Cherish Mccormick

The early inspiration designs for Kalpa are from some old wrist watches dials from an iconic diving watch brand.
The result is a sharp and sleek design that gives an extremely strong look to the font.
The design comes with some alternatives design which enhanced the use of the font and let you customise your letter works.

Kalpa comes in 4 weights and italics to make it versatile and easy to use on all kinds of media.
It is a wise choice for headlines, logos, branding, packaging, publications and websites
The name comes from a Sanskrit word meaning a relatively long period of time to connect with its early inspirations of wrist watches dials.

Tabula is based on a subtitle font project developped but never released.
It is a font family suitable for small editorial texts and for large signage titles.

It is a sensitive sans-one that is not restricted to geometric shapes but has a subtle calligraphic, foundation which make it highly readable.

Taco is a new Mexican style font family based on our Tavern and Algerian Mesa type designs.

When I finished the extra heavier weights for Tavern I decided to play around with a decorated version, the extra bold letters allowed for much more room to work with an inlay pattern.

After experimenting with several designs I decided on a Mexican pattern because the original base font is very popular in Mexican restaurant logos and menus plus it’s frequently used on Tequila bottle labels.

I originally planned three weights for the Taco font family, however, after completing the bold weight I’ve decided to release it now so you may put it to use while the regular and extra bold are being produced, sorry I can’t estimate a release date for the two other weights.

To use the fill font layers you’ll need an application that allows you to work in layers such as Adobe Creative Suite products.

Opentype features aware applications are also needed for accessing the many alternate glyphs in Taco, all the alternates that you love in our Tavern fonts are also available in Taco.

All the same alternates that you’ll find in our Tavern font are also in the Taco family.

While the fill font layers are in registration with one another some applications may throw them out of alignment by changing the spacing.
Custom inter letter spacing in Adobe Creative Suite may also throw the fill fonts out of alignment.
We recommend doing your custom spacing first then duplicate the type layer and change to the next fill font and color.

The inspiration for the Taco name of this font family was from a homemade Taco dinner I made for a guest at my house. After dinner I searched to see if there was a commercial font named Taco, there was no such font named Taco and the rest is history.

The old Stephenson Blake Algerian font has come a long way since 1908, and we’re not done with it yet.

Transfer is an elegant monoline font. It gives any text a tech flavor.
Made in 7 weights, called gauges, it helps you cover a wide range of uses.

Transfer was initially a custom font use for titles for the magazine of a famous french books and hi-fi retailer.

Inspired by an 80’s Swiss book cover about mushrooms, WT Null is a modern display typeface with slightly inverted contrasts.

Its mildly extended proportions coupled with the inverted contrast give it a subtle display potency, and a surprising capability to transition between being a quirky display face and a functional grotesque.

Bogart has been designed in 2020 by Francesco Canovaro as a personal homage to the iconic look of low-contrast old-style fat faces, like Cooper Black (Oswald Bruce Cooper, 1922) and Goudy Heavy Face (Frederic W. Goudy and Sol Hess, 1925-1932). Originating from the modern old style of Bookman, these muddy, goopy shapes found their pop culture iconic status thanks to rub-on transfers and phototypesetting systems in the 1960s and 1970s. Positively bursting with hippie energy and exuberant vitality, they often included an extensive repertoire of swash characters, bridging the space between lettering and typography.

In researching these shapes, Canovaro decided to include also the influence of another idiosyncratic american old style typeface, Windsor, quoting its sloping shapes and quirky solutions, and expanding the weight range of Bogart to include a selection of display light weights where the muddy shapes of the heavy weights distill into elegant teardrop terminals. All the nine weights of Bogart, as well the matching true italics forms, feature an extended charset of over 1600 glyphs, covering 219 languages using latin, cyrillic and greek alphabets, and sporting a complete set of Open type features including alternate forms, discretionary ligatures, small capitals, stylistic sets, positional numbers, case-sensitive, terminal and initial swash forms. To add flexibility for editorial usage, a text-oriented Bogart Alternate set of nine weights was added to the family keeping the design more similar to its modern old style model and allowing for a heavy readable mid-weight range.

Hollywood icon Humphrey Bogart, famously said: “things are never so bad they can’t be made worse.”. This typeface was named after him, aiming at a way to embody the moody spirit of vintage typography, from film noir aesthetics, to the pop culture reference, from joyous swash titling and logo design to strict, balanced text typesetting. Because “typefaces are never so good that they can’t be made better”.

Firelli is an original family of 14 styles including 7 weights and Italics, designed by the talented Teddy Derkert. Delighting from Thin to Black, Italics, and Swash Caps. Big headlines will love Firelli’s incorruptible details. Longer texts will benefit from a wide-ranging family with its solid posture. Go, use everything Firelli has to offer, to design your contentful magazines, powerful annual reports, or even bedtime stories and fairy tales.