Steven Le

Meet Grand Cru – a new approach to serif type. The type family is divided to three groups – Small, Medium and Large – according to the amount of contrast in letterforms. Forget about those old Text/Display categories – it’s up to you how to use your typeface. While the Grand Cru Large fonts are highly decorative, the Small versions function as reliable workhorses.

All Grand Cru fonts come with thoughtful Open Type features – built-in small capitals are found in all of them, while the italics come with handsome Swash capitals. The romans are equipped with intelligent numeral styles including subscript and superscript and fractions.

NewsSerif is the sister typeface of NewsSans. Together they are a great toolbox for all editorial and typographic challenges – analogue or digital. The 20 styles of NewsSerif are divided into three subfamilies named after their suggested use: Text, Large and Huge. The letter style evolves throughout the different subfamilies to become more expressive in the Large and Huge families.

All roman styles from the NewsSerif Text family are bundled with Italics from NewsSans. While this may appear to be an unusual pairing it makes a perfect match. The roman and italic weights are balanced perfectly.

Maleo is a contemporary display sans with grotesque roots, taking cues from typefaces such as Benton’s Franklin Gothic & Alternate Gothic and contemporaries such as Obviously & Mars Condensed.

Designed by Aditya Wiraatmaja as his debut retail typeface, Maleo is primarily designed with large-size usage in mind. Its tiny flare and angled cut terminal lends itself a friendly and approachable presence. With a family of 14 styles that range from thin to black with matching italics, it is a versatile display type that stands out in headlines, yet one that emits a charming personality.

Maleo support various languages and is equipped with many Opentype features including; Old Style Figures, Ligature, Fractions, Numerators and Denominators, and Stylistic Alternates.

New Ways is a modern sans font family designed to ensure readability and clearness suiting branding, editorial and advertising projects.

Cantilever is a variable, 20 style display typeface designed by Stew Deane. The idea came from using variable type mechanics to create a typeface that became more than type — it's designed to be impactful, fill space and turn text into something graphic and visual. Being fixed-width (at whatever width you choose) means it is perfect for stacking, as well as stretching ultra wide. It's a typeface designed to take centre stage and own space.

By using the variable sliders in your design software you can give your typography a bespoke, ownable aesthetic. The sliders in Cantilever are Weight and Width, and are designed for maximum impact in any space. Play around.

Benzin is a geometric sans serif family that comes in 5 weights.

This is a universal font that can be used for both headings and paragraphs, thanks to the customized kerning for bold and thin style. In the thin style, the kerning is more sparse, in the bold style it is more dense. This allows you to immediately use a bold style in large headlines and posters, and a thin style in small texts and paragraphs. This is very convenient and you don't need to think about setting up kerning.

A robust oldstyle, an elegant slab, 8 styles

Geneo, created by Stéphane Elbaz, is a synthesis of historic and present-day visions of typography, a slab serif constructed on an oblique axis. Its subtle contrast evokes both Renaissance elegance and the robustness of the Egyptian typefaces that were in vogue during the 19th century. Geneo falls halfway between the classic styles of Garamond and Transitionnals, with aspects of contemporary slab serifs like Rockwell, Boton, as well a bit informal. From this blend of styles and genres, it emerges with a singular identity perfectly suited for modern illustrations of quality, savoir-faire, and culture.

Geneo’s limited contrast has been carefully crafted to make the font adaptable for use as both text and headlines, as well as for small-print elements like footnotes, appendices, and captions. The variety and precision of certain weights, like Regular, allow minute adjustments of the font color in text compositions. This flexibility is especially useful for displaying on devices with high pixel densities such as the latest iPhone or iPad, on which text may appear too thin.

Flexibility and sturdiness

The sturdiness of Geneo makes it a perfect choice for posters, logos, print and any project that requires finesse and sophistication. It provides alternate versions of some letters such as g and a to give you the flexibility you need for your typographic projects. Geneo pairs perfectly with contemporary typeface genre.

Geneo, a new typeface designed by Stéphane Elbaz

Tokyo TDC 2014

Type Directors Club 2009

Designed between italic and script styles

Airco is a typeface designed between italic and script styles. The letterform finish is rounded. Designed ultra slanted (27°), the shapes evoke a fast and assertive movement. The result is a human typeface, dynamic, that will visually work well in technology and sport, without ever being dry, rigid or dehumanized. The structure of the letters is influenced by Renaissance italics, at the difference that in the case of Airco, the lowercases and capitals are visually homogeneous thanks to the giants lowercases. In fact, the default numerals can be used in capital as well lowercases settings.

Between geometry & shapes inspired by nature, in 4 fonts

Audace was born as a response to a simple brief: how to visually express human interaction and technology with abstract forms? The starting point is a humanistic sanserif, to which are added external references: design pieces, furniture, buildings. Architects shape our world with the intention to reconnect nature, human and address a perfect functionality. Not so far to typeface design which combines a personal vision and ensures good legibility in a certain context.

Audace — like the works of those artists, designers, architects — is clearly influenced by the tension of the line, the play with negative space, the dynamics, the surprise, the nature that will influence the shapes of the letters. So if a v is asymmetrical, and the y based on similar asymmetry but in reverse, these two shapes help to distinguish from one to the other. This is a consequence of the influence of forms from design and art in the design of the Audace. And this small example illustrates the confrontations of the designer’s influences: the search for the most unique shapes, but without compromising on function: to be read, to be legible, even at very small size in the worst conditions.

Audace, between geometry and shapes inspired by nature

30s inspired geometric inline display typeface

Several titling typefaces made their appearance at the start of the 20th century, notably Acier and Bifur, both created by French poster artist Cassandre. Later, in the Netherlands, S.H. de Roos designed a version of Inline for its Nobel family called, naturally, Nobel Inline. AW Conqueror Inline pays homage to this beautiful version.

AW Conqueror superfamily

AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skillful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast.

Club des directeurs artistiques Prix 2010

European Design Awards 2011

Mooono is retro futuristic monospaced font. The bright side (uppercase) is straight and to the point but the dark side (lowercase) is fat and funky. Mix up the upper and lower to create some serious spaced out vibes. I only saw the crescent, you'll see the whole of the mooono!

Marcelo's new typeface Emperator —based on his knowledge gained from instruction by master calligraphers— provides a fresh perspective on classic typefaces.

Emperator comes in 3 variants that make your designs look elegant, legible and expressive. This font is perfectly suitable for a wide range of applications such as titles, wedding invitations, short text, logos, labels, book covers, posters, packaging, etc.

Emperator's character set includes small caps (letters, figures and symbols), fractions, stylistic alternates, ligatures, mathematical symbols, etc.— more than 750 glyphs in all, supporting over 200 Latin-based languages.

FS Blake is a striking typeface. Finely tuned in his mechanical and organic shapes, he offers a harmonious mix of generous curves and cursive spikes. Compact and solid, the punchy heavy weight is emphatic in display sizes whilst the lighter weights offer a sensitive modern elegance, sympathetic to small text setting. Within each weight, Blake reveals a different aspect of his character to support a variety of applications. A spiky, lively and versatile, contrasted font family.

FS Brabo is an eloquent typeface.

Not a revival, but very much a contemporary & sturdier interpretation of a garalde – a class of typeface originating in the 16th century with characteristically rounded serifs and moderate contrast in between strokes. FS Brabo is a modern take on a workhorse serif typeface: colorful and versatile enough to adorn not just editorial projects but also signage, advertising, logotypes and other uses.

Brayhonest offers a wide range of options for creating logos, titles and titles. It is suitable for books, editorials, packaging, advertising, brand imaging and more.

Brayhonest includes Collection of Uppercase, Stylistic, Latin Based Language Support, Numbers and Punctuation. Set Stylistic is available in Uppercase and Lowercase.

Brayhonest is encoded with PUA Unicode, which allows access to all features without special design software. Mac users can use Font Books, and Windows users can use Character Map to view and copy extra characters to paste into your favorite app / text editor.

Carmensin is a beautiful humanist serif typeface created by Rafael Jordán. Designed in the 21st Century with all the flavor of the Renaissance. The conclusion of a story that began in Type@Paris program in June, 2015 & ended at February, 2020.

Inspired by historical models, its classic conventional appearance with small details, smooth curves, large x-height and open counters made of Carmensin a great, efficient and solid typeface for long text settings. Also, its bigger sizes styles show the beautiful shapes and contrast, exhibiting its exuberance.

Carmensin has a great collection of OpenType features that will satisfy any typographic necessity as ornaments, ligatures, stylistic sets, small caps, automatic fractions and more options along 3 optical styles (Text, Headline and Display) plus a fancy Stencil style. With an extensive Latin character set, Carmensin covers a wide amount of Latin-based languages, including Latin Plus encoding.

Chamberí is designed to be Vogue España's bestpoke typeface. An ambitious typographic branding project made for one of the most iconic magazine headers of the world, it defines the Spanish edition’s personality through a blending of the functionality of XIX Century Modern Romans (also known as “Scotch" typefaces) and the gestural expressiveness of typographic Baroque. Chamberí is a peculiar combination of the rational and the delicate, the sturdy and the feminine. The family is organised in a broad spectrum of 56 variants in which the transition from the restrained text version to the flamboyant, elegant display is modulated by contrast. The family is organised in seven weights: from Extra Light to Black, plus four contrast grades: Text, Headline, Display and Superdisplay. All this with its own Italics, Small Caps and Old Style Figures, besides the due refinement to resolve any editorial and communicative requirement.