Anna Pizzey

Fact is a workhorse open sans serif type system. It is inspired by the great Frutiger typeface. While the Regular style is slightly modernized but still quite close to Frutiger, changing the weight or width makes differences of the design more pronounced. The style range of Fact is wider than of any cognate type family, including weights from Thin to Black and widths from Compressed to Expanded. Fact type system contains 48 upright styles with variations in width and weight and 8 italics of normal width. The font was designed by Alexandra Korolkova and Manvel Shmavonyan and released by Paratype in 2018.

Historical typography makes a comeback.

A revival of one of the most popular of a number of rugged typefaces used around the turn of the century, Croft revives the creation of Lewis Buddy III, known as “Roycroft” in 1912 ATF catalogs. It also, according to ATF, was designed “partly” by Morris Benton, around 1898.

The original typeface might be considered an early form of grunge fonts. This typestyle maintains historical flavor, while also being relevant today. It has been expanded to have more discretionary ligatures and numerals sets for versatility, and maintains the original stylistic alternates and standard ligatures.

See the 5th graphic for a comprehensive character map preview.

Opentype features include:
Full set of Inferiors and Superiors for limitless fractions.
Tabular, Proportional, and Oldstyle figure sets.
A small collection of Discretionary & Standard Ligatures.
Stylistic Alternates for variations of several characters such as R, u, t, etc.

Approx. 482 Character Glyph Set: Croft comes with a glyphset that includes standard & punctuation, international language support, and additional features.

The inspiration source for MFC Stencil Borders Six are stencil patterns from the circa early 1900’s Blue Label Brand Stencil booklet. The original designs were produced as single color stencils designs, mostly as trims (without corners to complete them as borders). We've not only added corners to make them fully functional borders, but we've also created two-color layerable chromatic styles, for more fun and diversity. For the first time, this decorative border collection is available digitally.

You can start with a new document or work on a new layer within an existing document. Select MFC Stencil Borders Six from the font menu. (Some users may have font previewing enabled in the font menu which will cause the font name to appear as border elements, disable this option in order to choose the name)

Make certain that the point size of the font is the same as the leading being applied to the font so the borders will meet up properly. While we’ve adjusted this within the font, your program may override these settings. For instance a 12 point font should have 12 points of leading. A PDF guidebook for MFC Stencil Borders Six is available via the Gallery tab.

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!

Ekster is a geometric sans serif typeface from the Parisian designer Ilya Naumoff. Many of its letters are simplified; you’ll find several places in the typeface where the connection of bowls to stems isn’t fussy, for example, and horizontal strokes – like those in the ‘f’ and the ’t’ along the x-height – don’t bisect their letters’ main vertical stems (but populate the left-hand side only instead). Ekster’s lowercase ‘u’ is also symmetrical. The family includes a staggering number of weights – eight in total, and these range from Thin through Black. Each weight has both an upright font and an oblique-style italic on offer. The letterforms in all of the Ekster weights are drawn with virtually monolinear strokes. Ekster’s x-height is moderate, and the lowercase’s ascenders rise up to the same height as the capital letters and the numerals. However, the best feature of Ekster’s fonts is the large number of alternates that they contain. Ekster includes alternate forms for almost every lowercase letter, and some even have more than one alternate available – like the ‘a’, ‘e’, and ‘r’. Ekster is an excellent choice for use in both corporate design and editorial design projects, both because of its range of font weights and styles as well as because of its legibility in text.