Sohail Orozco

Legible, technical, clear—with a hint of retro: Compiler is a no-frills font family straight from the heart of a microprocessor.

Inspired by console typefaces, the humanist sans serif typeface combines a large x-height with striking serifs on certain letters such as i and l. Those serifs evoke the aesthetics of monospace typefaces for programming. Even though Compiler is a proportional typeface, this detail improves glyph recognition and helps differentiate between individual letters. Combined with vertical stroke ends, which allow for particularly even spacing, the serifs make for an extremely legible typeface. (Even in small sizes.)

Brand recognition guaranteed: Compiler is ideal for applications that require a mechanical flavor without appearing offish. You can use it for websites, apps, branding, corporate design, annual reports, signage, and many other areas with perfect results.

Compiler consists of two font families; the second one is Compiler Plain. In Compiler Plain, the signature letters lose their serifs and the forms of “a” and “g” are simplified. This way, the shapes are neutralized. The technical impression recedes into the background. Both families can be combined smoothly: you might use the standard Compiler fonts for display sizes and Compiler Plain styles for body copy. For total design control, you can toggle each of the defining design elements individually from Compiler to Compiler Plain and vice versa. Just use Stylistic Sets to fine-tune your Compiler fonts.

Compiler provides you with 8 weights in 4 variations: Upright, Italics, Plain Upright and Plain Italics. That’s a total of 32 fonts. Each style contains more than 860 glyphs, including advanced typographic tools such as proportional and tabular figures (both lining and old-style) or small caps—something you’ll rarely find in this genre. Other glyphs are optimized for display sizes, such as circled figures and various arrows. There’s also a set of glyphs designed for web use: with symbols for shopping carts, hamburger menus or checkboxes, you can implement your web projects elegantly and consistently without relying on third-party tools (like an external icon font).

Powered by highly productive OpenType functions, Compiler is an intermedia workhorse straight from cyberspace.

Mud Creek JNL is based on Tuscan Egyptian – a classic wood type with a decidedly Western feel, and is available in both regular and oblique versions

In a specimen book from Stevens, Shanks & Sons, Ltd. of London (circa1930s) “Royal Gothic” was their version of a classic grotesk sans that had been in use as far back as 1899 when the Keystone Foundry called it “Charter Oak”. 

The terms ‘gothic’ and ‘grotesk’ were equally applied to early sans serif typefaces – at first not well embraced by printers as being too ugly (grotesque) for use.

One familiar characteristic of early grotesk fonts (such as this one) is the numerous variations of character widths and shapes.

By combining those two terms into a font name, the digital version of this design is called Gothic Grotesk JNL, and is available in both regular and oblique versions.

Introducing, Stacylia - a bold handwritten script typeface. This type of 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 and 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.

Two word examples (“nice” and “bud”) from the J.G. Cooley & Co.’s Specimens of Wood Type catalog for the typeface ‘Roman Triple Extra Condensed Fifty Line’ offered only seven letters to work with.

Despite this lack of characters, it inspired Compressed Wood JNL, which is available in both regular and oblique versions.

I traveled a lot: in the beginning on my own, later as a tour guide. I always used the English word ‘abroad’ to describe a trip to a foreign country, but I noticed that the English, Australians and New Zealanders preferred the word ‘overseas’. I then realised that they all lived on an island, so most of the foreign countries for them were across the sea.
I had to think of that when I made this font!
Overseas is a brush font with a certain rough elegance to it. I made it using poster paint and a brush. Use if for posters, product packaging and book covers.

Salty Unicorn is a playful typeface that contain lowercase, uppercase, symbol, and also support multi language. Including ligatures, and many alternates. You can use this font to make a logo for branding, quote, and playful design. Also already PUA Encoded.

Apothicaire is a new font designed by Ale Paul and the Sudtipos team that is inspired in, but not limited to, an antique style casted by a German type foundry during the late XIX century. 
With the addition of a contemporary design approach, Apothicaire comes in three widths —from condensed to expanded— and five weights —from light to extra bold—, offering a wide range of combinations to explore. As a bonus the font family is also available in a single variable format. An elegant small caps set, a variety of ball terminals and delicate swashes, as well as the possibility to choose from many alternates are also included in the OpenType features. Apothicaire supports a wide range of Latin alphabet-based languages.

“News Gothic” has been a reliable workhorse of a font since it was created by Morris Fuller Benton and first offered for sale in 1908 by American Type Founders. 

A clean, legible design used for text copy, it can also double as a light headline face.

This reinterpretation (named Columnist JNL) is available in both regular and oblique versions.

Say hello to a casual handwritten font family - Dreaming OutLoud.
8 handwritten fonts - script, sans serif and doodles - made to complement each other in the best possible way. They are easy to use and perfect for expressing your thoughts, posting quotes and simple daily updates on social media, designing postcards or using on the web. The font package is complemented by more than a 100 transparent background marker lines (easy to change color!) - to emphasise what you are saying :) - and dingbats & doodles font. Christmas Doodles font also has handdrawn “fills” in .png and .psd included.

Two sub-packages:
- Elementary package. Use this one if you primarily work in Canva/Cricut and similar applications and don’t want to deal with OpenType features of the PRO fonts. To access alternates - simply change the font to it’s ALT version. Voilà. **You can use these fonts on your iPad in Procreate app!**

- Charged package. You need this one if you feel comfortable with OpenType features, if you work in Adobe Suite and similar applications that have OpenType panel to access OT features. You can use these fonts in Canva-like applications as well - they are fully unicode mapped.

Introducing, Super Giants - a brush font with natural hand writing with modern and dynamic feel. This type of 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 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.