Anna Pizzey

-OC Bartók is a beautifully crafted wedge serif available in ten styles.

The maverick brother of -OC Rey, it adds a brutal confidence to the former’s classical elegance, and carries a sense of passion and drama which increases with weight; starting subtly in Light and finishing with a magnificent crescendo in Bold.

Drawn from a mix of inspiration -OC Bartók is based on the readable skeleton of a gothic sans, has the high stroke contrast of a didone, while the sharp serifs and details like the notched R subtly tip their hat to the metal engraving style. The result is equal parts nefarious and majestic but never antique, suited perfectly for contemporary digital and analog applications.

The large x-height and open apertures make it incredibly versatile, equally suited for logos and headlines in bold weights, and extensive copy in light.

Designed with extensive language support and multiple open type figure styles and ligatures.

Available in ten styles -OC Rey is a modern Didone font featuring true italics and signature ligatures that can take designs to another level.

Classical in character it is drawn with thick vertical stems and fine horizontal lines, a contrast which starts gradually at the lightest weight, building abruptly to the thick stems of bold. The forms are even in proportion and structure with a vertical stress giving a proud, upright stance and an air of distinction. The beauty of the high-end uppercase excels in elegant headlines perfect for the arena of art and fashion, while the high x-height, large eyes and apertures and distinctive open counters make it perfect for readable copy.

With a traditional appearance and a refined elegance, it’s reverent but also breaks from convention with distinguished characteristics that suggest heritage in a modern context. Traditionally round features are replaced with sharp corners, noticeably in the square tittles and the absence of heavy soft ball terminals giving it a unique presence. The weight of the unbracketed serifs is deliberately less extreme than some Didone hairlines, meaning it’s beauty doesn’t disintegrate when small or reversed, making for excellent versatility.

-OC Rey is designed with extensive language support and with multiple open type features.

Operetta is a neo-didone display font family inspired on Bodoni, Didot (early 18th century) and Walbaum (19th century). Despite of this heritage, Operetta’s design meets contemporary taste and typesetting needs.

Five optical sizes give you control over the font’s readability on different sizes. Eight weights from Extra Light to Extra Bold let you set your tone: from delicate to exuberant.

Operetta’s generous character set and opentype features let you meet the most demanding layout needs. And don’t forget swashes, arrows and other extra glyphs (911 per style)!

The number displayed in the font family name represents the minimal size (in points) the style should be used in print design. In web design you should multiply the minimum value by 3/2 for a retina screen; multiply by 2 for a 72 dpi screen. Of course its rendering depends on the printing support, screen resolution, hinting support, etc. Therefore, take it as a suggestion or a starting point; make your own trials.

Joane Stencil™ is Joane’s fearless sequel. Mixes the elegancy of French didones, calligraphic endings, glyphic serifs and the split of the Stencil is treated very carefully. Thus its features convey a warm unique style.
Moreover, it has powerful OpenType features for each style, including stylistic sets, extended language
support, beautiful ligatures, contextual alternates, lining figures, oldstyle figures, fractions, and many more.
Joane Stencil is perfectly suited for magazines headlines, branding, advertising, labels, web and packaging.

An elegant, stylish and easy-to-use typeface.

Just as a nice hat makes you look good, Cagliari brings beauty to your designs—through the traditional flavor of Didone faces, and the simplicity of Modern and neo-Grotesk fonts.

The font is based on the “Queulat” design yet features a higher contrast, between thick and thin strokes, which makes it look simple and suitable for a wider range of uses. Due to an abrupt contrast in stroke weight, Cagliari is more noticeable on terminals and teardrop terminals compared to Queulat. The Neogrotesk-style shapes add a minimalist touch to the font with thoughtful attention to detail.

Cagliari is the ideal choice for fashion magazines, Italian-author books and logotypes for prestigious brands.

Don’t ask me why I called this font Blabbermouth, as I really don’t know. I guess it reminded me of a person who talks too much, as Blabbermouth is kind of in your face, uneven and slightly crazy.

Blabbermouth won’t keep your secrets, but I’m sure it’ll make your designs get the attention they deserve.