. To say shot and caramel ... passionately !. Her curves play with the polyrhythm of gestural calligraphy that my teacher taught me, Silvia Cordero Vega. Script Tita Tita now, because it’s pedigree.
A display font collection for fantasy headlines within the concept of Moho Condensed based in letters with shadows as Moho Umbra Regular and Italic, or simple shadow effect as Moho Shadow Regular and Italic, or font effects to be used in color layers. all ideal for interesting lettering to magazines, posters and labels design.
Burford is a font family that I sketched while traveling through Europe. I was mesmerized by all the unique typography that was showcased throughout the five countries I visited. Inspired by all that I had seen, I found myself spending 4-5 hours per day in Amsterdam’s Vondel Park drawing characters. Once back in the states I digitalized Burford, deciding it would make for a beautiful layer-based font.
Nanami Pro is the heavily engineered follow up to the hugely successful Nanami and Nanami Rounded font families. Nanami Pro contains all the wonder of the original Nanami families, but with vastly extended language support including Cyrillic and Extended Latin, leading to a total of 458 carefully crafted glyphs. The original Nanami was a key font in many a typography collection, but with these new multi-lingual credentials, Nanami Pro has become a true must-have font for anyone who’s serious about design.
Nova Caere is a typical urban calligraphy, gestural with its fast lines, with short and slightly noticeable ascender and descender traits. Condensed lower case and rounded capital letters are quite similar in height.
Nova Caere has been studied for alternating upper and lower case inside the words of the text, so as to reinforce their expressive content.
Stylistic variations that combine particular couples of letters have been developed, as well as some descender traits have been highlighted that can be employed to characterize words and phrases.
The future of design is Flat, and for Flat Design, you need a flat typeface. Sure, you could use any number of sans-serif fonts, but this type family is actually called Flat Sans, so it’s a no-brainer really!
Flat Sans is a grotesque with humanist leanings, clean and contemporary in appearance. Its large range of weights are designed with versatility in mind; you can set highly legible copy or use loud and proud at display sizes.
Stylistic sets make key decisions yours. Double storey a and g are default in both Roman and Italic styles, but you can switch to single storey versions if you prefer, and there are two alternate forms of y available too. Stylistic variants of uppercase I and lowercase l designed to be less ambiguous are also included in all styles. An alternate Q completes the arsenal.
Designed for demanding typography, supporting most Latin-based languages, Flat Sans is equipped with true small caps for all weights, an array of numeral styles (proportional- and tabular- lining and oldstyle figures, small cap figures, superscripts and subscripts/scientific inferiors), automatic fractions, a set of useful arrows, case sensitive forms, superior lowercase letters, and a range of currency symbols including recent additions: Turkish Lira, Indian Rupee and Russian Ruble.
Flat Sans also features a handful of useful Greek characters for scientific writing.