TypeTrust Fonts

Glosa Text

Mon, 5 May 2008 0:00:00

Glosa Text by Dino dos Santos
Glosa Text is part of the DSType Premium Typeface Collection, painstakingly crafted for editorial and informational design. Glosa Text is a pleasantly readable, having strong contrast, an ample x-height and gently bracketed serifs. These sublime curves are what differentiate Glosa Text from its sister family, Glosa that bears comparably measured yet chiseled, unbracketed serifs. The full suite of expertly crafted Opentype features ensures stylistic excellence. Included are Small Caps, Old Style Figures, both Lining and Old Style Tabular Figures, Fractions, Numerators, Denominators, Superscript, Scientific Inferiors, and a fine selection of stylistic alternates and ligatures.

Glosa Headline

Mon, 5 May 2008 0:00:00

Glosa Headline by Dino dos Santos
Glosa Headline is a four-weight display accompaniment to Glosa Text, a DSType Premium Typeface. Glosa Headline has a larger x-height and a slightly narrower footprint than its text counterpart, allowing it to fill headers more evenly in economic layout environments such as newspaper design. Although it is intended for display purposes, Glosa Headline still contains a full array of Opentype features. Included are Small Caps, Old Style Figures, both Lining and Old Style Tabular Figures, Fractions, Numerators, Denominators, Superscript, Scientific Inferiors, and a modest offering of stylistic alternates and ligatures.

Prelo Slab

Thu, 1 May 2008 0:00:00

Prelo Slab by Dino dos Santos
The Prelo Slab family is part of the DSTYPE Premium Collection designed explicitly to meet the requirements of editorial typesetting. This family of eighteen fonts is the serif companion to the Prelo family. From Black to Hairline, the weight range is sure to meet various layout demands from pouring body copy to setting feature headline spreads. These Opentype fonts contain a full array of features: Smallcaps, Ligatures, Alternates, Fractions, Scientific Inferiors, Superscript, Swashes, Oldstyle Figures, Lining Figures, Tabular Figures, Numerators, Denominators and Ordinals.

Glosa

Thu, 1 May 2008 0:00:00

Glosa by Dino dos Santos
Glosa is part of the DSType Premium Typeface Collection, painstakingly crafted for editorial and informational design. Glosa possesses an earnest, antiqued quality in its chiseled, unbracketed serifs and subdued embellishments. Its structure is reminiscent of fine copper type designs and would pair well with any classic engravers workhorse revival. What makes Glosa a truly contemporary design for the 21st century are its ample x-height and conservatively stressed true italics. It maintains readability, never distracting with misplaced flair. A full array of Opentype features guarantees Glosa's reliability in today's design world. Included are Small Caps, Old Style Figures, both Lining and Old Style Tabular Figures, Fractions, Numerators, Denominators, Superscript, Scientific Inferiors, and a modest offering of stylistic alternates and ligatures.

Prelo

Tue, 25 Mar 2008 0:00:00

Prelo by Dino dos Santos
Prelo was designed to be a neutral, highly readable typeface, for identity, editorial and information design. With nine weights and nine true italics, from Hairline to Black, Prelo is a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others. Like other DSTYPE fonts, most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters. The curves are soft and smooth, providing legibility, even in very poor conditions and the neutrality allows this typeface to be used with any serif companion.

Ginza

Thu, 13 Mar 2008 1:01:01

Ginza by Neil Summerour
Sometimes you get an idea stuck in your head and the only way to get rid of that demon is to put something down on paper. A year later the doodles became a skeleton, and then the skeleton had a body, then the body had a name, then the name got a personality. What was left was a clean set of ten fonts that encompass a very simple skeleton with a lot of visual appeal. During the process, I saw ways to expand the typeface's display capabilities by producing inline styles as well as a down- and-dirty rough set. Each font has a full set of glyphs that include Central European and Small Cap characters.

Ginza Display

Thu, 13 Mar 2008 1:01:01

Ginza Display by Neil Summerour
Sometimes you get an idea stuck in your head and the only way to get rid of that demon is to put something down on paper. A year later the doodles became a skeleton, and then the skeleton had a body, then the body had a name, then the name got a personality. What was left was a clean set of ten fonts that encompass a very simple skeleton with a lot of visual appeal. During the process, I saw ways to expand the typeface's display capabilities by producing inline styles as well as a down- and-dirty rough set. Each font has a full set of glyphs that include Central European and Small Cap characters.

Ginza Complete

Thu, 13 Mar 2008 1:01:01

Ginza Complete by Neil Summerour
Sometimes you get an idea stuck in your head and the only way to get rid of that demon is to put something down on paper. A year later the doodles became a skeleton, and then the skeleton had a body, then the body had a name, then the name got a personality. What was left was a clean set of ten fonts that encompass a very simple skeleton with a lot of visual appeal. During the process, I saw ways to expand the typeface's display capabilities by producing inline styles as well as a down- and-dirty rough set. Each font has a full set of glyphs that include Central European and Small Cap characters.

Adriane Text

Tue, 12 Feb 2008 0:00:00

Adriane Text by Marconi Lima
Adriane Text was designed between 2006 and 2007. With objectives focusing on text composition and unique typographic characteristics, it can be classified as a transitional typeface. Details within the characters provide both personality and excellent legibility at small sizes. The typeface has medium contrast, a predominately vertical axis, and an x-height to maximize legibility. Adriane Text comes in Roman and Bold weights with corresponding italics. Small caps, tabular figures, proportional figures in old style and lining, an extensive set of ligatures, ornaments, various dingbats, and several alternate ampersands are provided in each weight. The Italic possesses a fluidity that contrasts with the more severe nature of the Roman weight. The degree of the inclination of the uppercase and lowercase characters are slightly different, offering more visual rhythm in text settings.

Estilo Text

Sun, 27 Jan 2008 0:00:00

Estilo Text by Dino dos Santos
Estilo Text is Dino dos Santos's expert extension to his popular Estilo and Estilo Script fonts. This six weight set includes advanced typesetting features, giving the typeface added usefulness beyond display settings. Double-storey a's and old style figures make for optimal readability. A full Central European character set, international currency symbols and a full palette of traditional ligatures make Estilo ready for copy setting all over the world. Of course, Small Caps and Tabular Figures are standard fare for any DSType release and are included.

Epic - Pack B

Wed, 19 Dec 2007 1:01:01

Epic - Pack B by Neil Summerour
What started out as a typographic exercise to produce the logotype for TypeTrust, turned out to be the product of obsession—Epic is the culmination of two years of work that has yielded a versatile and respectful contemporary garalde. There are so many subtleties to the glyph construction, that this acts as a visual treat to see each interact with its neighbor. With a full complement of six weights and true italics, the family offers itself as a true workhorse for typesetting while ensuring visual interest as an effective headline face with the numerous standard and discretionary ligatures, majuscule ligatures, stylistic alternates and swash characters available.

Epic - Pack A

Wed, 19 Dec 2007 1:01:01

Epic - Pack A by Neil Summerour
What started out as a typographic exercise to produce the logotype for TypeTrust, turned out to be the product of obsession—Epic is the culmination of two years of work that has yielded a versatile and respectful contemporary garalde. There are so many subtleties to the glyph construction, that this acts as a visual treat to see each interact with its neighbor. With a full complement of six weights and true italics, the family offers itself as a true workhorse for typesetting while ensuring visual interest as an effective headline face with the numerous standard and discretionary ligatures, majuscule ligatures, stylistic alternates and swash characters available.

Epic

Wed, 19 Dec 2007 1:01:01

Epic by Neil Summerour
What started out as a typographic exercise to produce the logotype for TypeTrust, turned out to be the product of obsession—Epic is the culmination of two years of work that has yielded a versatile and respectful contemporary garalde. There are so many subtleties to the glyph construction, that this acts as a visual treat to see each interact with its neighbor. With a full complement of six weights and true italics, the family offers itself as a true workhorse for typesetting while ensuring visual interest as an effective headline face with the numerous standard and discretionary ligatures, majuscule ligatures, stylistic alternates and swash characters available.

Cooter Slim

Wed, 28 Nov 2007 1:01:01

Cooter Slim by Silas Dilworth
Cooter Slim is Cooter's condensed sibling, perfect for young and scrappy marketing campaigns, silkscreened protest signs, or your indie band's latest t-shirt design. It's got loads of DIY charm and makes a 57% narrower footprint than the original!

Breuer Headline

Mon, 12 Nov 2007 0:00:00

Breuer Headline by Silas Dilworth
Breuer Headline exhibits a modern geometric structure tempered with subtle strokes of friendly humanism. Its neutral forms and sturdy rhythm are convincing without being forceful. The lowercase has a slightly casual feel. Set in all caps for a sterner message. Breuer Headline is the display complement to the Breuer Text family. Differences are found in the inside curvature of the lowercase arms and the simplified Oblique as opposed to the Text Italics. Breuer Headline is equipped with Small Caps, Old Style Figures, Tabular Figures, and a selection of dingbats.

Breuer Text

Mon, 12 Nov 2007 0:00:00

Breuer Text by Silas Dilworth
Breuer Text is a simple geometric sans with relaxed curves and slightly condensed proportions suitable for moderate lengths of body copy. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs for a warmer read. Breuer Text offers the distinct aura of technical precision in a personable tone, ideal for instructional copy or safety warnings. Its basic structure and conservative letterforms maintain a level voice without turning robotic or sterile. Pair with the two-font Breuer Headline family for a simple and complete editorial type system. Breuer Text includes Small Caps, Old Style Figures and Tabular Figures.

Anubis Pro

Sat, 18 Aug 2007 1:01:01

Anubis Pro by Dino dos Santos
Anubis Pro is a slab serif display type. X-height majiscules is a defining characteristic — an experimental nod to uncial script structure. Its peculiar framework and collection of unique letterforms are balanced with traditional slab strokes, making Anubis Pro a worthy candidate for visual identity and branding applications where an inventive yet classic feel is desired. This Opentype release includes swashes, ligatures, and Central European diacritics.

Esta Pro

Sat, 18 Aug 2007 1:01:01

Esta Pro by Dino dos Santos
Esta Pro is a mystifyingly elegant yet practical serif typeface. For the most part, the stoic and well-proportioned uppercase will attempt to distract from the deeper nuances found in the lowercase. (When is setting all-caps done in favour of typographic nuance?) An thoroughly humanistic, pleasantly jubilant personality shines though when the lowercase takes the stage. A tempered calligraphic hand is consistently evident in the Romans, but the demure curves really begin to make their moves in the Italics, begin to dance in the Display style, and really let loose in the Swash style. Add a vast palette of ligatures and alternates to the choreaography and you have the makings of a visual ballet of perfect rhythm and graceful gestures. Alternate numeral sets and small caps bolster Esta Pro's usefulness for expert typesetting.

Ventura

Sat, 18 Aug 2007 0:00:00

Ventura by Dino dos Santos
Ventura is inspired by the calligraphic work of Ventura de Silva, "Regras Methodicas", publish in Portugal in 1820. While the stroke quality is fine and flourished, the letterforms embody a slightly Roman structure making Ventura a somewhat more legible script. This Opentype release includes a plethora of stylistic alternates for advanced typesetting. Swashes, ligatures, and flowing loops abound.

Leitura Display

Fri, 17 Aug 2007 1:01:01

Leitura Display by Dino dos Santos
Leitura Display is part of Leitura Type System and was specially designed for editorial purposes. Includes small caps, ligatures, alternates and swashes.

Sansarah

Wed, 15 Aug 2007 1:01:01

Sansarah by Silas Dilworth

Sansarah began as a custom type commission for Columbia College Chicago. Sarah Faust, photographer and designer on the school's Creative Services staff, had been contributing her own handwriting to the brand. When it came time for Sarah to take maternity leave, we developed a limited character set in the regular weight for the staff to use in her absence. Since that time, the school has shifted its look and feel, although Sarah's oversized lettering can be seen on many a streetcorner where Columbia College Chicago claims real estate. Rather than let the design disappear, I decided to resurrect and expand upon it for this retail release. There are 4 sets of alternate alphanumeric glyphs, with 6 alternates for more common lowercase letters. The Stylistic Alternates feature in Opentype-savvy applications will automatically rotate the alternates for a more varied, handwritten appearance.

Organic

Sun, 18 Mar 2007 1:01:01

Organic by Neil Summerour
Organic was designed to be highly legible and flexible. I wanted to created a very refined sanserif that could be used for display or body copy, for print or digital. The Opentype flexibility allowed me to expand the look of the family with alternate characters, small caps, oldstyle figures, and ligatures. Insofar as personality of the typeface goes...I wanted it soft and approachable while remaining strong and robust.

Leitura

Wed, 28 Feb 2007 1:01:01

Leitura by Dino dos Santos
Leitura is part of Leitura Type System and was specially designed for editorial purposes. Opentype features include SmallCaps, Oldstyle Figures, Lining Figures, Tabular Figures, Ligatures, Alternates, Swashes, Fractions, Scientific Inferiors, Superscript, Numerators, Denominators, and Ordinals.

Leitura Headline

Wed, 28 Feb 2007 1:01:01

Leitura Headline by Dino dos Santos
Leitura Headline is part of Leitura Type System and was specially designed for editorial purposes. Opentype features include SmallCaps, Ligatures, Alternates and Swashes.

Leitura News

Wed, 28 Feb 2007 1:01:01

Leitura News by Dino dos Santos
Leitura News is part of Leitura Type System and was specially designed for editorial purposes. Opentype features include SmallCaps, Oldstyle Figures, Lining Figures, Tabular Figures, Ligatures, Alternates, Swashes, Fractions, Scientific Inferiors, Superscript, Numerators, Denominators, and Ordinals.

Leitura Sans

Wed, 28 Feb 2007 1:01:01

Leitura Sans by Dino dos Santos
Leitura Sans is part of Leitura Type System and was specially designed for editorial purposes. Opentype features include SmallCaps, Oldstyle Figures, Lining Figures, Tabular Figures, Ligatures, Alternates, Swashes, Fractions, Scientific Inferiors, Superscript, Numerators, Denominators, and Ordinals.

Leitura Symbols

Wed, 28 Feb 2007 1:01:01

Leitura Symbols by Dino dos Santos
Leitura Symbols is part of Leitura Type System and was specially designed for editorial purposes. The three font set includes a variety of arrows, simple UI graphics, and cartographic and directional symbols ideal for signage, metrics art and special notation.

Argenta OT

Tue, 27 Feb 2007 1:01:01

Argenta OT by Alejandro Paul
Argenta is handwritten and fresh. The casual spirit of this face is evident, but complemented by very specific typographic details. A playful script with an immensely useful array of alternate characters.

Malbeck

Tue, 27 Feb 2007 1:01:01

Malbeck by Alejandro Paul
Malbeck is a script which is both as elegant as it is unique. Very playful typographic treatments can be produced using the large selection of alternate characters.

Aaux Pro

Tue, 13 Feb 2007 1:01:01

Aaux Pro by Neil Summerour

Headroom

Sun, 8 Oct 2006 1:01:01

Headroom by Lee Fasciani
Headroom is an all-caps mechanical design from twenty minutes into the future. Whether labeling munitions crates for your mech fleet or posting low-clearance warnings, the message will be clear. Headroom broadcasts to all frequencies.

Andrade Pro

Wed, 4 Oct 2006 1:01:01

Andrade Pro by Dino dos Santos
This typeface was inspired in the typographic work of Manoel de Andrade de Figueiredo (b.1670-d.1735), Nova Escola para Aprender a Ler, Escrever e Contar, printed in 1722 at Offcina de Bernardo da Costa de Carvalho. This is one of the most important books, and almost forgotten, about Portuguese calligraphy and typography, and the work of Andrade de Figueiredo is among the most amazing examples of type design of the Eighteenth Century. His work inspired Ventura da Silva, a Portuguese typographer, who in 1803 published a book named Regras Methodicas, where he redesigns some of Figueiredo’s type specimens. But Ventura’s purpose was to create a more elegant and readable typeface than Didot and Bodoni. This kind of typeface used to be called leitura and is a transition between the baroque and modern typography. Andrade is my tribute to Portuguese typography and to the work of Manoel de Andrade de Figueiredo in particular. Andrade Pro is available in six styles. Includes plenty of features, like SmallCaps, Alternates, Ligatures, Swashes and Greek.

Plexes Pro

Wed, 4 Oct 2006 1:01:01

Plexes Pro by Dino dos Santos
Plexes Pro is just at home in an architectural rendering as it is in a sci-fi movie poster. It's clean, progressive lines present an optimistic view of communication in the age of mechanical reproduction. The nuanced glyph structures and narrow footprint make Plexes Pro ideal for subtly decorative display and headline use. The lighter weights and true italics are comfortably readable in longform copy. Extended Opentype features and character sets ensure its usability. Plexes Pro includes SmallCaps, Alternate Figures, Stylisitc Alternates, Ligatures, Swashes and full Greek and Central European support.

Titan Pro

Wed, 4 Oct 2006 1:01:01

Titan Pro by Dino dos Santos
Titan Pro is a trim and sturdy display type with a sleek finish and minimal flourish. It is ideal for larger sizes and quick reads -- think billboards and other outdoor messaging. The masculine, boxy structure would suit sports-related design packages and projects that require broad shouldered, optimistic copy. Includes plenty of OpenType features, like SmallCaps, Alternates, Ligatures and Swashes.

Titan Text Pro

Wed, 4 Oct 2006 1:01:01

Titan Text Pro by Dino dos Santos
Titan Text Pro is a refined version of Titan Pro, embellished with delicate stem extensions, inktrap detailing and alternate glyphs for improved legibility. Maintaining the rectangular forms and rounded corners of Titan Pro, Titan Text Pro brings a slightly more delicate touch to longform copy settings. The strong competitor's spirit remains apparent. Includes plenty of OpenType features, like SmallCaps, Alternates, Ligatures and Swashes.

Ezzo

Tue, 3 Oct 2006 1:01:01

Ezzo by Dino dos Santos
Initially created for a design bureau, Ezzo is now available in 6 weights with italics and alternates. Includes plenty of OpenType features, like SmallCaps, Alternates, Ligatures and Swashes.

Large Pro

Tue, 3 Oct 2006 1:01:01

Large Pro by Dino dos Santos
Large is very condensed and very bold, for use at very large sizes. Includes a vast array of alternates and full CE support.

Boycott

Tue, 3 Oct 2006 1:01:01

Boycott by Ryoichi Tsunekawa

Penn Station

Tue, 3 Oct 2006 1:01:01

Penn Station by Anuthin Wongsunkakon
Inspired by time table board at Penn Station in New York City. When I was living in New York. I usually took KeyStone service train ride on weekend to Pennsylvania. Back then the time table at Penn Station operated by using old-fashion flip board using somewhat like Helvetica. It served all the travelers very well with charm but I sometime found it quite boring. The new board was installed at around the turn of millennium. I was about to moved back to Bangkok. The very last trip to Pennsylvania was when they were taking down the old board. I revisited New York a couple times later on but they were no where near Penn Station. I did not get to see what the new board look like until two years ago (2004). I took a bunch of photos while the securities were watching me like a hawk. Off corse it might look kind of suspicious to them after 911. The new board has an interesting complex grid design which I think it would be even more interesting in printable format. I passed the original file to Neil Summerour. He tweaked it up to perfection and add a solid version to the design.

Jaguarundi

Thu, 28 Sep 2006 1:01:01

Jaguarundi by Ryoichi Tsunekawa
Like a backfiring raygun, Jaguarundi explodes with a flash and a fizz. Putting the pieces back together makes a seemingly randomized collage of disparate bits and fragments caked with plasma ash. A second style layers on the distressed texture, all scratched up and overinked.

Tokyotrail

Thu, 28 Sep 2006 1:01:01

Tokyotrail by Ryoichi Tsunekawa
Tokyotrail is inspired by the capital of Japan. Over 2,000 square kilometers to explore. Lines run vertical, horizontal and diagonal. The keyline CAD aesthetic of the thin weights will give any design an air of intricacy, while the heavier weights are ideal for the simplest of logotype applications.

Depot

Wed, 27 Sep 2006 1:01:01

Depot by Chris Dickinson
Depot is a solid confident sans-serif, available in 8 weights with supporting true italics and ready for everyday use. A robust body text, Depot is ideal for corporate use, but with enough character to tackle a variety of branding and identity applications.

Ayumi Pro

Wed, 27 Sep 2006 1:01:01

Ayumi Pro by Neil Summerour
Ayumi is one of those precocious sans. At first glance, I wanted it to look simple...basic characters, moderate modulation, common structure...but at closer inspection, it is filled with all kinds of fun and expressive movement. The italics are...well, fun. They're curvy and expressive and truly compliments the face. The new Pro version includes a tightened character set, central european glyphs, and remastered kerning.

Alber

Wed, 27 Sep 2006 0:00:00

Alber by Chris Dickinson
The older brother of Depot, Alber is sturdy with added subtleties, a hard-working, cultivated all-rounder. Its industrious charm makes it suitable for body copy as well as headline or display settings. Alber is cross platform with support for Western Latin and Central European character sets.

Yumi

Tue, 26 Sep 2006 1:01:01

Yumi by Neil Summerour
Did you ever wanna just do something thin and curvy? I did. So I did Yumi. I wanted to create something smooth, stream-lined, with a bit of curviness. Not too much that it would become presumptious, but just enough to solve the movement through this very monoline sans.

Altar

Mon, 25 Sep 2006 1:01:01

Altar by Neil Summerour
Altar was developed from charcoal rubbings made of a headstone in a cemetery in New Orleans. For me it recalls memories of hand-carved lettering in the furniture of old Southern Baptist churches (which inspired the name). Only a few of the characters from the original rubbing show up in the final version of the typeface, but compressed naive serifs still show through.

Estilo Script

Mon, 18 Sep 2006 1:01:01

Estilo Script by Dino dos Santos
Estilo Script is the perfect addition to Estilo, adding rounded alternates, elegant swashes and more ligatures.

Priva Pro

Mon, 12 Jun 2006 1:01:01

Priva Pro by Dino dos Santos
Priva Pro has a certain business-casual appearance which makes it ideal for corporate ID systems, while its full array of Opentype features make for pleasingly intricate and warmly humanist typographic exploration. Includes Greek and Cyrillic characters, along with small caps, ligatures, alternates and swashes.

Sneakers Script

Sun, 11 Jun 2006 1:01:01

Sneakers Script by Neil Summerour
A derivation of the popular Sneakers font family, the Script version incorporates robust swash connections and stylist alternates. With this new cut of the font a complete Central European character set has been added.

Do Gothic

Mon, 5 Jun 2006 1:01:01

Do Gothic by Anuthin Wongsunkakon
A couple of the fonts I have designed in recent years have been inspired by OCR typefaces. I have always found OCR characters fascinating. It must be the fact that true OCR typefaces can be read by both human and machine. They also have a very distinctive texture when set as text. I often interpret the OCR look with an industrial sans drawing style. This is the same process I applied to Reform (2001) and OCRX (2000). Amazingly, you can derive various outcomes from the same concept. Do Gothic is the latest which moves the furthest from the original OCR inspiration.

Reservation Wide

Wed, 24 May 2006 1:01:01

Reservation Wide by Silas Dilworth
Reservation Wide is intended for headlines with its relatively snug letterspacing and extended forms. Its simplicity will accomodate smaller sizes and lower resolution displays. Opentype Stylistic Alternates for characters 'a', 'g' and 't' lend an even simpler finish. The hand-drawn curves and angled stroke endings temper the otherwise rigid proportions of the family. This painterly tendency becomes more apparent in the heavier weights keeping them from looking too imposing. I see the angles beginning to smile back with a sort of reserved, almost cheerful nonchalance. The design first took shape as a custom font named Majestos for the cable channel The Food Network. It can be found in their growing online and printed presence in addition to their broadcast identity for which it was developed.

Volupia

Wed, 24 May 2006 1:01:01

Volupia by Dino dos Santos
I started designing Volupia in 2004 and the main goal was to create a very casual font with some characteristics than we can find in some old commercial advertisements. After designing the basic character set I decided to go OpenType because it would allow me to go deep into the script, correcting the balance of the spaces and the kerning, along with the possibility to create Ligatures and Swashes. The result is a typeface ideal for use in very big sizes. Volupia includes Small Caps, Ligatures, Fractions, CE Characters, Swashes and Alternates. The ligatures and the ending swashes allow the user to make the text more calligraphic and personal.

Estilo

Thu, 13 Apr 2006 1:01:01

Estilo by Dino dos Santos
Estilo is a very elegant monoline display type in a 30s style. It includes small caps, ligatures and alternates for advanced design options, as well as full Greek and Central European character sets.

Everafter

Wed, 5 Apr 2006 1:01:01

Everafter by Silas Dilworth
There are no straight lines in Everafter. I drew and tweaked the vectors by hand (and mouse) for a softened, wobbly appearance. The result is a naive serif type that doesn't take itself too seriously. The large x-height and occasional brushy flair read like an illustrated children's fairytale compendium -- rich in verbal tradition yet playfully illuminated.

Musee

Mon, 3 Apr 2006 1:01:01

Musee by Dino dos Santos
First inspired in a leaf from Missale Romanum ex Decreto Sanctrosancti Concilii Tridentinii Restitutum, printed by the Plantin Workshop at Antwerp in 1642, Musee was designed for booktext purposes and is very elegant and highly readable even in small sizes. Includes plenty of OpenType features, like SmallCaps, Alternates and Swashes.

Rickety

Tue, 21 Mar 2006 1:01:01

Rickety by Silas Dilworth
Rickety was inspired by a lettering style that my friend Chris May had been using in his silkscreen projects. I collaborated with him on the full character set to produce this digital version. It has a junk art feel that would work well in children's books, humorous greeting cards, or twee indierock album covers. All it needs is a good home and some tender loving typesetting.

Baka

Wed, 8 Mar 2006 1:01:01

Baka by Neil Summerour
I originally intended this font to be an experiment only, but as I continued to put letter after letter to paper, it just screamed to be made into a 'real' font. All original glyphs were hand-lettered on Arches paper using a Parker fountain pen with an angled nib. I wanted to capture the expression of the letters. Once in electronic form, little was done to adjust for imperfections found in the selected glyphs...in this case, the work was just the work and not a refined, optically perfect font. The results left me surprisingly pleased. Additionally, in January 2006, Baka was named Best Rough Script Font for 2005 on MyFonts.com. Thank you to everyone.

Baka Too

Wed, 8 Mar 2006 1:01:01

Baka Too by Neil Summerour

Cen Pro

Sun, 5 Mar 2006 1:01:01

Cen Pro by Neil Summerour
I like to say that this font is 12 styles of monoline goodness. The simplified skeleton and optical adjustments across weights to insure crisp letter reproduction make it a personal favorite of mine. Distinctive characteristics of this typeface include the 'broken leg R' as well as a complete small caps, lining and tabular numerals and a complete Central European character sets.

Lump

Tue, 28 Feb 2006 1:01:01

Lump by Silas Dilworth
Lump started as a series of handdrawn buttons I made for a Lumpen event in 2005. This digital version keeps the linework loose and the corners choppy. Use Lump wherever you need a hefty urban feel. Stack the letterforms like bricks to build a wall of type. The negative space and counters form patterns of cracks and mortar, obscuring the copy but binding the message in a neo-constructivist grid.

Cynapse Pro

Mon, 27 Feb 2006 1:01:01

Cynapse Pro by Neil Summerour
Several years ago I was faced with a project that required very small type to be used in a directory. In general, there was a need for a lot of 'fine print'. Faced with this, all of the tests I was making with existing faces was producing to much bleed of the individual glyphs...Cynapse was born. It evolved into this pseduo-techy looking type that standardized and glorified the ink trap (the small, tiny allowances of white space that reduces the amount of ink hitting the page,and in effect, reducing the appearance of bleed). The results was promising. Last year, the family was expanded to include Small Caps and a revised Italics.

Gepetto

Sun, 26 Feb 2006 1:01:01

Gepetto by Amondó Szegi

Headcold

Sat, 25 Feb 2006 1:01:01

Headcold by Neil Summerour
I have to admit. This face was done for no other reason but for fun...and to kill time during a particularly annoying cold. The name of the font dictated the direction of the font. Swollen and chunky, the font lumbers along on the page like a sick, pouting guy. The pill bottle glyph guys that are peppered through the font as dingbats were inspired by the magnificent bottle of wonder pills that kept my nose from being so stuffed up.

Fatty

Sat, 25 Feb 2006 1:01:01

Fatty by Silas Dilworth
Fatty is based on the lettering in a series of silkscreened posters by my friend Chris May. Upon transforming it into a full-fledged digital font, I developed alternate letterforms for the lowercase. The bloated forms maintain a playfully lighthearted presence with all the rounded edges. The Solid weight takes on a more ominous air -- faceless and mildly foreboding in the absence of the counters.

Sneakers Pro

Tue, 21 Feb 2006 1:01:01

Sneakers Pro by Neil Summerour

Sneakers

Tue, 21 Feb 2006 1:01:01

Sneakers by Neil Summerour

Vandermark

Wed, 8 Feb 2006 1:01:01

Vandermark by Silas Dilworth
Vandermark began as a simple daydream of what became the 'n' glyph. I considered the elegant balance of a terminal stroke that would never join its supporting stem. The premise was simple, but further experimentation was required for other parts of the alphabet. Vandermark follows a somewhat flexible array of structural rules and curve arrangements that called for considerable sketching to harmonize. The names I choose for my typefaces have to look decent when set in the signature type. Considering its improvisational development, it was only fitting that the namesake is a jazz musician and fellow Chicagoan, Ken Vandermark.

Diego

Thu, 2 Feb 2006 1:01:01

Diego by Silas Dilworth
Diego was originally produced as a custom font for the San Diego Padres broadcast graphics package. I was imagining Copperplate Gothic dressed in a black linen suit sipping Cuervo gimlets in the pressbox at PETCO Park. Diego is fitted with a fairly even stroke width for solid headline settings, especially in all caps. The prickly Latin style serifs conjure a Southwest or Tex-Mex aesthetic suitable for the booming poker industry, spicy steakhouses, or biker apparel tailored for the nouveau riche.

Cooter

Fri, 27 Jan 2006 1:01:01

Cooter by Silas Dilworth
Cooter is an amalgam of two of my other fonts, incorporating the loose linework of Lump and some of the roundness of Fatty. It's a cheeky homage to what I like to call "suburban graffiti", the kind of quick hand lettering that you might find plastered across sale signage at the hipster boutique of your local megamall. The name is in homage to the Dukes of Hazzard mechanic, with a double nod to the southern slang for a burrowing turtle and the comedic poise of Tina Fey.

Kari Pro

Wed, 25 Jan 2006 1:01:01

Kari Pro by Neil Summerour

Neo Gothic

Tue, 10 Jan 2006 1:01:01

Neo Gothic by Lee Fasciani
Neo Gothic is a fusion of blackletter brushstrokes and the precision of computer generated typography.

Novacane

Tue, 10 Jan 2006 1:01:01

Novacane by Lee Fasciani
Equal parts Bauhaus and deep house, Novacane speaks a modernist dialect in fashion mags and discotheques from New York to Ibiza. Lather it with coconut oil and rub some on your gums. This typeface works hard, drives fast, and soothes the pain.

Dispose

Tue, 10 Jan 2006 1:01:01

Dispose by Lee Fasciani
Dispose finds a unique balance between techy geometry and high legibility. Each glyph exudes individualism within a deceptively relaxed system of curves. At once progressive and casual, its personality can easily anchor any project calling for a contemporary feel that reaches just beyond tomorrow.

System02

Tue, 10 Jan 2006 1:01:01

System02 by Lee Fasciani
System02 was designed to reflect the fascinating and sometimes complex road and rail systems throughout the UK. The result is a unique structure of angles and junctions that turn and break in sharp, vibrant rhythms. Use System02 for dance club flyers, videogame interfaces, hovercraft nameplates, and logotypes for interstellar logistics firms and sushibars.

Donatora

Tue, 1 Feb 2005 1:01:01

Donatora by Neil Summerour

Plastek

Sat, 9 Oct 2004 1:01:01

Plastek by Neil Summerour