Wolverhampton
Wolverhampton is a new Neo-Victorian face from Greater Albion Typefounders. It’s something of an example of starting with a small idea and running with it. This family of three typefaces (Regular, Small Capitals and...
font_category: Glyphic
Stout
Stout is a deliberately aggressively solid family of four faces, offered in two weights and in serif (deliberately large serifs) and sans forms. It’s ideal for signage that needs to be read over long...
Thurbrooke
Thurbrooke is an early 20th century inspired display family, offering two sizes of Roman capitals. Five typefaces are offered in the Thurbrooke family. The Regular face is shaded in horizontally engraved lines and suggests...
Lavery
Lavery is a calligraphic display face, drawing its inspiration from the designs of the early years of the 20th century. It has an extensive range of ligatures and other opentype features and a delightfully...
Shervington Engraved
Shervington Engraved is a re-drawing of our previous Shervington typeface, showing it as it appears hand engraved on copper-plate with a stylus, with the letter forms shaded in diagonally. It combines excellent clarity with...
Kayla Sans
Kayla Sans is a sans-serif display font and works best in display applications, such as headline, magazine, posters, product branding, corporate branding, signage, logos and titles. Each style has a full upper and lower-case,...
Sursum
Sursum, inspired by the Roman monumental letterform, was designed to provide the possibility to play with the 58 OpenType ligatures and the 25 alternates letters. The Sursum family includes 3 weights, all with the...
Fortis
Formerly named Atlas, Fortis is a 21st century contemporary Latin. Also categorized as a Glyphic, the design was first introduced in the last half of the nineteenth century and is characterized by large, sharp,...
Intrinseca
With only a suggestion of the serifs remaining, Intrinseca is modelled on traditional serif letterforms but with low-contrast stroke widths and a generous x-height. The family has a clean appearance and excellent readability. Six...
Lancelot Pro
When type historians look back on Jim Rimmer, they will consider him the last type designer who just couldn’t let go of metal type, even though he was just as proficient in digital type....