Pauline Koltsova

Alleyn Pro is a re-working of the font Alleyn in response to a request to increase the character set and include Vietnamese. The fonts now cover most Latin languages, Greek and many Cyrillic languages – apparently around 275 in total. The letters have been redrawn and re-proportioned and the spacing recalculated to make for better reading at text sizes.

Alleyn Pro has been developed to meet the needs of publishers, companies and individuals addressing a wide international market in a range of publishing media. The low contrast, slightly rounded sans-serif letterform with six weights and corresponding obliques provides a friendly and highly legible set of styles which are equally effective on signage, packaging, advertising and editorial.

Opentype features include many numeral and positioning options, ligatures, stylistic alternatives and localised variants.

Portland Grotesk is a grotesque sans serif typeface with chubby proportions in 5 weights Light - Regular - Medium - SemiBold - Bold and supports all latin languages. Easy to use and easy to read.

The character set contains 1109 glyphs with a wide range of alternates characters and includes:

- Small Capitals

- Fractions

- Superiors, denominators

- Open type features such as case sensitive, standard ligatures and several stylistics sets

Portland Grotesk fits perfectly for all types of communication (Books, magazines, posters)

Alacant is a family of slab serif fonts composed of seven weights and their versions in italics. One of the most characteristic advantages of this font is its particularly square shape, very short descenders, open counter-forms and precise kerning that provides a very good visual impact and clear legibility.

Sheet music for the song “The Little Thing You Used to Do” (from the 1935 motion picture “Go into your Dance” starring Al Jolson and Ruby Keeler) had its title set in what closely resembled Bank Gothic Condensed.  

[Bank Gothic was originally designed by Morris Fuller Benton for American Type Founders circa 1930.]

This reinterpreted version is now known as Stenographer JNL, and is available in both regular and oblique versions.

Kwadrat is a modern unusual typeface. Some of the letters have surprising shapes, so it can be used mainly for display purposes, but also as body text. It's available in 4 weights: Light, Regular, Medium, Bold and as a variable font. It's multilingual - contains Latin alphabet with Western, Central and South Eastern European diacritics. Enjoy!

Singularity Type is a Modern sans-serif Geometric font with homogeneous thickness, based on essential geometric shapes.

Built around 4 different widths, ranging from Extra Light up to Bold, the font contains 744 glyphs and supports more than 30 Latin alphabet languages.

Singularity Type is Designed by Davide Mascioli ©2021

Singularity Type is a Modern sans-serif Geometric font with homogeneous thickness, based on essential geometric shapes.

Built around 4 different widths, ranging from Extra Light up to Bold, the font contains 744 glyphs and supports more than 30 Latin alphabet languages.

Singularity Type is Designed by Davide Mascioli ©2021

Auge Unicase is a sans serif display font, extra-condensed, with a unicase style. It is a very geometric font that, I hope, has a "modern-vintage" feeling. It is good for titles and short texts.

Auge Unicase has a set of alternates, accessible by contextual alternates and stylistic set.

It was designed following the Underware Latin Plus character set, with 448 glyphs, supporting 219 Latin based languages (see https://underware.nl/latin_plus/languages/).

FS Lucas is a geometric typeface. Based on near-perfect circles, triangles and squares. Taking classic geo formal qualities that have been optimised for the demands of modern brands, online and offline usage, readability and accessibility. FS Lucas is the bold and deceptively simple result.

The aviation world contains loads of stylish logotypes, from handwritten scripts to geometric styles and so on. The Avionic Condensed family finds its origins of inspiration in the Air China company logotype, and from there has been expanded upon to create a large stylistic family of 40 fonts.

Avionic celebrates the geometric sans serif styling of the original logotype, evolving beyond the condensed all capital set logo to include a lowercase designed in parity with the original design style, as well as many weights and widths to offer a fresh diversity.

Each subfamily includes a full standard character set with expansive international support of latin based languages, and 5 weights jumping from book to black, along with 5 accompanying obliques. This family is ready to chart a course for your design destination, whatever it may be.

Here's what's included with the Avionic Family bundle:

• 370 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages.
• 5 weights in each subfamily: Book, Regular, Bold, Heavy, & Black. 
•   • 4 widths in the collection: Condensed, Regular, Wide, and Extra Wide.
• Accompanying Obliques with each weight/width style.
• Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same.

Here's why the Avionic Collection is for you:

• You're in need of a dynamic geometric font with a variety of weights and widths for your designs
• You're an aviation junkie and have to have anything inspired by Air China
• You love the style of Bank Gothic, but really want something just a little different
• You are looking for a pseudo-techno style font family with versatility
• You just like to collect quality fonts to add to your design arsenal

Hauslan is a simple, minimal and geometric type family inspired by the rationality presented by Bauhaus in 1920 which affected many areas such as architecture and graphic design.

Following the concept of basic geometric shapes, Hauslan focuses on readability and versatility, either for small texts or headlines.

Prushkov is the first typeface that I made. Its name comes from the town I lived in at the time. The design was inspired by both geometric typefaces like Futura, and didone fonts like Bodoni. Its aim (perhaps quite bold) is to blend high contrast with mathematical excellence.

Prushkov will work well as a display font, both in uppercase and lowercase. It has a wide array of stylistic alternates for all of the capitals and some lowercase glyphs too.