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...
font_designer: Matthieu Cortat
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...
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...
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...
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...