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Katana is 21st-century script typeface that thrives with energy. Its stylised letterforms feature a strong slant: about 40°, or more than twice the amount of slant found in a typical italic font.

Katanas angularity expresses an aura that combines the small refined details of calligraphy with the vibrancy of large-format graffiti lettering.

Unusual for a script typeface, Katana has multiple weights available; there are five in the family, and they range from Light through Bold.

As one shuffles from each weight to the next, the level of stroke contrast increases.

While Katanas Light weight is monolinear, the Bold weight has extremely hight contrast between its thick and thin strokes, which dials up the fonts dynamic-feeling even more.

The heavier weights clearly look like their letterforms have been written with broad pens or brushes, and the heaviest font looks like a techno-style design crossed with the work of a traditional sign-painter.

Each member of the Katana family has lining figures as its fonts default numeral style, but there are also oldstyle figures available through an OpenType feature.

Plus, each font includes about 26 alternate glyphs, substituted into the text whenever the contextual alternates feature is active.

Katana is a great addition to an editorial designers toolkit. It comes from Parimal Parmar, a designer in Ahmedabad/India.

Glatt the sequel of Platz Groteske is a typeface with the personality and the aesthetics of the neo-grotesque, however a slight touch of freshness and organic stand out this typeface; perfectly suited for any kind of work related to visual communication.

Glatts alternatives version includes diverse characters, Open Type functions, as well a, small caps, both lining and old style figures, and a fun shadowed version for headlines and display compositions.

Special acknowledgments to Ale Navarro, Raúl Meza, Rodrigo RodrigoTypo Araya, Valentina Pino and the whole W Foundry crew for the gestation of this project.

Manifest is a geometric type family that based on the principles of simplicity, modernity and functionality.

With low-contrast design approach, it performs excellently in any project from print to digital.

It comes in five weights with an extended character set includes 240+ glyphs per typeface, supports Western and some Central European languages.

Calps Sans is a variant of the original Calps typeface. Import to be more corporate, Calps Sans family use flat corners instead of rounded corners (Calps).

Calps Sans is a prominent, eye-catching and unique typeface. It comes with 9 weights and Slim version in order to suit for a multifunctional usage, especially for cooperative work, such as website, magazine, editorial, publishing , as well as packaging.

Pliego is a textface designed to offer a comfortable continuous reading, with humanist proportions, an even texture, and informal calligraphic details noticeable only at big sizes, that gives it a contemporary feeling.

Pliego has been named after Pliegos de Cordel, the Spanish word for the popular books that were common during the XVI, XVII and XVIII centuries.

These were rough, cheap books that basically consisted in a folded sheet attached to a string, hence the name.

Their content was varied, from popular tales to ballads and songs, but also crimes and mysteries.

They were cheaply made, roughly printed and bound. The name Pliego evokes the idea of a rough look, angular edges, informal taste, but classical look.

More To cover todays needs, Pliego includes five weights with matching italics.

Designed and engineered for continuous reading, the Book, Regular and Medium weights will perform at their best under 14 points.

However, dont be scared to use for headlines and titles: because of its quirky details and calligraphic flavour, Pliegos personality is accentuated when enlarged.

With an extensive Latin character set, Pliego covers a wide amount of Latin-based languages, including Latin Plus encoding and Vietnamese support.

Blautha versatile and contemporary sans serif typefacecomes in 8 weights, ranging from Thin to Black, with matching italics and contains a set of alternate characters.

Its small x-height gives it an elegant feel that reminds us of classic typefaces.

Blauth is well-suited to continuous text and its uppercase set is ideal for high-impact headlines while its softened corners give your designs a warm and contemporary look.

Just like Grandmas recipe, Recoleta combines a variety of ingredientsfrom various popular 1970s typefacessuch as the soft and gentle shapes found in Cooper or fluid, angled strokes in Windsor mixed into one single design that features familiar yet fresh, modern flavors.

Its variety of weights provides a range of choices that will help you find the best typographic color for your project.

Lighter weights are well-suited for body text while heavier ones are ideal for high impact headlines.

The available stylistic alternates offer a number of different characters that give your logo or business card a unique look.

Born from the intersection of the geometric and grotesque typefaces. Aribau Grotesk combines low contrast and generous width proportions with typical traits of american gothics from the early 20th century, like the counters aperture and a double story g.

Driven by the process, some details that come from the geometric style arose, like the clean-shaped figures and the circular dots that convey a more affable and contemporary look.

Antipol is a Sans Serif design that reverses the conventions of a regular Latin Sans Serif.

With a weight emphasis on the horizontals and its vertical terminals Antipol radiates a 1970s charisma known from the like of Antique Olive.

Its modern and avantgardistic attributes are most pronounced in the Hairline weight, where ultra thin lines meet distinctive arrowhead-corners.

This particular weight is meant for display settings, think full-page magazine titles or posters.

More Antipol Wide and Antipol Extended are a generous statement for graphic design with enough space to let the type breathe: art catalogs, lead texts, invitations, letterheads or brand identity.

Any style comes with a wide range of OpenType features that goes beyond a standard display font: Small Caps, Proportional and Tabular Oldstyle Figures and Lining Figures, Fractions, and much more.

Bonny is a family of decorative serif fonts, designed for display typography. The letterforms are very condensed. They also contain a lot of stroke-contrast. Bonnys thin strokes often terminate in flourishes; these flourishes pair well with the typefaces serifs, which are both thin and short.

Bonnys uppercase letters are very top-heavy; the upper halves of B, E, F, H, K, M, R, S, and X are so large that they look almost like caricatures.

This feature is carried over the some of the lowercase letters, too. For example, Bonnys a, c, f, g, k, r, s, t, y, and z are all extravagant and lovely.

The v and w have calligraphic flourishes on their right-hand sides; similar expressions appear throughout rest of the the typeface, too.

Each font includes 13 f-ligatures. An alternate j may be automatically substituted into text, via the Contextual Alternates feature, preventing collisions with glyphs coming before it.

The fonts numerals are oldstyle figures, which match the rhythm of the lowercase letters.

From the Polish type designer Barbara Bigosinska, Bonny is an excellent choice for use on greeting cards and in packaging design.

Its fonts should be set in large point sizes, so that its details have enough space to really shine.

Big modern sans-serif family, for multiple use.

Neptune is a large family of geometric sans serif fonts. Its designer Gaetan Baehr has created 12 styles: six different weights, ranging from Extralight to Extrabold.

Each has an upright and an oblique font on offer. Letters in all of Neptunes weights are drawn with virtually mono-linear strokes. Its lowercase letters have a tall x-height, but still leave enough room for the fonts diacritical marks.

These are actually quite large; theyll always be noticed, even in small sizes.

Neptunes a and g both have single-storey forms. The dots on the i, j, and diacritics are round, as are the punctuation marks, too. Despite being a geometric sans, Neptune features letters that break away somewhat from what previous fonts in that style have offered.

The Qs tail has been simplified into a short, vertical stroke. The strokes on both the S and the s terminate in vertical cuts, instead of having horizontal or diagonal terminals.

The lowercase k and t each have traits that come from our alphabets handwritten origins.

These details give text set in Neptune a different feeling from other geometric sans serifs.

Neptune is an excellent choice for both corporate design and editorial design projects, both because of its range of weights as well as its legibility in text.

The most modern gothic. Query was born out of a lineage of experimentation and developing a voice within type.

I wanted this typeface to have a strong personality but also give room for legibility.

The typeface was inspired from people like Karl Heinz, to Hamiltons Class L fonts, and even civil rights posters from 1968.

My original intent was to make a single font that transformed the spirit of woodtype, but done in my voice today.

More As I continued to refine the work, I made sure that the personality, tone and voice was still there.

I also refined Query so that when used for display or text, it was legible but still unique to anything I have seen.

When I was approaching the end of the black weight, I saw that more weights needed to happen.

I included over 400 glyphs that support many languages and also included three levels of stylistic sets for extra use.

Query is as fun to use as it is to look at.