Anna Pizzey

Litmus is the newest typeface from ITF founder Satya Rajpurohit. It is a slightly condensed humanist sans serif design, with a tall x-height and strokes that end with either horizontal or vertical terminals, instead of diagonals. Ascenders rise noticeable above the tops of capital letters, while the fonts’ numerals are slightly shorter than the caps. Litmus’s interior counterforms are rather open. There are five weights on offer: the Light is monolinear, but the stroke-contrast grows with every weight. The amount of contrast in the Bold is quite high. Each Litmus font makes use of a double-storey ‘a’ and single-storey ‘g’. The fonts may be put to excellent use for text on websites, or in print – especially in documents where a little space-saving is necessary.

Eurocine is an expansive display typeface – a square sans serif that’s perfect for titling, headlines, logotype and branding. This 36-font family is packed with features to make it supremely versatile.

This typeface attempts to capture the mood of movie credits from European Cinema in the 1970s, with a focus on Giallo films in particular. In terms of style, Eurocine sits somewhere between Walter Baum and Konrad Friedrich Bauer’s Folio, and Aldo Novarese’s Eurostile. With Eurocine you get a more versatile typeface by way of its small caps and additional stylistic sets giving you extended caps, extended small caps, and petite caps, as well as upper and lowercase unicase. Creating typographic masterpieces of your own will be so much easier!

Key features:
• 6 Weights in Roman and Oblique
• 3 Widths – Narrow, Regular, Wide
• Extended Caps
• Small Caps
• Extended Small Caps
• Petite Caps
• Unicase
• Old Style Figures
• European Language Support (Latin)
• 1,200 glyphs per font.

A quite harmless and legible font that is very friendly to the eye. Use it when you need something legible and handmade.

Rolling gemstones…

The name “Eris” is again borrowed from Greek mythology, is related to the myth “the apples of Hesperides” which were gold and one of them got the Erida!!! More about this myth can be found on the web...
And in this font (as in one section in the “Cyceon” font) I have mixed in the lower case with the capitals in many letters.I tried here to give a different illustration in lowercase letters, simply because of whims or because the monotony is tiring me!!! One can also mix here with two levels to get a third color depiction using the “ErisPro-Black” with “ErisPro-Strap” or “ErisPro-BlackIt” with “ErisPro-StrapIt”
This series is composed and includes twenty-four fonts with 658 glyphs each, with true italics and supports Latin, Greek and Cyrillic.

Desperate Joke is a handmade, kind of grungy, brush font with loads and loads of attitude. Every letter has 7 different versions, and by using the contextual alternates, they automatically cycle as you type!

Maskina is straight out of the future...well, only if you live in 1985! Just kidding, the Machine font was made to look retro futuristic...but with a slight twist of the 21st century.
Use this future font for your headlines, logos or perhaps even if you have sci-fi documentary in mind!

Vandmelon (watermelon in English) is one of my all-time favorite fruits. The letters in this font actually made me think of watermelon. The ripe watermelon is juicy and has got the right kind of taste. Take a closer look at the smooth curves of the font, and tell me if you too think of watermelon! :)

Impetus is a powerful capitals-only geometric sans in a solid and inline variant. Built around a framework of a circle and square, it echoes angular Deco or Italian Futurist "moderne” forms, and is about as heavy as it is possible for a font to be. Alternate forms are provided in the lower-case keystrokes for the S, G, J and W, and there is also an alternate 1. The two styles can be combined in one setting for effect. Use Impetus where maximum impact is required.

Fixture is our massive 72-font take on plentiful offerings of the late 19th century’s typefaces, posters and wood letterpress sundry done in the Grotesk genre. Four widths ranging from Ultra Compressed to Expanded each come in nine weights and accompanying italics. Some common sans-serif alternates, such as the a and g, are included in all the fonts.

The idea with this design was to put together a workhorse font family with enough functional flexibility to work in multiple environments, from the subtlety of magazine layout or film credits to the visual drama of billboards or packaging.

Aesthetically speaking, it is quite interesting — though in retrospect quite unintentional — that each different width and/or weight of this face ended up pulling a different dominant trait from the melting-pot origins of the entire family. It’s almost like a tribute album to some famous band’s covers of older songs. It may also be a good conversation piece on our tools shaping the very things for which they’re used. Can’t really get any more post-Grotesk than this. In the 21st century, this is the one genre to rule them all.

Papillon Script is an eloquent pen script with large display capitals and small but legible lowercase letters. It’s ideal for logo, headline, brochure, model for a neon sign or any display use like that. Papillon Script is completely monolinear and it gives a clear but vivid impression of a hand writing style.

Papillon Script is equipped with following OpenType features:
• Standard Ligatures is automatically on and it adds variation and smoothness to typing. If a same letter repeats in the same word the latter will automatically change to an alternative version.
• Contextual Alternates is an optional feature that cuts the connection between letters every once in awhile.
• Titling Alternates changes the last character in every word into an ending Swash alternative.
• From Stylistic Set 1 you’ll find a set of 34 ornaments, strokes and arrows.
• Small Caps turns lowercase into a set of legible capital letters.

Spitzenklasse is for that project of yours, where you need something really stylized, legible and beautiful at the same time!