Alica Don

Tone was inspired by classic geometric sans-serif fonts but has a distinct modern day spirit. Contains 16 styles from ultralight to black: 8 regulars and 8 italics. Have a multilingual support and big amount of OpenType features.

This typeface is comfortable to read in small sizes. Great for big pieces of text or as the main typeface in website design. Logotypes and branding, packaging, posters, editorial design, music covers, navigation systems, videos — these are just a few areas in which Tone can help you.

Opentype features: old-style figures, tabular and tabular old-style, tabular currency symbols, ligatures, stylistic alternates, fractions and automatic frations, circled numbers, arrows and stylistic alternates for arrows, superscript and subscript, case sensitive forms.

Multilingual support: Latin, latin extended, cyrillic and cyrillic extended (more than 70+ languages).

Grindhaus Sans is a cross between a geometric & humanist grotesk, inspired by the vintage grotesk typography of the 19th century. A style that was popular on shop windows, book covers, and minimalist labelling.

The letterforms in Grindhaus Sans have slightly varying stroke widths for higher legibility, adobe latin 1 language support, five weights, and unique stylistic alternates & ligatures.

Transmogrified started out as a special project for a client. It’s a lovely sans serif font, casual, with sweet swirls over here and there.
It is based on Transmogrifier, from which uppercase glyphs were selected. Next, new lowercase glyphs were drawn and a bold cut was also developed for added flexibility.
Let your messages be transmogrified!

Rooted in the tradition of good craftsmanship, Wieldy can add detail to every letter and make words rich and full of character. Extended serifs connected with dots make new, beautiful but recognizable forms. These are just some of the design features this artisanal font can offer. Wieldy is created with great skill and high quality – it is the crafted character.
Wieldy typeface is based on the ahistorical forms developed by Central European Arts and Crafts movement. It is designed to be used in demanding projects; visual identities, packaging or book headings.
The typeface’s x-height is around 72% of its capitals and the serifs are extended and accentuated. The font is enriched with details, ligatures and special characters.

Bega is a simplified sans serif typeface. Formal reduction plays a strong role in its design. This is most visible in its ‘spurlessness.’ The visible strokes (or spurs) have been eliminated from the letterforms that would typically feature them. The lack of spurs in Bega is most-clearly visible when you look at the top-left corners of letters like ‘m’, ‘n’, and ‘r’. The Bega family includes eight weights, which range from Thin through Black. Each weight has two fonts on offer: An upright font, and an italic. Bega’s italics are obliques; their letterforms are slanted. The strokes of Bega’s letterforms all appear to be monolinear; that doesn’t mean that Bega is without contrast, however. Thanks to the family’s large number of weights – eight really is a lot – you can combine two or more of them with each other to create headlines that exhibit quite a bit of contrast! Each of Bega’s fonts includes a full range of numerators and denominators, to use when typesetting fractions, etc. The font’s numerals are proportional lining figures; these have the same height as Bega’s uppercase letters. The lowercase letters’ ascenders are tall, and they rise up above the tops of the capital letters and numerals. Bega’s friendly look makes it an ideal choice for use in corporate communication design. The typeface was designed by Sabina Chipară and Diana Ovezea.