Sohail Orozco

Page Printer JNL was inspired by “Skeleton”, from the William H. Page wood type foundry circa 1848.  Its name is a play on both Page’s surname as well as contemporary desktop printers. 

Page Printer JNL is available in both regular and oblique versions.

A precursor to Art Deco headline/display sans serif typefaces with thick and thin strokes is the Matthews Series (circa 1902).  It was manufactured and sold through the Inland Type Foundry of St. Louis, MO.

Digitally redrawn as Merchant Trade JNL, it’s now available in both regular and oblique versions.

Introducing, Hugiller - A high contrast stylish Serif. What makes this font even more unique is the ligatures which gives the modern yet nostalgic feels at the same time, sophisticated and timeless.. This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose.

Features :
- uppercase & lowercase
- numbers and punctuation
- multilingual
- alternates & ligatures
- PUA encoded

We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Manufacturer JNL is a reinterpretation of the classic type face Venus Extra Bold Extended, and is available in both regular and oblique versions.

File Clerk JNL was based on Cushing, a typeface found within the pages of the 1901-02 Pettingill & Co. (Boston) specimen book, and is available in both regular and oblique versions.

Introducing, Mildistance Script - an old and classic style script font. The look of the font will give you nostalgic feel, very suitable for old school theme design and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose.

Features :
- uppercase & lowercase
- numbers and punctuation
- multilingual
- alternates and ligatures
- swashes
- PUA encoded

We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Omnipop is a potent display pack with three styles. All the fonts have firm yet clean and velvety character.

Omnipop Brush is a forward leaning brush script with a somewhat heavy complexion. It has a large x-height and it makes nice smooth and even texts. Omnipop Brush is equipped with Standard Ligatures and Contextual Alternates that are automatically on as they should be kept. In addition it has Swash, Stylistic and Titling Alternates for extra show-off.

Omnipop Script is a monoline connected script simulating a smooth felt-tip pen. Script is equipped with Standard Ligatures and Contextual Alternates to keep the connections smooth. In addition Omnipop Script has Swash, Stylistic and Titling Alternates and even more extra characters can be found in the glyphs window.

Omnipop Sans is a sturdy rounded all caps sans with a sort of geometric vibe to it. Anything you type with Omnipop Sans will look cheery and approachable.

Omnipop fonts rock on their own but they also play great together in any order.

Polate Soft is an altered modified from the form of the original “Polate” typeface. Designed to be more friendly, the font family has rounded terminals that harmonizes with rounded corners. With all of these features, “Polate Soft” is a prominent, eye-catching and unique typeface. It comes with 6 weights with 5 Hight options in order to suit for a multifunctional usage, especially for cooperative work, such as website, magazine, editorial, publishing, as well as packaging.

• 1x OpenType font.
• 1x WOFF font.
• This font contains 176 glyphs.
• Optimised for use as a pixel font at 34px and multiples of 34px.

—

SB Incline is an ultracompressed pixelfont with alternatives for adjusting the midpoint.

Aldero™ strives to be as useful to any design environment as Alder trees are to the forest. Native to British Columbia, Canada, Alder is vital to the woods all year round. Wildlife and insects feed on Alder leaves and seeds. The tree also provides shelter for animals in winter while its shades keep streams from getting too hot in summer. The trunks and branches are excellent habitats for lichens and mosses. The nitrogen-rich leaves help fertilize the soil where they landed, which benefits other tree species nearby. Alder’s utilitarian nature inspires us to create Aldero™, a handy, versatile, go-to type family for all professional designers.

To achieve what we set out to do, we gave Aldero™ the two-in-one looks, doubled the sets of ligatures, and loaded it with plenty more of Opentype features. We put in long hours, months after months, until we are proud of the outcome. And we truly believe that you will enjoy working with this typeface as much as we do.

With five weights, ten styles, and 1,100+ glyphs per style, this versatile typeface comes with virtually two looks. The standard glyph set is perfect for formal, corporate design, while the stylistic alternate set elicits a fun, friendly, and casual feel. You can use each style separately or mix and match them to achieve your design aesthetic. Thanks to these options, a wide range of design possibilities are at your fingertips.

In addition to the two large sets of ligatures (for both the standard and the stylistic glyph sets), we also pack tons of Opentype features into Aldero™ to improve your user experience while working with this typeface. To activate the case-sensitive features, for example, highlight the phrase with the type tool, then hit the “All Caps” button; or select each mark, punctuations, or symbols with the type tool, then choose the case-sensitive option from the Opentype popup window. For more info on Aldero’s Opentype features, please check out the additional gallery photos above. Hope you enjoy working with Aldero™ as much as we do!

A set-aside work file featuring a bold sans serif typeface that may or may not have had a vintage source history was given a new treatment.

Initially, the solid design was converted to a stencil format and an experiment was undertaken to see what the alphabet would look like with a dual line treatment. 

Surprisingly, it turned out quite well and the end result is Dual Line Stencil JNL; available in both regular and oblique versions.