Mary Bacon

US Bill Sans A Humanist typefaces sans serif. US Bill Sans has 12 weights, ranging from Light to Extrabold (including italics) and is ideally suited for advertising and packaging, book text, logo, branding and creative industries, small text, wayfinding and signage as well as web and screen design.

Provides with features such as ligatures, small capitals, alternate characters, fractions, and superand subscript characters.

It comes with a complete range of figure set options as well as Latin-based languages.

More Designed and produced by Firman Suci Ananda, Fajar Wahyu Pribadi & Irfan Ulya.

Published under Unidaas® Std Formatika Aksa IDN, 2018.

Bluset Monospaced enlarges the re-worked and expanded text- and headline typeface family Bluest Now with 6 new cuts.

The concept for Bluest Now was based, in its original form, on a corporate design typeface by Elsner+Flake in 2004, ordered by the Landor Agency for a large German energy corporation.

Regularly re-worked and brought up to modern standards, the typeface is still used to this day.

More Because of its large x-height and its well-balanced appearance, Bluset Now Mono is also excellent for use in small typesizes.

The three Roman cuts, Regular, Medium and Bold, and the corresponding obliques, allow a clear differentiation of base- and display applications for every typesize.

The character complement has been created for 72 Latin-based language areas and thus allows a neutral text exchange across language borders.

Translation Inga Wennik

Squalo, the genesis The idea of this new project called Squalo bumped into my mind when when I was working up with excitement to my sketches, chasing for a strong typographical character, that for me has to be crystallized in a form which is always legible and functional.

The concept. The concept of Squalo raises from the observation of athletes bodies: you can notice that even if they are all thin, they all show at the same time strong, cut and chiselled figures.

The sport they play molds and modify their bodies. Just think, for instance, to a professional swimmer: during the competition every single muscle, tendon, tissue, cell is working to swim faster.

Every single part is there to give strongness and speed like in a squalo (shark in italian).

Neither as an eel, nor as a mermaid, nor as a hake. Just like a shark. If you take a quick look, you can notice that the width of the typeface is slightly more condensed than that one of a regular typography sans serif.

This helped to strengthen the concept of stylized typography. On the other hand, the tip ends of the characters A, V, W, Z, v, w, z, create a feeling of tension, reinforcing the concept of shark, danger, caution, as well agile movements.

pure strength. I wanted to recall the exact moment of the kickstart in a 100 meters race: when the sprinter spreads all his powerful energy.

The italic version, starting from the former two typographical concepts (that is condensation and tension) emphasizes them.

First of all, I compressed the characters 10 percent more, and slanted it 10 degrees to the right.

With this movement I intended to convey the gorgeous feeling of tension in power and rapidity.

The typeface has 9 weights, from hair to black, and two versions, regular and italic.

There are 18 source files that contain small caps, unicase, tabular and oldstyle numbers, numerators and denominators, and much more.

Squalo is an ideal typeface that I recommend to use in marketing campaigns, in design of packaging, magazines, branding for tv programs, films, book texts, editorial, publications, logos, corporative projects, web texts, and graphic design in motion.

Squalo supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwichin, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotck (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Mori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

Nominee is a cinematic font family made up of 11 weights, 3 widths, and matching italics, that equates to a substantial 66 font styles that feel individually crafted but also part of a larger structured system.

The versatile font styles range from an elegant Hairline to a dominant Heavy, Condensed to Extended, which creates such an extensive range of uses and applications, from web and apps to editorial and branding, and everything in between.

The increased x-height gives the font more readability at smaller sizes and the contemporary shapes mean the font likes to be shown off at large sizes.

More The font features details such as case sensitive characters, numerators and denominators, and support for Central and Eastern European along with Western European languages and Basic Cyrillic.

Download Codec Cheat Sheets Codec is a geometric sans serif type system, designed by Cosimo Lorenzo Pancini with Francesco Canovaro and Andrea Tartarelli.

Codec provides you with two coherent variant fonts built on the same base skeleton: Codec Cold and Codec Warm.

In Codec Cold terminals are always cut parallel or perpendicular to the baseline, emphasizing geometry and giving the typeface a more constructed look.

In Codec Warm, on the contrary, open diagonal cuts and two-storey letterforms give the typeface a slightly more humanist look and a gentler, warmer text feeling.

More Both Codec Cold and Codec Warm come with a wide range of glyphs for language coverage, including cyrillic and greek alphabets, and of open type features, including small caps, positional numerals and swash forms.

Codec typefaces also include over a hundred variant ligature and alternate glyphs.

These glyphs, usually available as discretionary ligatures, have been made permanently active in the two Codec Logo subfamilies, designed for display use and logo design, and thus available with a bolder weight range and tighter metrics.

Codec Logo Cold makes the cold geometry alive with funky ligatures, while Codec Logo Warm randomly stretches characters: both allow for quick, unexpected solutions in logo design and display type treatment.