Cruz Maldonado

Replay is a pure hymn to the classic typeface Caslon originally made by William Caslon (1692–1766). The typeface that bears his name, was made between 1720 and 1726. In 1739 he founded the Caslon Foundry which later become a property of Stephenson, Blake & Co., but remained an independent foundry until 1937.

The typeface have been popular ever since it was made and still stand proud as a classic text face. MRF made detailed research, including versions from Adobe and Justin Howes. The end result is leaning more towards the original. Some minor »imperfections« are also incorporated in order to make the typeface more lively

and old fashioned.

In many aspects, built in a traditional way. Still, some modern details have been implemented which classic designs sometimes lack. The prime goal was to make a strong text font for books and longer texts in general. This fact does not exclude the possibilites for use elsewhere. Throughout history existing designs have often been the source of inspiration for newer ones. Delicato is no exception and looking closely, similarities can be found in the lowercase of Jeremy Tankard’s Enigma and the stems of Petr van Blokland’s Proforma.

The goal is to respect these sources and turn the the typeface into something new with a unique and personal touch. Most text faces carry a basic set of weights like Regular, Italic, Bold and Small Caps. MRF wanted to expand that a little bit further and added a Medium, Alternates and a set of Ornaments to make the family complete and versatile.

SK Zweig is a double weight serif font. It was designed with inspiration from Stefan Zweig's works and the design concept of his era.

It is designed to be used easily in long texts and headings. It contains many typographic elements that you will need in your design.

It offers full support for the Latin, Greek and Cyrillic alphabets. It contains 52 different fonts and 48,776 glyphs.

There are free options for you to try.

Ozzie is a wonderfully readable Serif book face with low contrast stems and fluid shapes. There are 4 upright and 4 true italics making this typeface suitable for text and header use on any device or printing environment.

Ozzie was created primarily as a traditional text font but adapts well to today's digital technology, presenting the richness of the late baroque forms within modern text formats. This clear, balanced font is suitable for almost any use.

Quadrim - Serif Font Family - Multilingual -12 Style (2020)

On the basis of Quadrim, it is a mix of the old-fashioned Roman serif family. The old style serif combination combines, modern aesthetics with fantasy and Art Nouveau serif fonts, making Quadrim a versatile family that can be used in many different design projects.

This font offers a wide variety of styles to help you discover the best mood for your projects, from body text to large titles, from classic styles to modern and bold styles.

It is very suitable for book and magazines, magazine covers, editorial, titles, websites, logos, invitations, branding, advertising and more.

CHARACTER RANGES :

   Basic Latin,

   Latin-1 Supplement,

   Latin Extended-A,

   Latin Extended-B,

   General Punctuation,

   Currency Symbols,

   CJK Symbols And Punctuation,

   Private Use Area (plane 0),

With this font you can create your unique designs.

If you have a question, please contact me.

Have a good time.

Adi Stern’s Noam Text shows that typographic progress is often in the small things — in the perfecting of familiar traditions and in staying loyal to the spirit of what came before. It can’t really be called progress unless it honours its history. In this way, TypeTogether is happy to introduce Noam Text: A Hebrew and Latin serif font that builds on its heritage with the twin tools of honour and progress.

Since 1908, the Frank-Rühl fonts have dominated the Hebrew book and newspaper market. Noam Text’s design goal was to create a coherent family with both Latin and Hebrew serif text typefaces, each authentic to its own script, and which would serve as an alternative to last century’s predecessor.

In short order, users will recognise Noam Text as a source of progress in its bilingual abilities. Hebrew and Latin have opposite reading directions, creating many issues: opposing directionality of the open counters; vertical stress in Latin, but horizontal in Hebrew; fewer extenders in Hebrew; and no Hebrew capital letters. All these have been taken into account in Noam Text’s modern design. Of unique importance — all punctuation marks have a Hebrew version, which makes each script complete and uncompromising. Among other technologically advanced details, Noam Text was programmed for all expected scenarios of mixing Hebrew, Latin, figures, and punctuation.

Noam Text is intended mostly for setting long texts, so it strives to achieve maximum legibility in minimum space with its large x-height, short and fairly condensed Latin capitals, large and open counters, and low contrast. Originally derived from the Hebrew, the shallow horizontal curves and strong baseline serifs provide dynamism and enhance the reading flow. Noam Text Latin’s italic is rounded and reading friendly, is condensed to generate a lighter texture than the roman, and has a flowing stance. These virtues help it endure harsh printing conditions and subpar inks and paper.

Noam Text’s three total weights provide a proper solution for integrating texts in both scripts, as well as a contemporary alternative for use in books, newspapers, and magazine design. Aligned with TypeTogether’s commitment to produce high-quality type for the global market, the complete Noam Text family displays an impressive amount of discretion, applying to wide use-cases by not edging too close to religious motifs or imbibing in secular indulgence. This means Noam Text can be the go-to family across the board and capitalise on the desire for clear typographic progress in this modern age.