Charlotte Weeks

Attractive type system comes in 104 styles and 4 widths with extended coverage of the Latin-, Greek- and Cyrillic Script. The design origins of Attractive are in early-20th centuries technical style aesthetics, but they are combined with nice humanistic characters and details. We also made the typeface a little soft with small round corners, that way it reminds print work with hot metal typesetting and its much more legible on screen. The shapes are optically corrected, yet retain an uncut charm. The Regular and Medium styles are an excellent choose for small text sizes and and the width expansion makes it a great tool for books and magazines, branding, posters, as well as web and screen design. Attractive type system is equipped for complex, professional typography with Open Type Features including — localized forms, standard ligatures, numbers in circles, subscripts, superscripts, numerators, denominators, arrows, currency symbols and fractions. Attractive is carefully hinted and optimized for screens. The fonts are a perfect choice for digital use. To continue with the lettersoup tradition , two styles of Attractive are available free of charge. Njoy and be attractive!

When you need a classic serif typeface that is up to the modern standards, Millard comes to your rescue with its alluring beauty and legibility. You have a contemporary serif family that offers great variety with regular and bold weights in both normal and condensed widths, along with their true italics.

Over 500 glyphs in each font offers you the language support you need for all the Latin languages. Opentype features of oldstyle and tabular lining takes care of all your numerical text needs. Complete set of ligatures and discretionary ligatures adds the necessary decorative elements to your design while making it even more enjoyable to read. Language localizations such as transforming acute diacritic to kreska for Polish language is included.

Millard works perfectly as both a text and a display family, makes it a go-to typeface for editorial, branding, logo, poster, packaging, web design and wherever else you need that classy look.

Bega is a simplified sans serif typeface. Formal reduction plays a strong role in its design. This is most visible in its ‘spurlessness.’ The visible strokes (or spurs) have been eliminated from the letterforms that would typically feature them. The lack of spurs in Bega is most-clearly visible when you look at the top-left corners of letters like ‘m’, ‘n’, and ‘r’. The Bega family includes eight weights, which range from Thin through Black. Each weight has two fonts on offer: An upright font, and an italic. Bega’s italics are obliques; their letterforms are slanted. The strokes of Bega’s letterforms all appear to be monolinear; that doesn’t mean that Bega is without contrast, however. Thanks to the family’s large number of weights – eight really is a lot – you can combine two or more of them with each other to create headlines that exhibit quite a bit of contrast! Each of Bega’s fonts includes a full range of numerators and denominators, to use when typesetting fractions, etc. The font’s numerals are proportional lining figures; these have the same height as Bega’s uppercase letters. The lowercase letters’ ascenders are tall, and they rise up above the tops of the capital letters and numerals. Bega’s friendly look makes it an ideal choice for use in corporate communication design. The typeface was designed by Sabina Chipară and Diana Ovezea.

Sugar and Spice is a sweet & scrumptious font duo! Designed with short descenders, so there’s less of that awkward white space, these work great for multi-line designs! Both include lots of alternates, the script includes plenty of ligatures, and the hand-sans has small-caps, so you can mix and match to create a custom look!

Everland Script is a hand painted bold script font inspired by old signage and sign painting. This font is great for your next creative project such as Logotype, printed quotes, invitations, cards, product packaging, headers, Letterhead, Poster, Apparel Design, Label, and etc.

Everland Script comes with uppercase, lowercase, numerals, punctuations and so many variations on each character include OpenType alternates, and common ligatures to let you customize your designs.

TT Firs Neue is a contemporary reincarnation of the good old Scandinavian TT Firs sans-serif. In the process of updating the old typeface, we realized that the number of innovations and the amount of work done definitely deserve a full-fledged new release, and thus TT Firs Neue has come to life.

What has changed? Everything, starting from the proportions of letters and ending with a new formula for the interpolation of weights! So, we changed the proportions of uppercase and lowercase characters; corrected the difference in weight between the letters in fonts of different weights. We changed the basic thicknesses of the strokes so that none of their 18 fonts would stand out with their weight and would be completed following a strict system. We created completely new Italics. And, of course, we made changes directly to the style of the typeface and its letters—the letters have become fresher and cleaner from the geometric point of view.

The most interesting change in the font is the significant extension of its scope. While the old type family was primarily focused on display matters—that is, very large short inscriptions, the new version implies active use of the typeface in the text and on the web. With all this, the font’s character has not been weakened, but has even gained some more strength. This can be perfectly seen in the radical extenders of the letters gltf, or in the super-display visual compensators for horizontal strokes in the bold weights of the typeface. Even though the standard display of TT Firs Neue has become brighter and more audacious, you can always calm it down a little by simply turning on stylistic alternates.

And that is not all! And how about small capitals, and other OpenType features, you ask? In TT Firs Neue, you will find small caps (for Latin and Cyrillic alphabets) and a set of stylistic alternates. In addition to the “standard ligatures”, in TT Firs Neue you can find a large number of original ligatures (30 items) for capital letters, which cover popular two- and three-letter high-frequency combinations from Scandinavian languages. In addition, to support the linguistic features of Scandinavian countries, we prepared a set of capital letters with pinned-down diacritics (including their small capital versions). To access this function, you need to use the calt feature (contextual alternates), or enable the second stylistic set (ss02) in InDesign. And that’s not all, there are a lot of useful features in TT Firs Neue, such as: ordn, case, c2sc, smcp, ccmp, frac, sinf, sups, numr, dnom, tnum, onum, lnum, pnum, dlig, liga , salt (ss01), ss02, locl, calt.

Circe Slab is a slab version of the popular geometric sans serif Circe. It contains variations in weight and contrast, including three regular styles that range from non-contrasting geometric to almost typical book serif contrast ones. In addition, all text styles have narrowed versions. The character set of the font includes small caps, minuscule figures and a wide variety of alternative capitals and small caps. Regular styles of Circe Slab are suitable for long texts and the light and bold ones for headlines. The font was designed by Alexandra Korolkova with the assistance of Oleksa Volochay and released by Paratype in 2018.

Galatea is a universal sans serif family – clean and timeless. Both iconic and legible, Galatea is suited to cover many needs from brand identities to editorial design, advertising, logos and beyond. Cyrillic characters are featured and a wide range of languages is supported. 
Open Type features are abundant – from built-in small capitals to various numeral styles (linear and old style; tabular and proportional, subscript and superscript). 

Galatea comes in three widths – each featuring eight weights and corresponding italics.

With designs drawn specifically for comfortable reading in everything from on-screen digital content to print in periodicals and books, Mundo Serif is ready to take on just about any project. Carl Crossgrove drew the suite of typefaces to complement his Mundo Sans family’s classic humanistic design traits – and added a subtle modern influence. Restrained stroke modulation, generous counters, commanding x-height and tall ascenders ensure that content set in Mundo Serif is both legible and easy on the eyes. While primarily designed for text copy in print and on screen, Mundo Serif becomes a powerful display type tool in the lightest and boldest weights. Headlines, navigational links and banners are naturals for this versatile collection of typefaces.

Mundo Serif is a large family. Nine weights, each with an italic companion, enable precise typographic tuning. Captions, subheads, pull quotes and long-form copy can be melded to create a welcoming page of modulated text. For best results in digital environments, skipping a weight – or even two – ensures hierarchical clarity. Crossgrove did extensive testing of Mundo Serif to ensure the best possible on-screen readability. To further guarantee optimal digital imaging of the family, he gave the design generous inter-character spacing and slightly expanded intricate characters like the lowercase a and g.

If the goal is diversified or multi-platform branding, look no further than Mundo Sans. The two designs harmonize with each other perfectly in weight, typographic color and proportion. Both designs benefit from large international character set that includes support for most Central European and many Eastern European languages. For a stronger contrast, pair Mundo Serif with virtually any sans serif grotesque design.

Crossgrove has designed a variety of typefaces ranging from the futuristic and organic Biome™ to the warm, clean lines of the Mundo Sans. His work for Monotype also often takes Crossgrove into the realm of custom fronts for branding and non-Latin scripts.