Anna Pizzey

Shorthalt is a dashingly handsome upright script- all dressed up, but not too stuffy, with lots of ligatures and contextual alternates. Shorthalt works great for headlines or bylines paired with a nice simple sans or serif.

Kometa Sans is a contemporary grotesk with a certain personality. She has a steady geometric skeleton, but its appearance is rather humanistic. The precise details of the artwork, the carefully drawn true italics, the six types of numerals, the variety of alternates, the broad range of open-type features and the extensive glyph set can meet most of the contemporary typographer’s demands for a neutral, but not boring type family for both long text and display use. Among the distinctive qualities of Kometa are also the forms of ligatures (both default and discretionary). They follow the natural constructive transitions between oval parts and stems, which is an advantage to mark, at least for designers who respect the beauty of clean forms.

Note the specially designed Kometa Unicase sub-family, substantially enough to exist as a separate typeface. Its elegant and expressive letterforms are boosting further the power to create outstanding design work. Kometa Unicase has original and playful, yet reasonable approach to letterforms variety.

Kometa has a very broad usability range – from logotypes and poster designs to corporate identities and complex editorial projects. The contemporary Cyrillics of Kometa allows easily completion of graphically consistent multilingual corporate and artistic design projects.

Designed by Kiril Zlatkov and Vassil Kateliev.

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.