Sohail Orozco

Back to the basics.

In the last ten years, type design has been confronting chaotic scene. The font market is flooded with a mixture of wheat and chaff and typography becomes increasingly complex. But one golden straight path exists. The path began from the industrial revolution, passing through Swiss style, now we walk along the path as a matter of course. It is sans-serif.

The decades from the Swiss style, namely “less is more age” to the contemporary basic style “Less, but better age”, we call it golden decades. In those decades, type design met modernism.

Go back to a theory in the golden decades, we redesigned new geometric, minimal sans-serif. Less is more and better.

We added cool and calm spices to the modernism in the golden decades. As a result, letterform has a contemporary, sharp, and neutral atmosphere, and geometric rounded bowls and counters create a nice rhythm.

Golden Decades consists of 8 weights and their matching Italics for a wide range of usages.
Farther, Golden Decades is supporting international Latin languages and basic Cyrillic languages including Basic Latin, Western Europe, Central and South-Eastern Europe. Also, Golden Decades covers Mac Roman, Windows1252, Adobe1 to 3. This wide range of international characters expands the capability of your works. Lowercase “a” has OpenType stylistic alternate for advanced typography.

The hand lettered cast credits for the 1932 George Arliss film “The Man Who Played God” inspired Lobby Poster JNL, which is available in both regular and oblique versions.

A bold and playful Art Deco poster alphabet, its nonconformist character widths and shapes are casual enough for informal designs yet bold enough to get any point across.

The hand lettered cast credits for the 1932 George Arliss film “The Man Who Played God” inspired Lobby Poster JNL, which is available in both regular and oblique versions.

A bold and playful Art Deco poster alphabet, its nonconformist character widths and shapes are casual enough for informal designs yet bold enough to get any point across.

Respektable is random and funky ant the same time, and even though all letters are super legible, the font has this unpredictable feeling to it. Each letter has 5 different versions that vary in width and stroke weight.

Short Films is an all-new-styled family, which kind of looks like Art Deco Style.

Wide opened counters and softly rounded bowls create a new feeling – Retro but futuristic, geometric but humanistic.
Exquisite contrast between thin and bold parts of glyphs make mixed feeling – Pop and feminine, formal and casual, strong and soft.

The most distinctive feature is a coexistence of decorativeness and Readability.
This coexistence expands the range of font usage. You can use this font for not only titling but also body-text.

Short Films consists of 6 weights and their matching Italics for a wide range of usages.
Further, Short Films supports international Latin languages and basic Cyrillic languages including Basic Latin, Western Europe, Central and South-Eastern Europe. Also, Short Films covers Mac Roman, Windows1252, Adobe1 to 3. This wide range of international characters expands the capability of your works.

The hand lettered cast credits for the 1932 George Arliss film “The Man Who Played God” inspired Lobby Poster JNL, which is available in both regular and oblique versions.

A bold and playful Art Deco poster alphabet, its nonconformist character widths and shapes are casual enough for informal designs yet bold enough to get any point across.

Respektable is random and funky ant the same time, and even though all letters are super legible, the font has this unpredictable feeling to it. Each letter has 5 different versions that vary in width and stroke weight.

Short Films is an all-new-styled family, which kind of looks like Art Deco Style.

Wide opened counters and softly rounded bowls create a new feeling – Retro but futuristic, geometric but humanistic.
Exquisite contrast between thin and bold parts of glyphs make mixed feeling – Pop and feminine, formal and casual, strong and soft.

The most distinctive feature is a coexistence of decorativeness and Readability.
This coexistence expands the range of font usage. You can use this font for not only titling but also body-text.

Short Films consists of 6 weights and their matching Italics for a wide range of usages.
Further, Short Films supports international Latin languages and basic Cyrillic languages including Basic Latin, Western Europe, Central and South-Eastern Europe. Also, Short Films covers Mac Roman, Windows1252, Adobe1 to 3. This wide range of international characters expands the capability of your works.

Introducing, Margoline script font. Margoline is a swash handwritten font that is perfect for branding, packaging, wedding invitation, card, etc.

Features :
- uppercase & lowercase
- numbers and punctuation
- multilingual
- alternates and ligatures
- swash
- 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 titles and credits from the 1960 French film “Le Passage Du Rhin” (English release title: “Tomorrow is My Turn”)” are hand made in a free form bold alphabet resembling both cut paper and quickly sketched lettering.

This avant garde style inspired the digital type revival, which is available in both regular and oblique versions.

A few years ago I’ve discovered the work of one of the most prolific typeface designers of the Bruce type Foundry in NYC during late nineteenth century. Browsing Julius Herriet’s work I found a very unique kind of ligatures in his patented “Old Style Ornamented” type design. Some letters were designed with a little top tail that allowed them to connect to each other. After that, I found that he also designed a single italic weight of the same font 7 years later.

Since the beginning of the Opentype days I’ve been deeply obsessed with exploring different ways to build ligatures, so that lead me up to this point where I felt the need to create “Plethora”, this new font inspired by Herriet’s work. Extrapolating weights, adding variable technology and playing with additional interconnected letters and alternates. Definitely, Plethora means a large or excessive amount of something, and this font tries to bring back this abundance of details two centuries later. Available in 9 weights, from roman to italic, and also as variable format, “Plethora” supports plenty of latin languages and is a perfect choice for today’s design tides.