In the tradition of Goudy Old Style
™ and Goudy&trade Modern
, Chong Wah
drew Chong Old Style™ and Chong Modern™ as visually different – but complementary – designs.
Chong Old Style is imbued with some of the flavor of traditional old style designs without ever feeling obliged to simply mimic them. It has the heft and color of an old style design but lacks the serifs and inclined stroke axis customarily seen in these typefaces. The result is a versatile suite of typefaces that perform well in large or small sizes.
Chong Modern is a sans serif interpretation of neoclassical type designs like Bodoni
. The result is a type with something of an Art Deco demeanor, a design that walks the line between traditional and contemporary with grace and confidence. Both Old Style and Modern designs come in Light, Regular and Bold weights, with Chong Old Style benefiting from an additional Extra Bold weight. All designs benefit from complimenatry italic counterparts. Both typefaces come with extended language support, and in OpenType Pro flavor.
The original Clearface typeface, a collaboration between Morris Fuller Benton
and his father, was designed as a no-nonsense, utilitarian and easy to read type.
In 1978, Victor Caruso
was commissioned to completely re-draw and refine Clearface, developing it into a unified family of four weights with harmonizing italics.
When space is at a premium, ITC Clearface’s slightly condensed proportions make it an ideal choice. A large x-height, rugged serifs and modest contrast make for a highly legible set of types. The ITC Clearface® family is now available in OpenType Pro, making it one very versatile and easy-to-use suite of fonts.
Inspired by the wonderful lettering of the early 20th century Scottish artist Jessie Marion King, Richard Every
’s ITC Greengate™ simplifies and harmonizes King’s letterforms slightly and, most importantly, adds a suite of lowercase characters.
The result is a somewhat earthy Arts and Crafts marries Art Nouveau design, with a character quite distinct from your typical digital revival.
Mosquito™ Formal, by Éric de Berranger
, takes the original jaunty design of Mosquito and dresses it in a tuxedo. Uncomplicated shapes, a relatively large x-height, open counters and hint of Peignot
® are all still important ingredients, but the more cursive strokes and lively terminals of the original have been replaced with more traditional, more sober designs. The result is a more serious, more sophisticated typeface.
Mosquito Formal is available in three weights with complementary italic designs, plus a suite of small caps and old style figures.
A distinctive yet simple sans serif typeface by Ong Chong Wah
, Ocean Sans®, is pretty unusual for its high contrast between thick and thin strokes. Moderately condensed proportions make Ocean Sans economical in headlines and slimmer columns of text.
Rather than an oblique or “slanted roman”, Ocean Sans comes with a cursive italic, well-suited to providing emphasis within body text.
Now that the Ocean Sans family is available as a suite of OpenType Pro fonts, designers have easy access to old style ﬁgures, ligatures and small caps. An extended character set supports most Central European and many Eastern European languages.
’s ITC Outpost™ has an almost Art Nouveau quality about it, with its sensuous curves and sweeping strokes. The open bowls and opposing weight bias in many of the characters add to the design’s striking personality. ITC Outpost’s family of roman, italic, and swash characters is compact but versatile. The caps have the grace and authority of a titling face, while the lowercase and swash letters can transform text into something more lighthearted and energetic. ITC Outpost creates dramatic headlines and adds a flourish to invitations, menus, logos and packaging.