Kaitlyn Morison

Plaquette is a collection of retro typefaces ranging from victorian to bauhaus to the sixties.

They are all equipped with a load of OpenType features such as alternates, catchwords, stylistics sets and others.

Plaquette 3D A chromatic set of fonts including gradient and outline layers. Crisp and precise. Plaquette Lovecraft More A vintage typeface with some sweet discretionary ligatures to make your typography exciting.

Take a look at the many alternates. Plaquette Sittl A clean geometric style with many alternative letters, some inspired by Paul Renners original Futura.

Plaquette Labels This set provides you with 220 different shapes ideal for logos, plates and labels.

Ana is a chromatic typeface consisting of 26 uppercase Latin characters, inspired by arabesque patterns from the nineteenth century.

Programmed to enable users to easily create multicolored drop caps and initials, this decorative display typeface features a different ornament for every letterform, which fits perfectly with its glyph shape.

This ornament is usually more luxurious on the left side of the letter, while on the right it is scarce, so that the body text can be placed close to the initial.

These initials are valuable for use in large sizes, like posters, magazines, packaging design, fairy tales, and so on.

The final forms of the initials consist of 5 parts which can be individually colored.

There are 5 font files named Ana Layer A, Ana Layer B, and so on. A font user can manually create a multicolored initial with these font files, if there is no possibility to use the Contextual Alternates option.

To do that, it is necessary to make 5 layers in the page layout software.

Then, the corresponding character should be placed on each layer, so that Ana Layer A is on the lowest layer and Ana Layer E is on the highest one.

Note that the glyph shapes are contained in the lower case positions. In contrast, the font file named Ana is programmed, so it is possible to create a multicolored initial with the Contextual Alternates command.

There is no need for additional layers, everything happens on a single layer.

First, the Contextual Alternates command (usually under OpenType menu) should be disabled.

Then, using lower case key, type the desired character 5 times and apply color to them.

Select them all and turn on the Contextual Alternates. Also, the font file Ana comes with a set of black initials that can be used just like any other non-color typeface.

The ornamental versions are contained in the uppercase positions, while the letters without the ornaments are in the lower case.

With the font file Ana Monochrome one can only get the monochrome initials.

Ornamental letters are contained in the upper case positions, while the letterforms without the ornaments are in the lower case.

Punto Poly is the layered type system of Punto for cromatic typesetting. Endless effects can be created by 11 stackable layers and different colors. The dots of Punto Poly are not made up of grid-based dots, they are optical corrected and there is always the same distance between the dots, with the aim to create more harmonic letterforms.

The dots also vary gradually in size to reflect the thickening and thinning of strokes, giving the letterforms a sophisticated overall look.

Punto Poly comes up with 11 layer system and is perfectly suited for logos, posters, brands and magazines.

The language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages.

A collaboration between SAEL (artist) and Ale Paul (type designer) for Sudtipos as part of the first project at the foundry between illustration and type design to create a collection of colorfonts.

More About the font: "Enterline assumes with authority the visual expression of color fonts.

In its use, the density of Enterline becomes liquid. In his narrative, it becomes a pattern of infinite variables and nuances. In its hybridity, it evolves as hyper-typography. Sael marks its graphical nature (patterned diagonals, colors and shapes) in each letter of Enterline, and achieves a massive editable color font for the mobile first generation.

Robotics and futuristic fandom, explicit japonism, cosmic phenomenology, tech toys, pixel art and the accelerated pulse of the present in communion with codes, scalable vectors and the scope of new technologies, to create a mechanic, multicolored and optimistic big bang.

In Enterline, reconsidered typographic thinking and digital vertigo." Lucas López Package: Enterline comes in a file with a pre-defined color palette. You can always change the colors converting the text to outlines. There is also a super unique Black & White version specially designed to work in any application.

Technical info to use: The package contains a normal OTF font in Black and White and a colorfont in SVG-TTF format.

To be able to use the color file you need to have installed Adobe Photoshop CC2017, Adobe Illustrator CC2018 or QuarkXPress 2018.

Not all the browsers support color fonts so please be sure to use them as graphics.

Green Fairy is a chromatic font family highly ornamented for display purposes. Green Fairys characters have been specifically designed to accommodate its loops and ornaments following a modern typeface structure.

Green Fairy has four chromatic weights: 1. Green Fairy Outline 2. Green Fairy Dots 3. Green Fairy Stencil 4. Green Fairy Full The outline weight has been created as the base or structure for the other weights.

You can combine these weights as well as add colours to obtain multiple effects and type styles.

More Green Fairy has also three combined weights (combos) to simplify your work flow, for these occasions when you only want to use one single colour in your font: 5.

Green Fairy Dots Combo 6. Green Fairy Stencil Combo 7. Green Fairy Full Combo GREEN FAIRY ORIGINS The origin of this typeface is the lettering I designed in October 2015 as part of my illustrated cocktail artwork called Absinthe.

La Fée Verte (The Green Fairy). Originally, this lettering only featured eight letters AB·SINTHE vector drawn in Illustrator. Right after creating the full-colour artwork, I designed a fountain-letterpress print version of it, in collaboration with Ladies of Letters, A.

K.A. Carla Hackett and Amy Constable from Saint Gertrude Fine Printing. At the beginning of 2016 and thanks to the project @36daysoftype I found the motivation, and most importantly the deadline, to draw the rest of the twenty-six letters of the uppercase alphabet using Illustrator.

I started 2017 having my first two calligraphy courses sold out, so I took this amazing opportunity to devote myself to Green Fairy for a few months.

In February 2017, I purchased the font software Glyphs and I started to re-draw all twenty-six letters of the uppercase alphabet again.

PRODUCTION PROCESS Green Fairy started being one weight, but quickly turned into a layered/chromatic font.

Things were going more or less fine till I arrived to the Dots weight: 1) I started drawing squares following a grid; 2) Then, the squares turned into diamonds following the same grid; 3) Then, the grid wasnt working so well on the round letters so I tried randomising the position of the diamonds but it didnt work; 4) So I went back to the grid, and this time scaled down the size of the diamonds creating a visual half-tone effect.

I spent over four weeks working on the Dots weight and I felt like I was in the middle of a very long tunnel and I couldnt see the light at the end.

I encountered many other problems along the way but by June 2017, I felt I was back on track again.

I kept working, tweaking, re-drawing and re-adjusting, and then the diacritics came on board And then more re-drawing, re-tweaking, re-adjusting and then numbers And then spacing, symbols, and currencies And then more spacing, kerning, contextual kerning for triplets In September 2017 I told myself thats it, Im going to finish it now! But guess what? More re-tweaking, testing, hinting, testing, rendering, testing For those of you not familiarized with typeface design, it is extremely time consuming and it requires a lot of hard work, focus and determination.

This project could not have been possible without the help of these generous professionals: Jose Manuel Urós, typeface designer based in Barcelona and my teacher twice in the past; Jamie Clarke, freelance letterer and typeface designer who has released a couple of chromatic fonts recently; Troy Leinster, Australian full-time typeface designer living and working in New York City; Noe Blanco, full-time typeface designer and hinting specialist based in Catalonia; And Nicole Phillips, typographer currently relocating from Australia to New Zealand.

To all of you: THANK YOU VERY MUCH!

Stack brings the spirit of industrial chimney lettering from the early twentieth century to the digital age.

The typeface is designed to work both horizontally and vertically. Additionally, the fonts can work together in myriad chromatic expressionsproviding limitless design possibilities.

The family is true to the spirit of masonry lettering without being a direct lift of any specific lettering style from the industrial age.

Like some of its masonry predecessors Stack is built as a typeface of 15 courses (horizontal rows) of bricks.

More Based on several years of research a collection of 150+ photographs and roughly two dozen archival engineering drawings were amassed.

The value of the historical references is a type family that is a legitimate reflection of masonry lettering styles of the period.

In updating Stack for the digital age, the proportions of the base-unit bricks and the thickness of mortar joints have been optically adjusted to work in both screen-based and print media.

Stack would not have been possible without the research and design input from Craig Welsh and Jenna Flickinger of GoWelsh.