Claudia Toosey

Party Jam was originally drawn by hand, and then digitally cleaned up. However, in this proces I was very much aware to keep the “randomness” from the original.
In the proces of making this font, I always had a use for children’s books or comics in mind, but I would think that the font would go very well with eco stuff, packaging and restaurant menus. Don't be afraid to use it at very small sizes, because it is super legible. Don't even be afraid to use it at larger sizes either, because it just look darn good! :)

Newbery Sans is a new contrasted sans serif designed by Alejandro Paul and the Sudtipos team. As Paul has lately found inspiration from different German instructional books, Newbery Sans finds its initial inspirations from the lettering work of E. Nerdinger and invokes the spirit of German designs but is imbued with personality all its own.

The idea was to make the letterforms more usable and suitable for everything from corporate branding to editorial. It is an elegant, functional family with contemporary detail that will effortlessly meet the demands of the screen and printed page. From a condensed thin to an expanded black, Newbery Sans provides a usable workhorse system of three widths and seven weights, each with the original design of real italics, a selection of alternate glyphs and a complete set of small caps. Each weight is professionally crafted and includes extended Latin support for Central, East and Western Europe languages. The font’s name nods to its imagined uses in airports and street signage: Jorge Newbery was one of the first Latin American aircraft pilots, Newbery is the street where I live and it is also the name of Buenos Aires’s local airport.

Grava is Neil Summerour’s injection of warmth within the geometric sans font category. Historically, geometric sans families have been based on primal shapes — triangle, circle, square — and the more closely they held to those rigid rules, the more internal inconsistencies they showed. Angles won’t match up correctly, letters will lean, overshoots complicate clean typesetting, and idealized circles become grotesque and unwieldy in some weights. Because of issues like these, geometric sans fonts have a reputation of being cold, austere, even a bit “off”. Grava was made to hold a T-square and triangle in one hand while giving a welcoming handshake with the other.

The Grava font family comes in two styles (a normal and a Display), each with 20 weights (Thin to Ultra) and paired with italics. Its design allowed the three scripts of Latin, Cyrillic, and Greek to emerge seamlessly, ensuring Grava will find its home in multilingual publications. Even better, each character in the three scripts is spaced with every other character for a beautifully matched fit, and it’s a buy-one-get-all-three deal since they are all packaged together. The normal style’s large x-height won’t let you down in paragraphs, headings, and any call-out text. And have you seen the angles on those numerals? Pairing Grava’s numerals on a jersey is sure to catch some eyes, just sayin'.

Grava Display is purposefully quirky and sharp, and made for poster sizes, book and album covers, and those websites with a well-defined character — somewhere between playfully self-aware and overtly vintage. Flat edges are abandoned to make way for sharp points and conspicuousness, for geometrical attitude and respectful expressiveness. Corporate reports use Grava Display to take on a professional and current look. The optional ligatures (N–T, L–L, G–A, C–O, almost anywhere an ‘A’ is placed, and more) in both the normal and Display styles invoke a midcentury modernist and high art feel. Now that introductions are done, you can let go of Grava’s hand and put it to work for you.

strokeWeight is inspired by the aesthetics of computer vector graphics. strokeWeight is the name of a processing programming function to set the thickness of a stroke. The single bezier curve that describes a stem as a centerline with a particular stem thickness represents the basic idea of this typeface. The unconventional corners and stem endings derive from the concept.

If you buy the complete strokeWeight family you will get a strokeWeight variable font file for free!

Hela is a high contrast rounded font with interpolation twist. I have a personal saying that fits this font: So long you drive around nice lettering, until you digitize it. Hela comes from lettering of an old Czech textile company called Helana, which does not exist anymore, but the signage is still on the building. The weird thing on this font is that it does not add weight on every stem from Light to Black as usual, but rather adds more and more black stems to the light skeleton.

Another nice thing about this font is that it does not include unnecessary glyphs. So there are just 10 figures - you don't have to think which one is the correct figure kind for you. There is just one kind. No alternates, no italics, no opentype features - even no lowercase. Well, who would use it anyway, it is a display font!

Try it yourself with Basic character set for free.

Mezalia Sans is a logical continuation of the Mezalia family. Its shapes are based on medieval calligraphic style: the Bastarda. This time the evolution is taken a step further, as these classic shapes are merged with the straightforwardness of a modern sans-serif. This results in an original, strong yet very much usable typeface, that can hold its own in a wide range of applications.

Mezalia Sans has two distinct styles: straight and cursive (true italic if you will, although the word is not really correct here), which come in ten weights, from thin to black. This wide range ensures that whether you are looking for delicate or bold strokes (or a combination of both) you will be satisfied. Every style also contains a set of small caps (with matching punctuation). Old-style, proportional and tabular numerals are included too, along with ligatures, symbols and language support in Adobe Latin 3 range.

Coltan Gea is a Slab Serif typographic family with 6 Weights plus the italic versions all include small capital letters and cryptocurrency symbols.
It is a geometric, minimalist typeface, with neo-grotesque modulations and slightly rounded corners. The typeface has alternative letters and numbers, small caps and advanced OpenType functions. The proportions, metrics and kerning I have configured meticulously for a perfect reading in any size.