1988. After years of having an interest in sans serif typefaces, the make use of the experience and stylistic developments of the twentieth century.

1928. Considered the major typeface development to come out of the constructivist orientation, Futura is timelessly modern and today it continues to be a popular typographic choice to express strength, elegance, and conceptual clarity.

Designed for the Stephenson Blake type foundry. A very heavy, narrow, sans serif face intended for use in newspapers, for headlines and in advertisements. Aptly named, this face has a very large "x" height with short ascenders and descenders.

Aldo Novarese designed Eurostile, but I remastered these by extending glyphs, multilingual support, added greek and cyrillic.

A modern, geometric sans-serif font with clean lines. This font features clean, geometric lines with a modern and minimalist aesthetic. The characters are evenly spaced with a consistent stroke width, contributing to its legibility and sleek appearance. Ideal for branding, advertising, and editorial design projects.

A group of many serif typefaces, named for sixteenth-century Parisian engraver Claude Garamond, generally spelled as Garamont in his lifetime. Garamond-style typefaces are popular to this day and often used for book printing and body text. Ideal for book typesetting, formal invitations, and editorial design.

A modern, neutral sans-serif typeface with high legibility. This is a clean and modern sans-serif typeface with a neutral and straightforward appearance. It features uniform stroke widths and a high level of legibility, making it versatile for various applications. Ideal for corporate branding, signage, web design, and editorial layouts.