Amelie Briggs

Sequel 100 Black was designed in 2018 by type designer Jeschke in Berlin. It is based on the sans-serif typefaces of the early 19th century. A characteristic feature of the Sequel 100 is the almost equal thickness of the vertical and horizontal strokes, the horizontally cut endings of the letters a, c, e, g, s, as well as a striking R.

Unlike other sans-serif faces, the forms are absolutely clean and the x-height, in the normal thickness gradation a bit higher, in favor of legibility.

Sequel 100 Black supports up to 74 languages, from light to bold, with the corresponding italics.

In a world where every new release is a thousand font megafamily, it is a particularly (extra)bold move to release a single weight display style.

Perhaps. Galix is a super-eliptical, technical sans; futuristic while avoiding the retro appearance so often associated with this genre.

It is a font intended for the covers of science fiction novels. You could use it for other things, I suppose. But back to the single style thing... Its my humble opinion that large type families, especially those font suites that are so de rigueur, lead to a staleness in design, where things all start to look a bit samey and the fine art of type pairing is dying.

So license Galix, see how it works on its own, paired with contrasting fonts, distorted and experimented with by you, the designer.

It might just be the lack of versatility you need to focus your design work! But if not, chances are I will extend the family to a range of weights, and should that happen, any updates will be free to early adopters.

So go on, give it a try and (extra)boldly go whereyou get the idea.

Hoyer Script is a fresh redesign of Hans Hoyers Schoenschrift, a slender vintage italic with a calligraphic touch.

This font should be used like my blackletter fonts. It means that the s-key is occupied by the long s, and the round s lies on the #-key.

By typing N, r, and period, you will get an old-style number sign.

First designed in the early 1800s, Walbaum never achieved the audience or acclaim it deserved despite its easy elegance, and sophisticated persona.

Its been fully restored for this expansive family, which includes 32 weights including ornaments and two decorative cuts.

More Walbaum offers the kind of warmth thats missing from comparable typefaces such as Bodoni or Didot, feeling effortlessly approachable and legible.

Monotype team Carl Crossgrove, Charles Nix and Juan Villanueva have adhered to designer Justus Erich Walbaums original intentions, also incorporating work by the designers son into some of its more extreme display weights pushing the possibilities of Walbaum without compromising on its spirit.

Text weights work well for the demands of digital environments, while decorative and display weights offer more dramatic, sculptural forms.

Unusually, the family also includes a generous range of ornaments. From massive billboards, to micro-type on e-readers, Walbaum has it covered. The family is available as OpenType OTF font format, and includes over 600 glyphs with OpenType typographic features including small capitals, old style and lining figures, proportional and tabular figures, fractions and ligatures.

A user guide is available in PDF format from the gallery view. It gives an overview of the optical sizing available and provides a keyboard guide for the ornaments.