Piper Blackall

Litmus is the newest typeface from ITF founder Satya Rajpurohit. It is a slightly condensed humanist sans serif design, with a tall x-height and strokes that end with either horizontal or vertical terminals, instead of diagonals. Ascenders rise noticeable above the tops of capital letters, while the fonts’ numerals are slightly shorter than the caps. Litmus’s interior counterforms are rather open. There are five weights on offer: the Light is monolinear, but the stroke-contrast grows with every weight. The amount of contrast in the Bold is quite high. Each Litmus font makes use of a double-storey ‘a’ and single-storey ‘g’. The fonts may be put to excellent use for text on websites, or in print – especially in documents where a little space-saving is necessary.

Qualion Text™ is a modern geometric sans serif typeface with humanist and calligraphic inspirations. It is a text family designed for excellent legibility.

Qualion Text™ is a sibling of Qualion™, geometric family with lots of swashes and ornaments. Letter shapes and proportions has been adjusted to fit paragraph text and small sizes:
- typeface is narrower now in order to fit more text in the design space
- larger stroke contrast
- pronounced ink traps and tapering
- elegant true italics made even more calligraphic
- adjusted spacing and kerning
- adjusted font weights

The main purpose of the family is clean and legible paragraph text, however it is very attractive choice for branding, headlines and display use, too. The italic styles as well as thin, bold and black upright styles have very strong character and look great in display sizes. Italics are very fluent, calligraphic, subtle and elegant, from the other side bold and black uprigths are very modern, powerful and unique thanks to the pronounced ink traps.

Qualion Text™ family consists of 20 styles - 10 weights with corresponding true italics. Both have extended language support, as well as broad number of OpenType features, such as small caps, case sensitive forms, standard and discretionary ligatures, swashes, stylistic sets, contextual alternates, lining, oldstyle, tabular and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

ITALIANO DOC is a fontface inspired by the Italians Futurismo artists in the early of the 1900’s. The font is completed with a Grunge Wall version, great Extra Icons and lighted futurist weigth.

All the glyphs contained in the font, including OpenType variants that may only be accessible via OpenType-aware applications.

Julia Child once said: the secret to great french cooking is butter, butter, butter.

Thus, we present to you Manteiga - butter in Portuguese! - a typeface for heart-melting, word-spreading goodness.

The idea we had was to play with brush lettering - a style we love - and go as far as we can with the shapes of the letters while finding balance between positive and negative space.

We wanted biiiig personality. And small inconsistencies - the ones that add texture and life to lettering.

We left extensive OpenType features and technical stuff aside for a moment, adding later only what we thought was necessary, like different shapes for the Q, a and g - for example.

All caps setting was something we wanted from the beginning. In text case, the x-height is rather short for a brush script, and this lends a quirky voice.

Spacing is ultra tiiiiight so don’t go too small, but make it as big as you want!

Ah! And there are some fun dingbats thrown in for good measure.

Sweet Lemon started off as something completely different, but I screwed up and closed one the the glyphs by accident. I kind of liked it, so I made three distinct fonts, each one with its own Italic style.

In short: when a font is called Sweet Lemon, you should use it for Lemonade packaging. Or whatever.