News 2022 |
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Hello. Here we are again with our occasional newsletter. We got a new typeface, a long-awaited type extension, new trial fonts of our entire type library and a couple of blog posts you can’t miss. Happy holidays! |
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New release: Carolinéale designed by Francis Ramel |
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After being born from a research project on Carolingian minuscule, Carolinéale has undergone a seven-year process to evolve into a versatile sanserif of contemporary elegance. However, its voice still conveys a subtle touch of history. Endowed with all the type goodies the discerning designer may need, Carolinéale is both a comfortable text face and a powerful display type that will stimulate readers at large sizes. |
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Test Carolinéale Read the story |
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New extension: Borges 3.0 designed by Alejandro Lo Celso |
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Our classic text family has been extended generously: It now speaks more than 200 languages, has full figures series, extended monetaries, many ligatures and more. Borges includes six comprehensive weights of roman & cursive with corresponding smallcaps, all designed for comfy reading. |
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New: Trial fonts! |
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It took us a while, but we did it: We have created test fonts from our entire font library, which are freely downloadable. Now you can try any of our fonts whenever and however you want. Enjoy. |
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Recent @ the Scriptorium blog |
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With hollow feet and harlequin hats: |
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Tuscan letters, those ornamental objects, delicate or extravagant, that inhabit streets and font catalogs of all times, never lose an iota of expression. A product of decorative ingenuity, Tuscan vernaculars dress the street signs all over the world. However, this decorative ubiquity, notorious and implausible, alarms many. Fortunately, like a healing balm, the author will deploy her original hypothesis, suspiciously unexplored, of how the Tuscan style would have been born from a mischievous interpretation of the stone inscriptions, wrongly called ‘lapidary’. |
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Read Article part 1 Read Article part 2 |
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The Typographic Vault by Francisco Gálvez Pizarro |
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In case you missed it. In this article Francisco rethinks the values of preceding type classifications and reinterprets them in a new model, an original instrument to situate and study the diversity of today’s types. |
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