Kayla McEncroe

Megalito Slab Serif Cyrillic is a display font of geometric construction, very vertical, with extra condensed proportion for the creation of large titles with significant savings in horizontal space, it has an extended character table (721 glyphs) that includes small letters, 7 numeral sets, fractions dynamics with numbers and letters, collection of currency symbols, ligatures, alternative letters and etc. This retro-style typography refers to the design of posters and posters made from the mid-20th century until today.

Matteo is a family of geometric sans serif fonts. Designer Diana Ovezea has given the family an Italian name so that users might call fast cars to mind when they see it. The family includes 14 styles; there are seven weights, ranging from Thin to Bold. Each of these includes a companion italic. Matteo’s italics have an extreme angle (15º), which is quite unusual for a sans serif design. These italics are oblique in form, with a single-storey ‘a’ in place of the upright’s double-storey ‘a’. Matteo is an excellent selection for use in editorial and corporate identity designs, as well as advertising or annual reports. The shapes of its letterforms, as well as their spacing, have been optimized to create a pleasant reading experience, even in longer texts. The most prominent feature of the typeface is its geometric construction, which is based on circles and ovals. Letterforms in all seven of the weights are based on the same skeleton, with the ‘O’ maintaining its circular proportions (this makes Matteo’s lighter weights feel wider than its heavier ones). Several of Matteo’s letterforms include sharp corners, e.g., the ‘A’, ‘N’, ‘M’, ‘V’, ‘W’, and ‘Z’, as well as in the numerals ‘2’, ‘3’, and ‘7’. The capital ‘T’, ‘E’, ‘F’, and ‘Z’ each feature slightly angled endings on their horizontal strokes. Three special characters are particularly noteworthy in terms of their design: ¶, ≠, and &. Each font includes four sets of numerals, as well as a full range of subscript and superscript figures for typesetting factions. The period, comma, colon, and semicolon have the same width in each of the family’s 14 fonts; this allows users to set tables more easily. The fonts are also ‘logo-ready’, with extensive kerning having been defined even between the lowercase and uppercase letters. This enables the easy typesetting of CamelCase terms, like ‘SonVender’, ‘eTones’, ‘MunYan’, etc., without any ugly gaps appearing between lowercase and uppercase letters.

Astrup is a rationalist sans serif typeface. Its letterforms feel like the France of the 1950s; they are very orderly, but also a bit spritely. The letters’ apertures are very small, making the counterforms in typeface feel like they are being completely enclosed within their surrounding characters. The Astrup family has six weights that range from Extralight to Bold. The lowercase letters’ ascenders rise up to the exact height of the tops of the capital letters. Each font has two versions for each numeral; the standard numerals are slightly smaller than that capital letters. The other numerals are substituted into all-caps text by the fonts’ case-sensitive OpenType feature. These alternate numerals are the same size as the capital letters. Astrup’s fonts also have a full range of superior and inferior numerals for the better setting of fractions. Many of Astrup’s capital letters seem very geometric. For example, the ‘G’ does not have a spur at its bottom-right, and the tail of the ‘Q’ is a simple, vertical stroke. The lowercase ‘a’ in the Astrup fonts is double-storey, while the ‘g’ is single-storey. The ‘f’ and ’t’ are very wide. The dots on the ‘i’ and ‘j’ – as well as the fonts’ dot-based punctuation and diacritical marks – are circular. Astrup is an excellent selection for use in branding, or in other kinds of corporate identity design. It may also be put to good use in editorial designs for publications about contemporary lifestyle issues. Astrup is the work of Frode Helland, a type designer from Norway.

Good Sport JNL has nothing to do with any of the major sports activities such as baseball, football, basketball or soccer. Instead, the typeface gets its name from the sport of camping, as the lettering was spotted on an image of an old ad for the Colonial Forest-Master boy’s pocket knife. Good Sport JNL is available in both regular and oblique versions.

Marsden is a bold, no-nonsense Grotesque. It was designed for display, branding, advertising, packaging or anywhere a strong voice is needed. Marsden is built on a geometric foundation, with just enough warmth to keep the style confident and lively. The family features 8 widths in 12 weights; from a Slim Hairline to an extremely bold Wide Super. The fonts flow from condensed to wide with design intent. The condensed forms feature flat sides and subtle curves, while the wider forms feature rounded sides and open curves. The character set is robust, covering extended latin. The default forms are contemporary with alternates including: single-story a, two-story g, curved terminal l, raised vertex M, rounded top A, fully rounded G, rounded leg R, straight tail Q and straight descender y, all separated into individual style sets for control and customization. Completing the family are the Text fonts where the weights, widths and spacing are adjusted for smaller use.

Designed by Francesco Canovaro with help from Andrea Tartarelli and Maria Chiara Fantini, Kitsch is a typeface happily living at the crossroads between classical latin and medieval gothic letterforms. But, rather than referencing historical models like the italian Rotunda or the french Bastarda scripts, Kitsch tries to renew both its inspirations, finding a contemporary vibe in the dynamic texture of the calligraphic broad-nib pen applied to the proportions of the classical roman skeleton. The resulting high contrast and spiky details make Kitsch excel in display uses, while a fine-tuned text version manages to keep at small sizes the dynamic expressivity of the design without sacrificing legibility. Both variants are designed in a wide range of weights (from the almost monolinear thin to the dense black), and are fully equipped with a extended character sets covering over two hundred languages that use latin, cyrillic and greek alphabets. Special care has been put in designing Kitsch italic letterforms, with the broad-nib movements referencing classical italian letterforms to add even more shades to your typographic palette. The resulting alternate letter shapes have also been included in the roman weights as Stylistic Alternates - part to the wide range of Open Type features (Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms) provided with all the 32 weights of Kitsch. Born for editorial and branding use, Kitsch is fashionable but solid, self-confident enough to look classic while ironic enough to be contemporary.

Kelpt Sans is an altered modified from the form of the original Kelpt typeface. Designed to be more Corporate, the font family has flat terminals that harmonizes with sharp corners. With all of these features, “Kelpt Sans” is a prominent, eye-catching and unique typeface. It comes with 9 weights with 2 Hight options in order to suit for a multifunctional usage, especially for cooperative work, such as website, magazine, editorial, publishing, as well as packaging.