Piper Blackall

Sudtipos is proud to announce the release of Découpe, a display typeface program of eight fonts, designed by María Carla Mazzitelli and born during her Masters in Typography at the University of Buenos Aires (FADU-UBA).

Inspired by gestural graphic expressions like paper cut-outs (découpes) and spontaneous handwriting from the most diverse postmodern and contemporaneous artists of the design world, Découpe has been created specifically to be used in big sizes.

A little bit irreverent and effervescent from time to time, this gestural sans serif family reveals its contrasts and asymmetrical shapes when it breaks through display functions.

From Light to Extra Bold, it reaches the most extreme weights, looking for power and impact.

This program is meant to catch the eye in typographic compositions, to shout it out loud and clear.

Definitely, to be seen. More *Découpe has been recently selected to be part of different typography exhibitions such as Tipos Latinos and the Type Directors Club.

Released by Intertype in the 1930s, Vogue, was a geometric sans serif rival to Futura and Kabel.

Vogue had many unique quirks like its distinct G, that striking Q with a vertical tail, and many others.

Almost ninety years later there has been no decent digital revival of this wonderful typeface.

.. until now. Intervogue Soft brings this classic to life in the modern age. Seven weights complete with true obliques and an alternate cut give Intervogue Soft the versatility to be a true workhorse.

I do a lot of taller, narrower handwriting fonts; this time around, I was inspired to make a wider, shorter handwriting font! MUGGSY has everything you expect from one of my fonts: clean and smooth curves, a full set of alternates, and a feeling of fun! MUGGSY has two uppercase-height alphabets (with a few lowercase-style letters like a and e in the lowercase set), plus a full set of 63 smallternates -- the same letters, numbers, and ampersand sized down to 75%, and beefed up in weight so they can be mixed in with the full-size letters.

Plus 30 double-letter ligature sets, and a few additional alternates for variety! More You also get a ton of punctuation, and my usual 300+ extended Latin characters for language support, for a total of over 600 glyphs! And just because you may want things a bit heavier, I've also made Muggsy Heavy, a bolder weight of Muggsy with all of the same alternates and extras.

Disruptors Script is the alter ego of our previous project Gentlemens Script. Unlike the Gentlemens Script, the new font is an elegant rebel and defies traditions. The font is painted with a brush pen, which is especially noticeable in the characteristic shabbiness and different thicknesses of the strokes.

More While the Gentlemens Script is an embodiment of a classic costume, dress shoes and an expensive watch, Disruptors Script is a fashionable suit, sneakers, an iWatch and a tattoo that peeks from under the shirt.

The font retained the incline, speed and overall sense of dynamics inherent in Gentlemens Script, but got a bit more chaotic and unpredictable.

This is especially noticeable in the newly added shabbiness, elongated extenders, a large number of contextual alternates and different ligatures.

For some high-frequency letters (10 for the Latin alphabet and 10 for the Cyrillic alphabet), we painted alternative versions that are substituted in the word instead of the standard characters when following our preceding certain groups of letters.

In addition, in the Disruptors Script you can find functional ligatures, including some of the frequently occurring two- and three-letter combinations.

All these solutions dilute the monotonous line of the set, add a bit of unpredictability to the font and a touch of chaos to inscriptions.

To fully enjoy usage of the font, we recommend that you always keep the features contextual alternates (calt) and standard ligatures (liga) turned on.

If you do not have access to applications that support OpenType features, it does not mattereven without these features you can use and enjoy our font!

Ray is a light-hearted family of display fonts. Its letterforms were inspired by the kind of typefaces used on digital displays. The family includes five variants, each of which shares the same character width, inter-character spacing, and OpenType features.

They are each derived from a strict grid. Ray Ones letterforms make use of a series of dots overlayed on top of a background grid.

The capital letters, lining figures, and lowercase ascenders are nine dots tall.

The x-height is seven dots. The descenders have two dots worth of space available below the baseline. The Ray Two fonts uses squares instead of dots. These all run into each other, but still present a pixelated effect to the texts they set.

Those squares are rounded off in Ray Three, making this style appear like a combination of the Ray One with the Ray Two font.

Ray Four adds bridges between many of the gaps found between the grid units visible in Ray Three.

These rounded elements from Ray Four are in turn re-squared in Ray Five, making that font look like a cross between Ray Two and Ray Four.

The fonts in the Ray family include both lining and oldstyle figures, as well as several alternates for letters like the Q, R, S, and g.

Ray come from Satya Rajpurohit, the Ahmedabad-based type designer who co-founded the Indian Type Foundry.