Madera
Introducing Madera by Malou Verlomme – a straight-talking typeface that’s created with graphic designers in mind. Efficient and adaptable, Madera works across print and online, and has pleasingly crisp apexes that add some extra bite to the design.
Unitext
Created with the needs of branding design in mind, Jan Hendrik Weber’s Unitext is a crisp, clean typeface that functions well across print and online use. It blends humanist and grotesque qualities, adopting a style that the designer describes as “neo grotesque”. Narrow spacing is what sets this typeface apart, however it also uses open counters and angled details to boost readability.
Albertus Nova
In the Albertus Nova typeface, Toshi Omagari has revived a number of alternate capital letters created by Berthold Wolpe that have been unavailable in the existing digital version. This includes the uppercase M, W, J, E, R and Q. He designed five weights - light, thin, regular, bold and black- as well as Greek and Cyrillic characters.
Wolpe Pegasus
The Pegasus typeface, originally designed by Berthold Wolpe, is full of surprises. The E and F both have oversized serifs. The A and H have cross bars of very different thicknesses. The K and g look a little unhinged, and the g boasts a distinctive, spiky loop. On close inspection, Toshi found that no two serifs in the uppercase letters were of the same shape.
Wolpe Fanfare
Initially designed for Fanfare Press, the Fanfare typeface packed more into a small space than most typefaces. It was a natural for book and movie titles, and more general branding. Albertus is serious, classical and monumental, while Fanfare is modern, light and playful.
Sachsenwald
When he discovered the Sachsenwald typeface, Toshi Omagari saw the opportunity to revive and preserve a beautiful blackletter design. Toshi adding an alternate X character, and created light and regular weights to accommodate a whole new set of uses.
Wolpe Tempest
Digitizing Tempest for the first time, Toshi made no changes to Wolpe’s basic alphabet, but created a small group of alternate letters with extravagant swashes – flourishes on entry and exit strokes – for adding extra dash to book titles, logotypes and headlines. He also developed regular, bold and black weights, taking care to preserve the original Tempest’s unmistakable profile and skeleton. “You can’t go too thin because the round endings disappear, and they are what give Tempest its character. The energy of the strokes diminishes with weight.”
SST
Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design.
SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available.