Conto Fonts Bundle | Sans | Compressed | Condensed | Narrow | $1,436

16x5=80 OTF Fonts | Designer: Nils Thomsen | Design Date: Jun 23, 2015 | TURKISH SUPPORT

Bundle Content:

Conto Sans

Conto Slab

Conto Compressed

Conto Narrow

Conto Condensed

Conto Super Family contains 64 Fonts in total.  Other Members are Conto, Conto Compressed and Conto Narrow …  Conto is a clear and reduced sans serif typeface in eight weights (upright, italic). It is mainly designed for corporate identity along with the editorial design and advertising. A special set of ligatures make the fonts very useful for logo type and lettering. The elegant Thin and the strong Black weights are working well in display typography, while the Regular, Medium and Bold weights are meant to stay well in text and tables. Main characteristic are the minimalistic and reduced lowercase shapes (a/b/d/g/m/n/p/q/r/u). Another specific feature is the rising contrast. Whereas you can not find any contrast in the Thin weight, you will find more and more contrast while climbing up to Black. Conto’s special ligatures are made for logo-types and lettering. Therefore you find Discretionary Ligatures like ‘r_a,’ ‘e_i,’ ‘s_t_u’ or ‘r_i’ and many more!!! Try the OT-feature ss01. Maybe there is something nice for your next logo. Conto contains around 880 glyphs and supports all latin-script based languages. It also includes small-caps and all kind of figures you need for serious typography. Of course you have case and small-cap sensitive punctuation and fractions up to 1/9 (oneninth). Nils Thomsen started to draw Conto in 2008. It is inspired by the lonely streets of north scandinavia and the dark forrest around. While cycling through the nature and drinking water from rivers the idea of a simple geometric typeface was born. In remembrance of Peter Bruhn! Actually Conto should be published at the fountain foundry. During my studies in The Hague I interviewed Peter. The interview is collected in the book 158 answers. Towards this we had a nice exchange about my typeface. After some corrections he decided to release Conto. Thanks you for your help, Peter !!!

Arx - Elegant & Intricate Display Typeface $41

2 OTF Font Files | Design Date: Jun 23, 2015 | TURKISH SUPPORT

http://www.myfonts.com/fonts/superfried/arx/

Arx by Superfried is an elegant and intricate display typeface designed for use at large scale. Its Latin name - meaning citadel - connects with the classical features, whilst the phonetic pronunciation nods to the arcs which characterise each glyph. This caps typeface is available in two formats: fade and solid, each featuring two distinct character styles switched via the shift key. Fade features delicate incisions to add depth and the illusion of 3D shading to the arcs. Solid, as its name suggests, is a cleaner, flat alternative.

Today Sans Now - More Finely Calibrated NEW! $864

32 OTF Font Files | Designer: Volker Küster | Publish Date: Jun 23, 2015 | TURKISH SUPPORT

http://www.myfonts.com/fonts/ef/today-sans-now/

With the publication of the “Today Sans Now” Elsner+Flake extends its offering of the “Today Sans Serif” type family, developed in 1988 by Volker Küster for Scangraphic, by another cut so that the gradation of the stroke width can now be more finely calibrated. The type complement is available for 72 Latin-based languages as well as Cyrillic. Where available, small caps were integrated, and mathematical symbols as well as fractions were included. In order to make the symbols for text applications in regard to headlines more flexible, the insertions which were formerly added, for technical reasons in order to sharpen the corners, were eliminated, and the optical size adjustments of the vertical and diagonal stem endings (I, v, H, V) to the horizontal bars (z, Z) were scaled back. Already since the end of 1984, Volker Küster experimented with broad sticks of chalk and a broad felt pen in order to develop a new sans serif typeface which, in the interest of easy legibility, would be built on the basic structures and proportions of the Renaissance-Antiqua. Using a normal angle of writing, his experiments lead to the form structure of the characters: a small contrast between bold and light weights, serif-like beginning and end strokes in some of the lower-case characters, and the typical, left-leaning slant of all round lower-case letters and the typical left-leaning axis of all round letter forms. In this way, a rhythmization of a line of type was achieved which created a lively image without being “noisy”. With this concept, Volker Küster has enlarged the Sans Serif by a distinctive, trend-setting form variation.

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