Stuart Pro
Punchcutters (when types had to be cut, and not just drawn), were working with steel, a strong metal they had to sculpt. They were subject to physical contingencies: each type cast was engraved separately...
font_designer: Matthieu Cortat
Stuart Standard
Punchcutters (when types had to be cut, and not just drawn), were working with steel, a strong metal they had to sculpt. They were subject to physical contingencies: each type cast was engraved separatly...
Glovis
Glovis is a ‘typewriter’ font — meaning monospaced (all characters use the same width) — and is also italic. But the italic style was originally created to take less space than roman: its letters...
Stockmar
Long-time work of a revival of a baroque font of 1720, after Johann Rudolf Genath II, Stockmar was primarily designed with three italics (more or less geometrical, cursive, dynamic). This work and details can...
Ecstrat
Ecstrat is not a ‘serious’ typeface, but a contemporary version of ornamented ‘flowered’ letters of the eighteenth century, like those of Pierre-Simon Fournier le Jeune and Jacques-François Rosart. Only in capitals: its use is...
Brett
Brett is a rounded bitmapped typeface, with strange serifs. With its elegant — even quite useless — small caps and its ‘old style’ ligatures (like ‘ct’ or ‘st’), it found itself half-way between ‘techno’...
Ebnor
Ebnor is a digital version of the ‘Écriture Bâton Normalisée’ (Standardized Sans Serif) presented by M. Brun in a self published booklet of 1959. The shape of letters respect the standard E-04-105 edited by...
Svafa
Svafa is a free revival of a lettering designed by Eugène Grasset in 1893, on a poster for Richard Wagner’s opera ‘The Valkyrie’. Brisk an rough, but full of youthfullness, it is a surprisingly...