Kayla McEncroe

Available in ten styles -OC Rey is a modern Didone font featuring true italics and signature ligatures that can take designs to another level.

Classical in character it is drawn with thick vertical stems and fine horizontal lines, a contrast which starts gradually at the lightest weight, building abruptly to the thick stems of bold. The forms are even in proportion and structure with a vertical stress giving a proud, upright stance and an air of distinction. The beauty of the high-end uppercase excels in elegant headlines perfect for the arena of art and fashion, while the high x-height, large eyes and apertures and distinctive open counters make it perfect for readable copy.

With a traditional appearance and a refined elegance, it’s reverent but also breaks from convention with distinguished characteristics that suggest heritage in a modern context. Traditionally round features are replaced with sharp corners, noticeably in the square tittles and the absence of heavy soft ball terminals giving it a unique presence. The weight of the unbracketed serifs is deliberately less extreme than some Didone hairlines, meaning it’s beauty doesn’t disintegrate when small or reversed, making for excellent versatility.

-OC Rey is designed with extensive language support and with multiple open type features.

Breathe Neue is not just an update of my renowned Breathe of 2010, this is something else...

Many times I find myself looking for inspiration in my previous creations. The original Breathe has something on its essence: Something that almost 10 years later still caught my attention. Like its name suggests, letters seem to be breathing, moving, alive. Many years passed so I asked myself if there was still something I could do for it, something to get the most of that beautiful essence... Suddenly, I was already working on its curves: Many new loops, more polished, more refined.

Breathe Neue’s swashes are addictive. I couldn't find another word. Irresistible? Maybe. Once you see some of its loops you want to see more. I believe this might be due to its geometrical feel, which match well with the bodonian curves of the font.

See also how well it works with Breathe Caps. And what if you combine them with Breathe Special? wow.

I'm still young (yeah, sure) and I believe there're still many years ahead to enjoy this great profession, and to make many new (and astonishing, I hope) fonts. But I also think, it’s time to pamper my first creations. They deserve the best treatment, after all, they were once a success.
This is was I did with my lovely Breathe. I hope you like it.

Less is More. This stencilled version takes away some of ''Didonesque’s'‘ structure while adding another level of distinguished style and supreme elegance. The ’‘Elegante’' fonts epitomise the style required for high-end fashion and beauty applications with their crisp curves combined with tapered serifs and terminals – instantly creating a polished and fashionable aesthetic.

‘‘Didonesque Stencil’’ was designed for large display purposes, branding, corporate identities, headlines, advertising, wedding invitations and the like. Of particular note are the minimal ball terminals which are available by activating Stylistic Set 2 – they’re perfect for adding that extra bit of magic to your typographic designs.

'''Key Features:'''
• 4 Stencil weights in Roman and Italic styles
• 4 Stencil Elegante weights in Roman and Italic styles
• 4 weights in Condensed style
• Small Caps, Petite Caps, Alternates, Ligatures and Contextual Alternates
• Full European character set (Latin only)
• 780 glyphs per font.

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.

André Simard designed Bronsimard, a font inspired by Henri-Paul Bronsard’s Kébek 101, designed in 1972 and used to create the logo and headlines of the daily newspaper Le Jour, founded in 1978. After all these years, Bronsard contacted his former student to propose a creative venture focused on drawing a variant of Kébek 101 from ideas contained in his research efforts. Simard adapted Kébek 101 to create Bronsimard, a fine blend of character and harmony which we hope will give free rein to your creativity. The final result is a vertically elongated font with very sharp contrasts, somewhat reminiscent of Bodoni and Didot.

Fortezza is a family of fonts inspired by the great masters who have created the Modern Roman style: Firmin Didot (1764 -1836) and Giambattista Bodoni (1740 -1813)
Both typefaces can be similar, but a trained and close vision, show clear differences in the final result, like its weight and the degree of transition of the strokes. The type of Didot suggests greater warmth and elegance, they are characterized by extreme contrast in thick strokes and thin strokes, by the use of serifs very thin and by the vertical stress of the letters. while the Bodoni type conveys a greater robustness and hardness.
Fortezza brings together the elegance and spirit of both types, but proposes a contemporary vision, establishing a distance with certain features typical of the baroque that was manifested at that time.

An elegant, stylish and easy-to-use typeface.

Just as a nice hat makes you look good, Cagliari brings beauty to your designs—through the traditional flavor of Didone faces, and the simplicity of Modern and neo-Grotesk fonts.

The font is based on the “Queulat” design yet features a higher contrast, between thick and thin strokes, which makes it look simple and suitable for a wider range of uses. Due to an abrupt contrast in stroke weight, Cagliari is more noticeable on terminals and teardrop terminals compared to Queulat. The Neogrotesk-style shapes add a minimalist touch to the font with thoughtful attention to detail.

Cagliari is the ideal choice for fashion magazines, Italian-author books and logotypes for prestigious brands.