Designed in 2011 by Olivier Gourvat, this font family has generous proportions with a range of weights make it a versatile family for print and web design work. Kyrial Display Pro is also a practical typographic choice to express strength, elegance, and conceptual clarity. Kyrial offers lots of OpenType goodness and broad language support.
A modern humanist sans serif typeface. The proportions of each character have a strong lateral dynamic that makes it ideal for on screen uses. Also consistent stroke contrast is used throughout each weight to maintain an optical balance.
Details include 7 weights, a full character set, manually edited kerning and Euro symbol.
Novecento is an uppercase-only font family inspired on european typographic tendencies of the first half of 20th century.
Its name means nine hundred in Italian, but also twentieth century.
It looks rational, geometric and blocky. However, it is based on optical — not geometrical — proportions.
This font face is designed to be used for headlines, visual identities or short sentences. Lighter faces provide a more contemporary look&feel, while the bolder ones look definitely retro.
Penna is a calligraphic type system designed by Pedro Leal. Amidst the four available styles you get four different ascender and descender styles, two different styles of starting and ending swashes, a pleura of ligatures and several other features. Chose between regular, swashes, unconnected and connected versions or mix them all up for a deeper calligraphic feeling.
The typeface Pyke, named after the legibility researcher Richard Lionel Pyke, is a serif typeface inspired by the work of Giambattista Bodoni.
An early version of the typeface was subjected to experimental legibility investigations of distance and time threshold methods*. Participants were exposed to different variations of the most frequently misread lowercase letters. The findings, which were implemented in the final designs, demonstrated that in a short exposure the italic style ‘l’ with a tail has a higher visibility than the ‘l’ with serifs at the bottom, that the Italic style descending ‘f’ is more visible at distance than the Roman style ‘f’, that a closed aperture of the ‘e’ lowers visibility in a short exposure, and that the same goes for the closed aperture of the ‘c’ at distance.
A contemporary sans serif typeface. The evolution of the design is in response to feedback gathered from various professional bodies in the typographic industry. From the information collated a simple brief was developed to answer the following key points of constructive criticism.