Amelie Briggs

Dirk is a strong, heavy slab serif meant for large, attention grabbing display use. Dirks design lives somewhere between a Clarendon wood type style and a more modern geometric slab serif.

It features the bracketed serifs, large x-height, and short ascenders/descenders of a Clarendon design, but drawn with the precision curves and smooth, sturdy structure of a geometric slab.

The result retains the charm of wood type, but sheds a lot of the over-familiarity and sameness of a digital revival.

Dirk is available in both a clean, Black weight as well as a Stencil version.

Each styles feature a full Western, Central, and South Eastern European character set.

Electrica is a contemporary monospaced typeface family; a tribute to classic typewriters, while designed for todays needs and media.

In spite of taking inspirations from several typefaces used in typewriters (most notably the IBM Selectric), Electrica is far from a revival: its a typeface on its own, winking to the past while standing its ground confidently in a contemporary environment.

Clean, crisp, rational, familiar, modern serifed. Positype Scotch reaches back to history just enough to produce something warm and easy on the eyes.

No corners were cut, no quick tricks this type suite was drawn for specificity: Text, Display, and Deck ALL in 3 widths that now include Condensed and Compressed.

Each unique, each inter-connected, each part of the whole. Scotch Text is offered in 6 weights with matching true italics. Drawn for economy and an easy read, the family is a workhorse for long-passage text settings.

4 sets of numerals, well-proportioned small caps, and a plethora of extras round out each font.

More Scotch Display is not just a thinner version of Scotch Text wrapped in a higher contrast.

Display sports shorter ascenders and descenders, a unique footprint, great contrast, and a more folded, calligraphic italics.

Display subtly oozes sophistication and provides an attractive, exhuberant companion to Scotch Text.

Scotch Deck rounds out the offering by choosing to be specific to its offering.

Deck utlitizes traits and proportions shared between Text and Display, but alters its overall mass to balance out the needs for settings that require subheadlines, callouts and other similar uses.

Essentially, something not so high-contrast and not so stress dense that works great for middle-sizes.

Tara is a family of serif fonts designed for immersive reading. Its design considers a tall x-height, balanced with high contrast letter-forms and wedge-shaped serifs that propose an elegant character functional at reading sizes.

The axis of stress running through the letters is almost vertical; however, Tara is inspired by oldstyle typefaces, characterized by their use of diagonal axes.

The family includes four weights that range from Regular through Bold with matching italics.

Many of Taras lowercase letters retain calligraphic traces in their details, such as the terminal on the upright lowercase a and the ear of the g.

The italics contain a few dozen swash alternates, for use in headlines, titles as well as logo designs.

All of the fonts include small caps, 14 f-ligatures, and case-sensitive punctuation.

The default numeral style is set at proportional oldstyle figures with tabular and lining figures available as OpenType alternates.

A full-range of numerators and denominators for fraction-typesetting has been included for its compatibility with a widespread range of contents.

With letter-forms quite comfortable to read, Taras language support covers an extended Latin character-set and is an excellent choice for editorial projects across print media.

Tara was designed by Tania Alvarez Zaldivar, a type and graphic designer from Mexico, and a graduate of the Type & Media program at the Royal Academy of Arts (KABK) in The Hague.

Cardillac, named after E.T.A. Hoffmanns literary figure, refers back to classical Didonesque, yet presents unique details which set it apart from historic models by adding a new flavour.

Its clarity, noble appearance and cool elegance predestine it for magazines and newspapers.

The Cardillac Family consists of 14 styles, provides many features which allow its application for ambitious typography.

It comes in OpenType format with extended language support. All weights contain small caps, ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternate characters.

Traction was originally conceived and designed by Swiss astronomer Christian Thalmann. Schriftlabor designers Chiara Mattersdorfer and Miriam Surányi expanded, completed and produced the font family.

This typeface sports signature serifs, soft edges and a fluid, organic design.

Enlarged, the organic letters are reminiscent of the profiles of ­off-road tyres and hiking boots.

In text sizes, it is the humanistic forms that set the tone to ensure fluid legibility.

Totalling at 18 styles in nine weights, all fonts come with small capitals and all possible numerical variations.

Originally, Viktor Solt-Bittner developed Attorney as a custom font for a law firm, hence its name.

Attorney shows a systematic, yet unconventional placing of its serifs, hard corners and a clean design.

The typeface was produced by Schriftlabors type director, Lisa Schultz. Attorney consists of 7 weights, from Light to Black, each of them accompanied by an italic, totaling in 14 styles.

All of them contain several figure sets, small caps and many alternative forms, which are accessible by OpenType features.