Cherish Mccormick

Mariachi is a new condensed version of our Maison Luxe font which is a revival of an old 1800’s classic ornate French font.
This new 2021 condensed version takes this old classic to an all new level by adding small caps, italics and a new black version.
Mariachi is perfect for headlines and logos from advertising to product labels, t-shirt lettering and restaurant menus.

Fill fonts are also part of this family, new to this font style is the half fill font for creating a two color effect on the letters, you’ll need an application that works in layers to use the fill fonts in Mariachi.

The regular fill font for Mariachi isn’t meant to be used as a stand alone font so we’ve created a solid black version with thicker serifs on top and adjusted outlines throughout for a better appearance as a solo font.
We hope you enjoy Mariachi as much as we did making it.

Mi Casa is a new condensed version of our Home Style font which is a revival of an old 1800’s classic ornate French font.
This new 2021 condensed version takes this old classic to an all new level by adding small caps, italics and a new black version.
Mi Casa is perfect for headlines and logos from advertising to product labels, t-shirt lettering and restaurant menus.

Fill fonts are also part of this family, new to this font style is the half fill font for creating a two color effect on the letters, you’ll need an application that works in layers to use the fill fonts in Mi Casa.

The regular fill font for Mi Casa isn’t meant to be used as a stand alone font so we’ve created a solid black version with thicker serifs on top and adjusted outlines throughout for a better appearance as a solo font.

We hope you enjoy Mi Casa as much as we did making it.

Oxford Street is a signage font that began as a redrawing of the capital letters used for street nameplates in the borough of Westminster in Central London.

The nameplates were designed in 1967 by the Design Research Unit using custom lettering based on Adrian Frutiger’s Univers typeface, a curious combination of Univers 69 Bold Ultra Condensed, a weight that doesn’t seem to exist but which would flatten the long curves of glyphs such as O, C and D, and Universe 67 Bold Condensed with its more rounded lobes on glyphs like B, P and R.

Letters were then remodelled to improve their use on street signs. Thin strokes like the inner diagonals of M and N were thickened to create a more monolinear alphabet; the high interior apexes were lowered and the wide joins thinned. The crossbar of the A was lowered, the K was made double junction, and the tail of the Q was given a baseline curve.

K-Type Oxford Street continues the process of impertinent improvement and includes myriad minor adjustments and several more conspicuous amendments. The stroke junctions of M and N are further narrowed and their interior apexes modified. The middle apex of the W is narrowed and the glyph is a little more condensed. The C and S are drawn more open, terminals slightly shortened.

The K-Type font adds a new lowercase which is also made more monolinear so better suited to signage, loosely based on Univers but also taking inspiration from the Transport typeface both in a taller x-height and character formation. The lowercase L has a curled foot, the k is double junctioned to match the uppercase, and terminals of a, c, e, g and s are drawn shorter for openness and clarity.

A full repertoire of Latin Extended-A characters features low-rise diacritics that keep congestion to a minimum in multiple lines of text.

The font tips the hat to signage history by including stylistic alternates for M, W and w that have the pointed middles of the earlier MOT street sign typeface.

Incidentally, Alistair Hall (‘London Street Signs’, Batsford, 2020) notes that when the manufacturer of signs was changed in 2007, Helvetica Bold Condensed was substituted in place of the custom design, “an unfortunate case of an off-the-peg suit replacing a tailored one” and a blunder that has happily since been rectified, though offending nameplates can still be spotted by discerning font fans.

Sugar Flash is my grungy comic handmade font: I suggest that you use it for something that has to do with a partyinvitation or maybe products for kids…and sweets…in fact anything that needs a sweet angle!

Undulate was designed as an alternating-letter font in which two sets of characters alternate. The alternating is done automatically in applications that support the OpenType feature contextual alternatives (calt). Some individual characters look strange in isolation but they fit into a wave-like pattern in which shapes that bulge up alternate with shapes that bulge down.

Undulate has monospaced and monoline letters. The letter spacing is very tight to accentuate the ripple pattern. The family includes an outline style that can be used in a layer above the regular style to add color. Undulate was not designed for any particular use but as a challenge to fit letters into a particular geometric shape. The unusual patterns that a result are eye-catching and may be useful for advertising or signage and in other places where one wants attention-grabbing lettering.

Classike is a high contrast squarish display typeface. Inspired by the Art Déco period from a modern perspective. Refined and elegant yet with a mechanical vibe, it is ideal for pairing with any functional font, it works especially well with Geogrotesque, from which it inherited its proportions and soul. Classike adds an exclusive touch and helps enrich your graphic voice. A Variable Font version is included with the family or as a separate style.

What exactly is an exit punch? I have no clue! :) I named the font after a wordplay with random words, and somehow I found the name suited the font perfect. The letters are awkward and unpredictable in a legible but playful manner. I’ve added ligatures for the most common double letters, such as bb, cc, dd etc.