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Adlibitum AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvXxYyZz1234567890 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvXxYyZz1234567890 
Designed by Francesco Canovaro, Adlibitum is a display typeface designed as a contemporary restyling of old textura medioeval script characters. It features a strong vertical accent and a geometric design, with 45 degrees angles and soft round corners. [...] Designed by Francesco Canovaro, Adlibitum is a display typeface designed as a contemporary restyling of old textura medioeval script characters. It features a strong vertical accent and a geometric design, with 45 degrees angles and soft round corners. It comes in three weights and features an extended character set with support for European languages, and open type support for ligatures.
Adlibitum • 3 styles
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Gronau AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvXxYyZz1234567890 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvXxYyZz1234567890 
Andrea Tartarelli discovered the letterforms that would inspire his Gronau family in a 1912 specimen by the Berlin-based Wilhelm Gronaus Schriftgießerei, that showcased the typeface Fette Reichs-Deutsch, designed by Wilhelm Gronau in 1902. Even if Gronau also cerated Art Nouveau inspired typefaces like Berolina or idiosyncratic Sütterlin “blackletter cursives” like Hohenzollern Schrift, his work mostly centres on gothic letter shapes. [...] Andrea Tartarelli discovered the letterforms that would inspire his Gronau family in a 1912 specimen by the Berlin-based Wilhelm Gronaus Schriftgießerei, that showcased the typeface Fette Reichs-Deutsch, designed by Wilhelm Gronau in 1902. Even if Gronau also cerated Art Nouveau inspired typefaces like Berolina or idiosyncratic Sütterlin “blackletter cursives” like Hohenzollern Schrift, his work mostly centres on gothic letter shapes. Fette Reichs Deutsch, that Tartarelli digitised as Gronau Fette, sports a very broad and square structure, mild contrast and a very geometric treatment of shapes, with slightly rounded terminals, straight lines and clear 45 degree angles. This unusual, pre-modernist approach to letterform inspired Tartarelli to explore its potential for display use, with the creation of an inline version that modernises the original and pushes to the maximum its dynamic energy. Gronau inline design transforms the broad nib marks into a ribbon folding in 3d to recreate the original letterforms, adding a dynamic, sporty language to the original typeface gothic feel. With Gronau Neue, Tartarelli tried to find a contemporary, gestural interpretation of blackletter shapes, adding a slightly calligraphic look and feel to to the original hasty lines and energetic construction. This third variant of Gronau is the one that most departs from the original mode: using generous x-height and condensed proportions, it achieves a more contemporary feel and extends the family expressive range into display, editorial and packaging options. All the versions of Gronau sport a wide range of Open type features and glyph alternates, further enriching the usage possibility of this typeface that embodies our contemporary swap culture by embracing the many subtleties and historical interpretations of blackletter typography while at the same time playfully expressing with a digital, dynamic spirit.
Gronau • 4 styles
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Keratine AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvXxYyZz1234567890 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvXxYyZz1234567890 
The letterforms that we now accept as the historical standard for printing latin alphabets were developed in Italy around the end of 1400. Deriving from Roman capitals and from italic handwriting, they soon replaced the blackletter letterforms that were used a few years before by Gutenberg for his first moveable types. Between these two typographical traditions there's an interesting and obscure middleground of historical oddballs, like the [...] The letterforms that we now accept as the historical standard for printing latin alphabets were developed in Italy around the end of 1400. Deriving from Roman capitals and from italic handwriting, they soon replaced the blackletter letterforms that were used a few years before by Gutenberg for his first moveable types. Between these two typographical traditions there's an interesting and obscure middleground of historical oddballs, like the Pannartz-Sweynheym Subiaco types, cut in Italy in 1462.   Keratine is the result of Cosimo Lorenzo Pancini's exploration of that territory. Like our Kitsch by Francesco Canovaro it explores the impossible territory between antiqua and blackletter, not as a mere historical research, but rather as a way to re-discover and empower an unexpected and contemporary dynamism. Using contemporary digital aesthetics to combine the proportions of humanistic type with the gestural energy of Fraktur letterforms, Keratine developes a "digitally carved", quasi-pixelated appearance (clearly stressed in Keratine's italics) that allows an unexpected balance between small-size readability and display-size personality.   Keratine also relies heavily on a variable identity as the letterforms change dynamically with weight, developing from a contrasted, text-oriented light range to more expressive and darker display range, for a total of 8 weights with italics. Open type features and glyph alternates further enrich the usage possibility of this typeface that embodies our contemporary swap culture by embracing the contradictory complexity at the crossroads between Gothic and Humanist styles, while playfully empathising with a digital, brutalist spirit.
Keratine • 17 styles + variable
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Kitsch AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvXxYyZz1234567890 AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvXxYyZz1234567890 
Designed by Francesco Canovaro with help from Andrea Tartarelli and Maria Chiara Fantini, Kitsch is a typeface happily living at the crossroads between classical latin and medieval gothic letterforms. But, rather than referencing historical models like the italian Rotunda or the french Bastarda scripts, Kitsch tries to renew both its inspirations, finding a contemporary vibe in the dynamic texture of the calligraphic broad-nib pen applied to the [...] Designed by Francesco Canovaro with help from Andrea Tartarelli and Maria Chiara Fantini, Kitsch is a typeface happily living at the crossroads between classical latin and medieval gothic letterforms. But, rather than referencing historical models like the italian Rotunda or the french Bastarda scripts, Kitsch tries to renew both its inspirations, finding a contemporary vibe in the dynamic texture of the calligraphic broad-nib pen applied to the proportions of the classical roman skeleton. The resulting high contrast and spiky details make Kitsch excel in display uses, while a fine-tuned text version manages to keep at small sizes the dynamic expressivity of the design without sacrificing legibility. Both variants are designed in a wide range of weights (from the almost monolinear thin to the dense black), and are fully equipped with a extended character sets covering over two hundred languages that use latin, cyrillic and greek alphabets. Special care has been put in designing Kitsch italic letterforms, with the broad-nib movements referencing classical italian letterforms to add even more shades to your typographic palette. The resulting alternate letter shapes have also been included in the roman weights as Stylistic Alternates - part to the wide range of Open Type features (Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms) provided with all the 32 weights of Kitsch. Born for editorial and branding use, Kitsch is fashionable but solid, self-confident enough to look classic while ironic enough to be contemporary.
Kitsch • 32 styles
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