Rick Peterson

The POSSIBLE typeface is supplied in two equally plausible states – Possible Sans and Possible Serif. The two families are identical, only the name is changed and the downloads include both classifications. Possible Sans is a sans-serif impersonating a spur serif, and Possible Serif is a glyphic with the look and feel of a sans. Possible is either, and either is possible.

This clean, contemporary typeface is inspired by Percy J Delf Smith’s ’Petit Serif’ from 1928, and similarly takes inspiration from Johnston’s Underground, though more recent influences provide geometric and humanist elements that, together with the micro-serifs, improve clarity and legibility.

Spur serifs such as Petit Serif, Copperplate and Liberty are often caps-only fonts, but Possible contains a lowercase, as well as a full Latin Extended-A character set.

Possible is available in five weights – Thin, Light, Regular, Medium and Bold – each with a corresponding, optically-corrected italic.

The famous lettering “Capital Trajana”  (inscription at the bottom of the column that bears its name erected in the year114 A.D.) is usually identified as the classic example that defines Imperial Capital forms.
However, much earlier, there were already countless examples of Greco-Roman epigraphy of excellent execution, as evidenced by the monumental inscriptions from year 2 b.C. sculpted in the Portico di Gaio e Lucio Cesari in front of the facade of the Basilica Emilia, in the Roman Forum, erected by Augustus, dedicated to his two grandchildren for propaganda and dynastic needs.
It has been more than two thousand years and the forms of these letters are still part of our daily life, product of their qualities of readability and beauty.
It is probably the added semantic value that have made them an icon full of symbolism that expresses majesty, monumentality, order and universal power.
Numerous authors, calligraphers and designers have studied this legacy such as Giovanni Francesco Cresci, Edward Catich, L.C. Evetts, Armando Petrucci, Carol Twombly, John Stevens, Claude Mediavilla, just to name a few.
MarcusTraianus is a fitted version of the two models mentioned, which is accompanied by Small Caps, lowercase (carolingas) and a set of numbers (Indo-Arabics) in addition to the Romans figures and diacritics for Central European languages
MarcusTraianus is presented in two weight: regular and bold.

Zimric is a family with 28 styles. It has the look of neat hand printing. It is monoline and sans-serif, friendly and legible. The Zimric family has three widths, each width has four or five weights, and each weight comes in both upright and italic styles.

Quache is a flexible sans-serif, created by Måns Grebäck between 2018 and 2020.

It has unique, stylish curvatures and is clear, legible and sharp with open letter forms.

The font family consists of six weights and four widths, totaling in 28 main styles: Thin, Light, Regular, Bold, Black, Heavy and Condensed, Normal, Expanded, ExtraExpanded

It supports Latin-based languages, and contains numbers and all symbols you’ll ever need.

Gluy is geometric humanist hybrid. It blends the two categories into one design. Mixing geometric rational shapes with a touch of organic calligraphic forms. Comprises a total of 20 styles and supports most Latin languages and Cyrillic. Ideal for branding but very versatile. It can be used in many contexts from print to web.

Crossten’s “modern geometric sans” family consists of 20 fonts.

All family fonts contain 370 glyphs and are equipped with many typographic features.

Crossten is designed for those who prefer to use single-coded fonts not only in coding but also in many different graphic design environments. Idea; It came from creating a font with a single-spaced aesthetic, without breaking the soft, single-spaced fonts.

Crossten is a geometric sans single-spaced font with all typographic features except space and character spacing.

Technical Stencil VP is the stenciled version of Technical Standard VP and the two typefaces can be used either on their own or together seamlessly.

The initial inspiration for their design came from examining the various types of precisely machined labels on tools from cameras to cars, which need to be perfectly legible at all sizes. The unique streamlined look such processes achieve was carefully reinterpreted and the resulting fonts are at the same time robust and stylish, both universal and unique. Technical Stencil VP includes ten distinct styles, offering great versatility.

All styles in this family include an extensive Latin character set, the Greek alphabet, multiple sets of numerals, a large set of punctuation marks, and other symbols. With 1120 glyphs in each style, it guarantees full support for all Latin languages. To make the family even more powerful, twenty OpenType features are included, such as multiple vertical positions, diagonal fractional forms, optional slashed zeros, separate old-style and lining figures, small capitals, and contextual alternates.

Smoke Signals is a calligraphy font handmade using a real dip pen and ink with lots of bonus goodies.

Smoke Signals includes:

- tons of ligatures for a smoother text
- small caps that act as an all caps font
- a bonus set of ornaments
- a bonus set of grunge elements, such as splatters, ink blots, scratches
- a bonus set of 10 paper textures scanned from old record sleeves and old notebooks

Smoke Signals is perfect for any design that needs a vintage calligraphy look. Use it in signatures and logos, notes and quotes, social media posts, and branding and packaging.

Afire is a sans-serif of understated warmth and elegance. Through clean legibility and gentle embellishment, Afire delivers lively bounce with sophistication.

Raspail is a contemporary calligraphic font inspired in a copperplate. Raspail has a great inclination with extensions of ascending and descenders strokes, widely ornate,  and a special emphasis on the connection of the letters. This font contain more than 350 alternates, 50 ligatures and a great set of ornaments.

Confitería is the Spanish word for a shop where sweets and chocolates are made and sold, which sometimes has a tea room. And now Confitería is also a font that brings to mind lettering piped on delicate cakes ... sweet but never sickly.

This font captures something of that simple and innocent beauty of traditional confiterías, where good manners will never go out of fashion, menus are elegant and time comes to a standstill to make way for life’s little pleasures. A confitería is a perfect place to share sweet tidbits with a friend or date, eavesdrop on the conversation at the next table, read a book, or just people-watch from the window. I celebrated my last birthday at one.

There is one iconic confitería in Buenos Aires that I love more than the rest because, some 60 years ago, it put up its marvellous sign and never took it down. Walking by it is sure to bring a smile to your face. It’s big. Very big. And the lettering in its name is written in a timelessly beautiful vertical script – the most attractive I have ever seen.

I joined forces with Sol Matas – who worked with me to update the Montserrat font –to design this geometrical connected font with pleasant, even strokes. It is elegant and saccharine-free. And to top it off, it comes in several flavors.’

Welcome! What can we get you?