Meloriac is a pseudo-retro, unicase display font. An obvious tribute to Futura Ultra-Mega-Freakin’-Black and Avant Garde Heavy Heavy Heavy Heavy; Meloriac is ideal for tight headlines and logos. Squish! When we say tight kerning, we mean disco-slacks-tight 1970s kerning . . . track it wider on subheadings. Japanese katakana letters are included so you can grace your designs with pretentious new rave slash J-pop flair.

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Rinse is a textured, vintage t-shirt font based on Goudy Heavyface Italic. The OpenType format features letter pair autoligs to help break up the monotony of obviously-repeating letters.

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Some like it hot. Others play it cool, clean and laid way back. You say Soap looks familiar? Sure, it looks a bit like Cooper Black but Soap is much more. It’s so slick lowercase won’t even stick to it. And check out the top of the C and G. That’s a beautiful thing. Soap’s numerals line up with the capitals making it right-on for t-shirts and titles. Soap has real tight spacing for that pseudo-seventies look. Groovy dingbats? Soap’s got ‘em.

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Cazon follows the naivety marks typical in the paintbrush letters drawn in the popular market’s planks of La Guaira in Caracas, Venezuela.

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Almost every type designer feels the need, from time to time, to interrupt his or her serious work on complex text type systems for something more playful. In Luc(as)'s case this has often meant designing more typefaces. In the early 1990s, while working on Thesis, Luc(as) drew several display faces which were based on the shapes of TheSans but were either de(con)structive versions or experimental variations.

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Type designer Luc(as) de Groot has a large archive of lettering he drew by hand, often to accompany the quirky cartoons which he made in his visual diaries. Only a few of these alpahabets have been digitized into full-fledged typefaces. Punten (Dutch for “points” or “spikes”) is one of them. It comes in three styles of varying legibility: Punten Straight, Punten Extremo, and Punten Rondom (Dutch for “all around”).

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