Sohail Orozco

Capricho is a warm, comfy, and pleasantly
readable typeface. It unites the virtues of a 17th
century transitional typeface with its own distinctive
and individual flavour. Its large descenders and
ascenders make for a distinguished appearance.
The complementary Italics with its gently lowing
ductus is the contrasting counterpoint.

Introducing, Blakestone - a hand drawn brush script which is purposely made for headline, display or logotype, and signature. 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 & 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.

What intrigued me about Buslingthorpe was the virtuoso challenge it presented, of designing a typeface that would, despite a ridiculously tiny x-height, still possess a coherent harmony between upper and lower case, and read comfortably. At the same time, beyond pure plastic formality, I was aware that there are strong connotations of historicism in this noble style, with overtones of regal magnificence, on account of the extravagant leading and generous point size required for adequate visibility—in traditional letterpress printing such proportions, with so few characters per square inch, devour resources. There are two iconic early 20th century designs in the genre: Koch Antiqua (Rudolf Koch, Klingspor Foundry, 1922) and Lucian (Lucian Bernhard, Bauer Foundry, 1925). Both these have x-heights smaller than fifty percent of ascender height, which nominally defines the category. So I made these my benchmarks, and determined to outdo them in dramatic fashion.

Shaker is a neon style monoline Script. Shaker has Swash Alternates for every uppercarse and lowercase standard character and it’s equipped with Contextual Alternates that keep the flow and connections smooth. Shaker is great for headlines, packaging, neon sign or as a logotype or any display use.

Clarks is a modular typeface built from a work by Lygia Clark, one of the giants of Brazilian postwar art.
Packed in a font equipped with clever OpenType programming, there are at least 7 different designs for each letter, thus allowing, or rather, proposing, boldly unconventional compositions.
The font is programmed to cycle all these different lettershapes, avoiding repetition. The user can also manually pick up preferred forms in a glyph palette. There are choices to both keep and to defy readability and it’s almost hypnotic, to play with these.
Lygia Clark used to invite viewers to touch her works and so we did with her ‘Planes in Modulated Surface no. 4’, from 1957: we fragment it and turned and inverted and recombined it. Now we return it as audacious typography and invite you to put it to work in your designs. Keep it bold and have fun! Cheers!

Introducing, Mounties, a Display Sans Serif Font. This font has neat and sleek letterform, make it looks great to be used for modern and minimalistic design theme. The stylistic alternates and ligatures make this font event more unique and stands from the crowd. 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.

Open Sans Soft is the warm and friendly cousin of the web’s 2nd-most viewed font family – Open Sans designed by Steve Matteson. Open Sans Soft tones down your communications by adding organic curvature to the corners of letters. A similar effect is found in such popular fonts as Microsoft’s Calibri and Linotype’s DIN Next. Open Sans Soft approximates the same, proven letterforms and letter spacing as Open Sans making it a wonderful companion for any application – correspondence, headlines, branding, packaging or interface design.

Paro by Hernández Montoya is a protest voice with vernacular roots.
Inspired by Woodtype and the hand painted letters of the muralist brigades and political posters.
Heavy and compressed, gives a powerful color in impact compositions, balanced with light diacritics and symbols.

Sagasti is a font family that contains two weights: Regular and Bold, with their corresponding Italics style.
These fonts are characterized by a straight and generous serif that provides consistent stability. We have focused on controlling vertical, horizontal and oblique strokes thicknesses, as well as curved strokes.
All glyphs were carefully drawn and precise kerning control has been made, providing optimal readability for texts and the beauty of the headlines.

Introducing, Appears, a Display Serif Font. This font has neat and sleek letterform, make it looks great to be used for modern and minimalistic design theme. The stylistic alternates and ligatures make this font event more unique and stands from the crowd. 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.

The new typeface by Contreras is a family of three styles, condensed structure and modular appearance. It has been drawn with awareness of the manual stroke of industrial handwriting letterings. The capitals are informed by street signs and political posters of the 70’s. A mix of Art Deco posters and industrial signage. With high frequency textured paragraphs, and economic performance in the style of M.F. Benton’s American Gothics. It is an font made with care of details, aesthetically rooted in the XX century.

In elementary variants for everyday use: regular, italic, bold. Plus stylistic alternates.