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Wonder Brush is a display typographer’s guilty pleasure. It’s one of very few fonts ever made that can take intense abuse and still look natural.
Partly based on a 1969 Friedrich Poppl design called Poppl Stretto, but considerably fused with ideas found in interwar magazine ad lettering and signage, Wonder Brush caters to the idea that most graphic designers would rather use design elements they can enjoy. When you spend your days being “challenged” and “creatively tested” and “communicating the message,” you can definitely use a little bit of playtime. And this font gives you just that, playtime on the job.
This is the stencil cousin of Canada Type’s hugely popular unicase font, Social Gothic.
The stenciling is a unique treatment unlike familiar stencil acts, with round cuts through curves and straight ones through straight strokes. This treatment works well with the biform construct of the face by emphasizing its clean outlines and enhancing its minor humanist totality.
Social Stencil is a multi-script font that contains support for most Latin-based languages, as well as Cyrillic and Greek. It also comes with plenty of built-in alternates.
Hortensia, designed around 1900 by Emil Gursch for his own Berlin foundry, is a typeface most expressive of the post-Victorian aesthetic that was all the rage in both Europe and America during the second half of the 19th century and up until the Great War. It is a reduced aesthetic of sharp points and natural curves that almost want to apologize for their own elegance, but clearly embody the simple excitement about the blossoming of industry and crafts during the period. This deco script trend would get a re-run for about a decade on either side of the second World War — especially in the entertainment and financial industries — before giving way to art nouveau and big brush faces.
Hortensia was Gursch’s most popular typeface, used extensively and prominently in many beautiful type catalogs, and a commonly seen design element in Germany for quite a while after its release.
This digital version brings plenty of fixes and additions to the original metal Hortensia design, including many alternates sprinkled throughout the character set, and support for a wide range of Latin-based languages (including Central European, Baltic, Turkish and Welsh).
BAQ Rounded is a fully developed solid typeface which contains full Latin characters, and fully developed character sets. It is perfect for anyone looking to work with a chunky font which has full character support for all languages. It’s also highly legible, and always good for extra impact. This OpenType font offers great opportunity for creating bold and impacting headlines, typographical work on digital forms or print. Full friendly and almost impossible to miss BAQ offers a great use of quick impact typographical treatment through a variety of media. Inspired by a use of geometrical circles BAQ is constructed in a way in which each letter can work perfectly alongside each other resulting in a very tightly knit family. BAQ has seen recent success amongst some high profile brands, and continues to stand out from the crowd in the fat typographic market place.
This is the rounded, softer version of Canada Type’s popular Wagner Grotesk. Originally done in 2011 for a global publisher, this font has already seen plenty of magazine and book cover action, perhaps even more than the sharp condensed face that spawned it.
And like Wagner Grotesk, Wagner Round comes with small caps and biform/unicase forms, in addition to the main upper/lowercase set. The extended language support covers a wide range, including Greek and Cyrillic, Turkish, Baltic, Central and Eastern European languages, Celtic/Welsh and Esperanto. The Pro version combines all three TrueType fonts into one OpenType-programmed font, taking advantage of class-based kerning, the small caps feature, and the stylistic alternates feature for the biform shapes.
Oxygen is a square and strict grid-based unicase design that expresses the 21st century with an unmatched clinical precision and clarity. With three weights and italic counterparts, Oxygen covers geometric expression ranges from the thin and delicate artist to the sturdy in-your-face brand announcer. The italics contain a unique and noticeable elegance rarely seen in geometric alphabet. Oxygen is ideal for product packaging and headlines, to name a few applications. It is available in all popular font format, and offers some alternate surprises within its character sets.
Tupelo comes in two main fonts, plus a set of beginning lowercase, a set of ending lowercase, and plenty of alternates and extras. The non-Pro set consists of five fonts, while Tupelo Pro combines the lot in a single font of over 840 characters, which includes programming for push-button swash caps, stylistic alternates, old style figures, beginning and ending letters. Philip Bouwsma’s offbeat mind, always working in mysterious ways, brings us one of the unlikeliest syntheses of historical influences in a perfectly fluid, organic, and highly expressive connected script. Tupelo takes its inspirational roots from the handwritings of two of the most influential men in world history: Elvis Presley and Abraham Lincoln. It took a little research and analysis on Bouwsma’s part to reveal that The King’s and the President’s methods of writing shared a common ancestor, a writing system they had both learned as youths during their first school years. While Tupelo’s lowercase maintains the slant, colour, texture and flourish of Elvis’s handwriting, its uppercase is the embodiment of Lincoln’s well-versed originality. This is the closest a typeface has ever come, in its timeliness and historic relevance, to making a statement about these modern days’ fusion of politics and popular culture.
Centennial Script was designed and cut by Hermann Ihlenburg in 1876 (the centennial of American independence, hence the typeface?s name) for the MacKellar, Smiths & Jordan foundry in Philadelphia. Ihlenburg was then only 33 years old, and these beautiful forms put him on his way to become the most prolific and innovative deco, ornamental and script typeface designer and punch cutter of the nineteenth century. Centennial Script comes in all popular font formats, and supports most Latin-based languages. Also included is an Alts fonts that contains alternates, ligatures, snap-on swash endings, some ornaments, as well as a complete set of the lowercase without left side connectors, for a more natural combination when following a majuscule, or just in case the user finds it fit to set the copy in a non-connecting script instead of the face’s original connected flow.