Kayla McEncroe

Future Tense is a modern type style that is perfect for logos, film, video games, packaging, signs, and more. Charles Borges de Oliveira & Vassil Kateliev’s attention to letter forms insures extreme legibility without sacrificing this modern style. The 160 alternate letters will keep your designs looking fresh and different. A unique feature included in Future Tense is the small caps have their own set of small caps. This allows 3 different looks for each letter.

What’s included in Future Tense:

160 alternate letters makes designing eye catching logos rewarding! The alternates are included in the small caps and second small caps as well.
Future Tense is a titling face that contains small caps as well as a second set of small caps.
Multilingual: support for over 200 languages.
Over 2,500 glyphs make up Future Tense.
PUA encoded.
Take your designs to the next level with Future Tense.

Please note: artwork is not included with font purchase. The images above show how Future Tense can be used in a design setting.

Future Tense was designed and created by Charles Borges de Oliveira and Vassil Kateliev.

This font is dedicated to Warrel Dane.

Dolcissimo is a sans serif typeface with a geometric skeleton that has been built drawn by hand which makes it a friendly typeface.

This font has more than 25 decorative styles, that can be overlapped, because Dolcissimo is a layered font.

We highly recommend to use Dolcissimo for packaging design, logo branding, ads.

The design of Nomada Sans is informed by the examination of several iconic sans serif typefaces, incorporating both lucidity and grace. The result is an entirely new and original typeface family infused with Latin flair. Nomada Sans reveals the essence of the Collection: Here, the structure is reduced to the max. The family comes in nine weights from the most delicate Hair to a punchy Extrablack, all with true italics. In the medium weights, Nomada Sans is a pleasant multi-purpose face and reads well in body copy, too. The generous x-height and open shapes ensure excellent legibility in even the smallest text sizes, while the lightest and boldest weights deliver impact to headlines and other display uses.

House Sans is a 100 style super-family made up of 5 widths, 10 weights plus matching italics in two design approaches through stylistic alternates to the E, F, L and e characters. The weights range from compressed to expanded, from thin to heavy creating a plethora of styles to create with.

House Sans has a unique visual structure to key glyphs such as the A, M & Y that give the font a stand out feel while the contrasting horizontal bars provide a nice balance. The compressed weights are great for fitting in tight spaces whilst the Heavy styles are perfect for standing out from the crowd.

The font features extensive support for European and Cyrillic languages, stylistic and discretionary ligatures, plus superiors, inferiors and fractions.

Designed by María Ramos and Jordi Embodas, Nomada Didone exhibits a more pronounced contrast than Nomada Serif, with vertical stress and finer hairlines. The contrast amount is not too extreme, though. It’s robust enough to be used confidently also for smaller text sizes, on screen, and in negative settings. The ball terminals add to its posh demeanor – a feature that is particularly noticeable in the gracile Hairline.
At the other end, another exquisite titling typeface: Nomada Didone Extrablack channels the Fat Faces of the 19th century, with adjusted vertical proportions for contemporary use. The medium weights make for a dapper text face that combines clarity and sophistication.

Sonny Gothic Vol 2 is an extension of our popular font Sonny Gothic. All corners have been softened to get a friendlier and fluffy visual language. As Sonny Gothic, this typeface has ligatures inspired by the incredible work of Herb Lubalin, chiefly Avant Garde. We designed carefully Sonny’s Vol 2 ligatures, and we also created new ones to control the whites formed between softened characters such as FL, FB, FD, FE, FF, FH, FI, FK, FN, and FR.
Developed with powerful OpenType features in mind. Each weight includes alternate characters, ligatures, fractions, special numbers, arrows, extended language support, small caps, and many more. Perfectly suited for graphic design advertising.

Hermann is one of our most readable typefaces so far. Since last year, the W Design team had been examining closely the possibility of developing a text font. Thus, we dug into concepts within some of our favorite novels, such as The Steppenwolf and Brave New World, written by Hermann Hesse and Aldous Huxley respectively. Ideas like duality, surrealism, and wildness mainly appeared. With these concepts in mind, we analyzed carefully the typefaces used in both Hesse’s and Huxley’s creations; Sabon and Garamond showed up catching our attention and, of course, awakening our admiration. Consequently, the challenge was to combine the key features of these fonts with the concepts already identified. At first, we made a text font which was suitable to compose long texts. However, we realized that we needed to refine some characteristics to convey all the ideas. A full set of capital discretionary ligatures was designed, which convert Hermann in a display font when is required. We also designed swashes (from A-Z) and final forms (in letters h, k, m, n, r and x in romans, and in letters a, d, e, h, i, l, m, n, r, t, u, x and z in italics), conveying more dynamism and versatility when it comes to composing visually.

Hermann was designed not only to be accurate in terms of legibility but also to be wild and bold. That is why we took a big leap and designed from the beginning a font that is inspired by the world of 20th-century novels, using the name of one of its greatest exponents, Hermann Hesse.

Quida Rough is a textured display family with three styles; Regular, Italic and Script. The personality of the design comes the rough, worn outlines and concave vertical shapes, which are consistent through all styles. This makes them work together seamlessly.

Quida Rough Script is packed with opentype goodness such as swash caps, stylistic alternates, ligatures and ending forms for lowercase letters. All styles have an extended language support for most European languages.