Grace Hides

Displace 2.0 is a display sans-serif font family. Displace 2.0 is a humanistic sans-serif based on the calligraphic shapes with a pronounced handwriting contrast and open forms typeface. It has a natural thick-thin swelling and shrinking of the strokes as if it were draw calligraphicaly. Displace font family includes five weights: Light, Regular, Medium, Bold and Black. Try it!

An elegant, stylish and easy-to-use typeface.

Just as a nice hat makes you look good, Cagliari brings beauty to your designs—through the traditional flavor of Didone faces, and the simplicity of Modern and neo-Grotesk fonts.

The font is based on the “Queulat” design yet features a higher contrast, between thick and thin strokes, which makes it look simple and suitable for a wider range of uses. Due to an abrupt contrast in stroke weight, Cagliari is more noticeable on terminals and teardrop terminals compared to Queulat. The Neogrotesk-style shapes add a minimalist touch to the font with thoughtful attention to detail.

Cagliari is the ideal choice for fashion magazines, Italian-author books and logotypes for prestigious brands.

There’s an appealing quirkiness about Amrys, which offers a confidently unusual alternative to more conventional designs. Its charm lies in its tapering tips, flexing stems, and unexpected notches, which combine to suggest something of the chiseller’s tool at work.

As a modulated serif, its letter shapes live between serif and sans serif, lending the design a sense of pleasing irregularity – something that’s really highlighted at larger sizes. However this is also a typeface that works for text, injecting rhythm and texture into reading.

“It’s distinctive, idiosyncratic, and weird,” says its designer, Ben Jones. He started designing Amrys while studying an MA at Reading University, creating it in response to a brief for a magazine typeface.

Amrys features an extensive and impressive character set. In addition to Latin, Amrys covers several scripts including Cyrillic, Greek, Arabic and Armenian. The family consists of 8 weights, from Light to Black, with matching italics.

Elicit Script is a hybrid script family, that can be as casual or formal as the occasion demands. Created by Laura Worthington and Jim Wasco, the design is based on pointed pen Spencerian Script handwriting. “It’s like one of those German italics from the early 20th century, that have beautiful shapes that hold their own,” says Wasco.

Elicit Script spans five weights, from Extra Light to Bold, and three styles – Formal, Normal and Casual. This makes it an incredibly versatile script design, easily paired with other typefaces and able to be dressed up or down, depending on what it’s used for. The monoline Casual style offers a more relaxed tone of voice, while Formal sits at the more decorative end of the spectrum. Designers can keep things straightforward, tidy and practical with the typeface’s simple caps, or add in swash caps if they need more exuberance and expression. Generous spacing means Elicit Script works well at smaller sizes as well.

Harpagan is an experimental type family characterized by scalable construction from mono linear grotesk to display bold. I’ve designed this typeface after my trip to Kyrgyzstan, Uzbekistan and Kazachstan, where i’ve been impressed by the impact of arabic script in Asian style Cyrillics. The Harpagan type Family consist of 5 futuristic styles.

Available in ten styles -OC Rey is a modern Didone font featuring true italics and signature ligatures that can take designs to another level.

Classical in character it is drawn with thick vertical stems and fine horizontal lines, a contrast which starts gradually at the lightest weight, building abruptly to the thick stems of bold. The forms are even in proportion and structure with a vertical stress giving a proud, upright stance and an air of distinction. The beauty of the high-end uppercase excels in elegant headlines perfect for the arena of art and fashion, while the high x-height, large eyes and apertures and distinctive open counters make it perfect for readable copy.

With a traditional appearance and a refined elegance, it’s reverent but also breaks from convention with distinguished characteristics that suggest heritage in a modern context. Traditionally round features are replaced with sharp corners, noticeably in the square tittles and the absence of heavy soft ball terminals giving it a unique presence. The weight of the unbracketed serifs is deliberately less extreme than some Didone hairlines, meaning it’s beauty doesn’t disintegrate when small or reversed, making for excellent versatility.

-OC Rey is designed with extensive language support and with multiple open type features.

Although Milas Typeface Family is designed upon the old style geometric – based characters, particular importance is given to text flow and optical perception in its practical use. Hence, there is no strict adherence to any set measures or styles.
It alludes to calligraphic horizontal and vertical intersection points. Calligraphic features in joints and arches are stylized.
Milas is a “body text” font especially suitable for periodicals such as newspapers and magazines as well as books. Different angles, sharp–organic features and serifs used in its letter anatomy enable the reader to perceive individual letters effectively and maintain a rapid flow in processing the text.

Milas has two styles as Text and Display, also has five weights. It contains rich opentype features. It is a suitable body and display typeface for book composing and periodicals like newspapers, magazines. Also Milas is an awarded typeface. It got 36th The Best Typeface Prize by GMK (Turkish Graphic Designers Association) in 2017 Exhibition/Competition. But Milas got the award with “Olba” name. After that its name had changed because of the name similarity. And here it is: Milas.