Grace Hides

Rough monospace type with cowboy boots: Here is Justice! Initially designed in 2004, Justice has been totally rethought in 2017 for the visual identity of Ceinturama. For this new version the fixed-width principle has been used to turn this typeface into a kind of construction game. A series of decorative accessories (systems of borders, arrows and ornaments) have been developed in order to make typesetting more playful.
Designed from the outset to be as comfortable on screen, on paper as on wall, Justice has aesthetic qualities suitable for handmade signage. It’s your turn to play!

Please find the PDF type specimen/manual over there.

Ekster is a geometric sans serif typeface from the Parisian designer Ilya Naumoff. Many of its letters are simplified; you’ll find several places in the typeface where the connection of bowls to stems isn’t fussy, for example, and horizontal strokes – like those in the ‘f’ and the ’t’ along the x-height – don’t bisect their letters’ main vertical stems (but populate the left-hand side only instead). Ekster’s lowercase ‘u’ is also symmetrical. The family includes a staggering number of weights – eight in total, and these range from Thin through Black. Each weight has both an upright font and an oblique-style italic on offer. The letterforms in all of the Ekster weights are drawn with virtually monolinear strokes. Ekster’s x-height is moderate, and the lowercase’s ascenders rise up to the same height as the capital letters and the numerals. However, the best feature of Ekster’s fonts is the large number of alternates that they contain. Ekster includes alternate forms for almost every lowercase letter, and some even have more than one alternate available – like the ‘a’, ‘e’, and ‘r’. Ekster is an excellent choice for use in both corporate design and editorial design projects, both because of its range of font weights and styles as well as because of its legibility in text.

strokeWeight is inspired by the aesthetics of computer vector graphics. strokeWeight is the name of a processing programming function to set the thickness of a stroke. The single bezier curve that describes a stem as a centerline with a particular stem thickness represents the basic idea of this typeface. The unconventional corners and stem endings derive from the concept.

If you buy the complete strokeWeight family you will get a strokeWeight variable font file for free!

Xavier Dupre’s Molto font family is a tonal master, creating tenderness in a slab serif and tempering toughness with flourishes. Slab serifs created their original niche by their ability to grab attention and overwhelm, which caused them to be seen as strong, dominant, and desired fonts, especially in advertising. Slab serifs are the result of placing defined edges on something meant to take up an inordinate amount of space, rather than meant to be graceful. Molto updates this concept to allow a greater, and gentler, range in the lighter weights.

Molto’s nine weights are defined by their intended use. The two extreme weights (Hair and Fat) act as display partners for magazines, titles, and posters. The Hair weight is runway ready with its sturdy serifs, breathy internal space, and stable lettershapes that were designed both to perform and impress. Molto’s Fat weight packs maximum punch in a believable way. Its wide and deliberate curves contrast against thin connections and landing strip stems. Molto can be put to perfect use in a fashion magazine using swashy Hair headlines set against its darkest weight.

Molto’s seven intermediate weights, with their classic and legible shapes, are meant for texts of all sizes. The notches on diagonals, distinct numerals, and acute terminals grant benefits from caption sizes up to headings. Molto’s refined light weights and punchy heavy weights set the stage for a swashy surprise — alternate capital letters act as refined garments laid atop its concrete skeleton.

The Molto font family rejects saving space in favour of intensifying shapes, placing maximum weight on the edges for better legibility and impact. Latin-based digital and printed designs will benefit from Molto’s design voice and breadth. This means UI, video, and online text, and print materials like dictionaries, packaging, advertising, and branding can all put Molto’s robust forms to multipurpose use. Molto successfully creates balance in a slab serif design: an opinionated and striking type family, stalwart in captions and exuberant in display, thanks to swashes which add some originality to the slab category.

Ray is a light-hearted family of display fonts. Its letterforms were inspired by the kind of typefaces used on digital displays. The family includes five variants, each of which shares the same character width, inter-character spacing, and OpenType features. They are each derived from a strict grid. Ray One’s letterforms make use of a series of dots overlayed on top of a background grid. The capital letters, lining figures, and lowercase ascenders are nine dots tall. The x-height is seven dots. The descenders have two dots worth of space available below the baseline. The Ray Two fonts uses squares instead of dots. These all run into each other, but still present a pixelated effect to the texts they set. Those squares are rounded off in Ray Three, making this style appear like a combination of the Ray One with the Ray Two font. Ray Four adds bridges between many of the gaps found between the grid units visible in Ray Three. These rounded elements from Ray Four are in turn re-squared in Ray Five, making that font look like a cross between Ray Two and Ray Four. The fonts in the Ray family include both lining and oldstyle figures, as well as several alternates for letters like the ‘Q’, ‘R’, ‘S’, and ‘g’. Ray come from Satya Rajpurohit, the Ahmedabad-based type designer who co-founded the Indian Type Foundry.

Ulm Grotesk is a family of geometric-style fonts for use at display sizes. Its design is so simplified that it feels quite futuristic. There are five weights on offer, ranging from Light to Extra Bold. The characters have been drawn with optically-monolinear strokes. The capital letters contain quite a lot of character; some of them are markant, too. The ‘J’, for instance, is very wide. The fonts’ default ‘Q’ separates the ‘O’ stroke from the tail visibly; a more traditional-looking ‘Q’ is available as an alternate. The forms of the capital ‘A’, ‘V’, ‘W’, and ‘Y’ are reminiscent of the ‘worm logo’ that was used by NASA in the 1970s and ’80s. The lowercase ‘m’, ‘n’, ‘r’, and ‘u’ are spurless. The high-modernist geometric style of the ‘a’, ‘b’, and ‘c’ call Paul Rand’s iconic ABC logo to mind. The tail of the ‘j’ is a simple, vertical stroke. The ‘g’ and the ‘y’ each have wide, sweeping tails – although, there is an alternate ‘y’ available, with a straight-tailed descender. The fonts’ numerals are the same height as the capital letters. Ulm Grotesk is named after the German city of Ulm. In the 1950’s and ’60s, a famous West German design school operated there. The Ulm School of Design was hailed as a successor to the Bauhaus, and it set important impulses for international graphic and product design. These Ulm aftershocks were felt for the next several decades. The fonts are the work of the Paris-based type designer Ilya Naumoff.