Barnum pays homage to Clarendon, the 1845 classic by Thorowgood and Co. of London. Rooted in the enduring appeal of nineteenth-century slab serif romans and embracing their robust structure and bold slab serifs, Barnum emphasizes a departure from tradition with a subtle brutalist approach in selected letterforms, mixing contemporary flair and timeless elegance.
Barnum • 9 styles + variable
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Claus • 1 styles
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Codec Pro ME • 12 styles + variable
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Drawing on brutalist design principles and a keen sense of balance, Dialogue tries to reinvent the traditional roman Oldstyle letterforms with a digital language that is is at once elegant and rugged, with crisp, sharp edges and smooth curves.
Dialogue • 26 styles + variable
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With a name that is an homage to the influential photojournalist, Walker Evans, this typeface embraces the vintage appeal of a semi-condensed old-style structure with a very slight transitional slanted axis, combining optimal legibility and visual charm. The timeless quality of old-style letterforms is enriched by calligraphic touches for a smooth reading experience, and complemented by a high x-height that ensures maximum legibility, even at small font size.
Evans • 35 styles + variable
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Extenda • 68 styles + variable
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Designed by Cosimo Lorenzo Pancini with the help of Mario de Libero and Nicolas Sendre Billout, Groot is a reinvention of the traditional industrial grotesque sans serif that adds a variable axis to control dinamically the superness of the curvature in inner space.
The functional, industrial roots of the design - inspired by the model of the DIN grotesques - are respected faithfully in the proportions of the lowercase letters, while uppercase glyphs present many brutalist variations that reinforce the constructed and mechanical feel of the typeface.
While the base Groot family only applies a minimal effect to the curvature, the Bau subfamily pushes it to the limit, resulting in overlapping counters in the thin weight and in square counterspaces in the heavy one, and in a noticeable contrasted design overall.
The resulting superfamily, fully customizable thanks to the variable typeface, can in this way effortlessly switch from a transparent utilitarian sans optimized for body text to a quirky display font with logo and editorial use.
Groot • 11 styles + variable
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Heading Deva • 25 styles + variable
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Heading Now • 178 styles + variable
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Maligna • 14 styles + variable
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Mayson is a humanist sans serif typeface fusing Arabic and Latin scripts. It incorporates calligraphic elements, including sharp nib angles and fluid shapes from Arabic, while maintaining simplicity and clarity. With monolinear, low-contrast design and various weights, Mayson suits formal and creative applications. Its sleek lines and readability at small sizes make it versatile for both print and digital projects. Mayson seamlessly blends two visual languages, offering a warm, inclusive, and contemporary vibe that appeals to designers and type enthusiasts.
Mayson • 8 styles + variable
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Mezura • 8 styles + variable
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Milligram Narrows • 80 styles + variable
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Designed by Mario De Libero, Quark typeface takes the principles of flat nib calligraphy and mixes them with bold typographic experimentation. It blends serif sophistication and digital aesthetics, with its unique identity stemming from the letters' peculiar inner space, that transforms along the weight axis. Mixing traditional translation details with a contemporary serif structure, Quark aims for timelessness through a fusion of forms, where tradition and modernity harmoniously coexist.
Quark • 16 styles + variable
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Unigeo • 45 styles + variable
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UX Sans is a versatile and meticulously crafted typeface tailored for web interfaces. It seamlessly combines mono-width and monospace attributes, striking a balance between timeless elegance and modern design. Its monowidth structure ensures uniform character spacing, guaranteeing a clean and consistent appearance in code snippets and user interfaces.
Ux Sans • 16 styles + variable
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