Jade O'Sullivan

House Sans is a 100 style super-family made up of 5 widths, 10 weights plus matching italics in two design approaches through stylistic alternates to the E, F, L and e characters. The weights range from compressed to expanded, from thin to heavy creating a plethora of styles to create with.

House Sans has a unique visual structure to key glyphs such as the A, M & Y that give the font a stand out feel while the contrasting horizontal bars provide a nice balance. The compressed weights are great for fitting in tight spaces whilst the Heavy styles are perfect for standing out from the crowd.

The font features extensive support for European and Cyrillic languages, stylistic and discretionary ligatures, plus superiors, inferiors and fractions.

Who doesn't like a toast?
Who would mind using this font for a creative poster, a commercial for kids toys, an invitation for a party ... ? Just to name a few!
Super Toast is handmade to the bone, but has undergone a little digital work and some minor cleanups here and there. I've added 4 different versions of each lowercase letter, in order to make your text look more random and handmade and that goes with all 3 versions: Regular, Fill and Outline. Play around with the 3 versions, and combine them for stunning results! And of course I also threw in a good handful of international letters

Bauhaus is celebrating its centenary in this year. For the Bauhaus’s 100th anniversary year, art and design museums and galleries around the world are hosting exhibitions and events. The publication of „Bauhaus Arabic“ font family is my contribution to celebrate this event.

Bauhaus Arabic is a sans-serif font family designed by Naghi Naghashian in tree weights. Bauhaus Arabic Light, Bauhaus Arabic Medium and Bauhaus Arabic Bold. It is extremely legible even in very small size.
This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Bauhaus Arabic supports Arabic, Persian ( Farsi ) and Urdu.
It also includes proportional and tabular numerals for the supported languages.
Bauhaus Arabic design fulfills the following needs:

A Explicitly crafted for use in electronic media fulfills the demands of electronic communication.

B Suitability for multiple applications. Gives the widest potential acceptability.

C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bauhaus Arabic’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text.

D An attractive typographic image. Bauhaus Arabic was developed for multiple languages and writing conventions. Bauhaus Arabic supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages.

E The highest degree of calligraphic grace and the clarity of geometric typography.

Written in a ballpoint pen style POST BOX is a neighborly sans serif is slightly condensed and slanted. Scribbled quickly but readable. Exact but still human.

Perfect for print, package and display use. You can also use it in shorter paragraph text.

Tejuela (Spanish for “Wood Shingle”) is a neoclassical type inspired by the wooden architecture of the ancient churches of Chiloé, an archipelago in southern Chile; which are World Heritage Sites. This typeface has rough and broken forms but with soft strokes.
The neoclassical characteristic of Tejuela is due to the architecture of these temples, which belong to this style but adapted to wood with excellent quality and ingenuity by Chilote builders using a material available in the area. Therefore, this typeface reflects the tradition of the fonts of that period, but adapted to the coarseness and warmth of the southern wood of the new world.

Tejuela is useful for extensive texts in literature, history, art and heritage; as also for short and large phrases in headlines according to the occasion.

Tejuela has eight variants in Roman a Italic versions, with small caps, Old Style and Lining numbers, ligatures, alternative glyphs, among other OpenType features; special mention to the capital letters Swash of the italic versions, which serve to generate delicate compositions. In addition, it has two stylistic sets to compose border ornaments inspired by the Chilote Architecture: colonnades and corners, only using the numbers on the keyboard; it is important that the line spacing has the same value as the font.
Its 800 to 940 glyphs are suitable for writing 219 different languages.

I appreciate the great help of Franco Jonas, Alexis Navarro, Marcela Aguilera, Pedro González & Diego Aravena in this process, among many people of the craft that they supported selflessly.