Kayla McEncroe

Noticia Rounded is the extension of Noticia, my modernistic, constructivist font with that »Bauhaus« feeling. Names like Bayer and Renner come to mind as beacons of that time. Noticia is different in proportions and long ascenders and descenders make for good readability, slanted endings on some horizontal strokes give the font more dynamic. Noticia brings the old forms up to todays standards in typography. Enjoy!

Phoebe is an experimental font, roughly based on a kind of too wide square. But as it is with experiments, they tend to live an own life, uncontrollable. there are very few straight lines in this font and it looks familiar but then it doesn’t. Phoebe is a Titan as well as one of the outer moons of Saturn and Venus and Mars are alright tonight. Phoebe comes in 7 weights and all of them are quite useful once you start using them. Just look at the font and enjoy.

This typeface family is developed with a designer in mind. WBP Nel is a narrow sans serif with lots of options. The Regular consists of UPPERCASE and lowercase glyphs, beautiful kerning and a nice ampersand. All other styles are just uppercase and build to give your designs some extra flair. The Brickbuild is a playful, stencil version and the Dots (freebie) is a dotted typeface. The Light and Heavy version of the Regular will soon be released (mid-2019). These two will also come with a display variant. So you get lots of options to mix and match while designing awesome prints, posters, logo’s, websites or identities. One family. For designers.

Straightforward tone resulting in a modernist, Hergon Grotesk is a family of modern sans-serif. This Typeface is characterized by Neo-Grotesque which gives it a strong character, perfectly suited for any visual communication application. The family has 10 fonts ranging from thin to extrabold with matching italics.

Brillo Typeface stems from the effort of combining the modern look of a grotesque sans serif font with the elegance of the calligraphic copperplate’s swashes. The result is a typeface that is perfectly suitable for modern graphic applications, such as publishing, branding and web, but which has some ornamental features that differentiate it from all the other grotesque families.

Brillo doesn't want to be a neutral typeface. It’s a font with a strong personality, which can give outstanding aesthetic and conceptual relevance to the graphic projects which will be used in.

Brillo is a typeface thought for titling rather than for texts. For this reason it works better with character sizes bigger than 16 points.

946 is a multilingual techno-style family developed by Berlin-based type designer Roman Wilhelm (RomanType). While more and more text families have recently been extended to a multilingual and multi-script level, not so much attention has been given to the more decorative styles. The 946 family does exactly that.

A lot of care has been given to the various diacritics: they were designed a little more brutal, a little more European than with some other fonts of this category. Do also watch out for the non-Latin legs of this family.

946 is inspired by electronic music. When Roman found a second-hand Roland TR-606 drum machine in a store in his hometown back in 1995, he started to hang out with would-be DJs and musicians, trying to play the beats that went around the globe. When he started to study visual communication three years later, he was assigned the matriculation number of 946, which has now become the name of this family.

Language support: Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Spanish, Swedish, Turkish, Vietnamese, Zulu. Do also watch out for the other script versions of this family!

DINosaur is the typographical mise en scène of a calligraphic standard for technical writing, found in a 1967 manual. Although its base is a regular grid and its main reference is the DIN norm, it is full of a multitude of small original features. The microtypographic details refer to the tools originally used for its reproduction.

Oddee typeface is based on the dissimilarities in personal fashions and the contradictions sparked between two schoolmates, Adolf Loos and Josef Hoffmann, the first of whom is known for his belief in finding no place for the concept of ornamentation in architecture and functional design, while the latter proposes the ornamentation could find a place within design through not being a direct force but being a contributing part to a collective aesthetical value in everyday objects.
The design process followed traces of both approaches and opinions, and tried to find their formal counterparts in letter architecture.

Pesto Fresco is a new handwritten lettering system, a font family built by 28 fonts. Based on Screenprint technique, the aim is to get a textured result we can see in many old poster specially designed to be produced with that technology, bringing analog to digital. Overlapping Pesto Fresco Regular with any of the other decorative fonts you will get different graphic effects, so just choose the one fits better with your layout. This font can be used for different purposes from packaging design to web design.

The Pesto Fresco posters are inspired by the typical products from the Italian Riviera in Liguria Region, homeland of Pesto, Focaccia and many other delicious delicatessen.

Big Citee is a robust, industrial looking display font. It’s name is linked to the characters strong stems looking like a wall of sky scrapers. Big Citee is strong and impactful, making it ideal for headlines and signage.

Aure Jane defines grace under fire. These clean, sans-serif forms engage the reader with a subtext of trust. Jane’s excellent legibility will stand up under almost any typographic challenge, bringing confidence to text and titles, and clarity to astrological expressions and chartwheels.

Jane is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets in regular, italic, bold, and bold-italic.

The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face.

Numbers are available in lining, oldstyle, and small versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators.

The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs.

In addition to Aure Jane’s versatility as a text font, Jane can enhance the message of other designs. Aure Jane pairs well as an innocuous foil to any decorative font; Aure Sable, for example, will shine all the more beside Jane’s sensible utility. The witty highlights of Aure Brash will sparkle against Jane’s practicality.

Give Aure Jane a trial run! You may discover a permanent place for this font family in your typographic palette.

>> AureFontDesign.com

Mainland is a high-quality sans-serif typeface, drawn by Måns Grebäck.

The typeface family comes in five weights, from Thin to Black.
In addition to that there are Italics, totaling 10 styles.

Extensive language support makes the font possible to use for any European Latin based language.

Ballinger began life as a single-weight proprietary typeface called baasic, designed for Dublin-based design office aad. baasic was intended as a plain, hardworking grotesque: a simple tool for clear communication. We’ve developed it into a fully-featured eight-weight family with matching italics. Sources include early 20th century jobbing sanses like Morris Benton’s News Gothic and Candia, a 70s-era typewriter face Josef Müller-Brockmann designed for Olivetti, which had unusually deep junctures that added energy to letters like m and n.

The family takes its name from Raymond A. Ballinger, the great mid-century American designer, author of ‘Lettering Art in Modern Use,’ and champion of elegance and readability. Ballinger has large counters and a generous x-height. Letters like a, e, and s open out gradually as they move from Thin to Black to maintain ample apertures, even in the darkest weights. Semi-oldstyle figures are available, as well as case-sensitive punctuation and delimiters. Italics incorporate subtle ogee curves to lend warmth and energy to the page or screen.