All of the fonts are Open Source. I can even customize them for my own use, or collaborate with the original designer to improve them. And I can use them in every way I want, privately or commercially — in print, on my computer, or in my websites. In fact, I've found and downloaded 3 suitable fonts for logo and 3 for body text from Google Web Fonts.
- Aguafina Script
Semi-formal and eye-catching elegance is the name of the game, says Aguafina Script.
Graceful, but not too casual. Knowledgeable and artistic, but not too imposing. The characters flow into each other, making a very saucy script with appetizing color. The narrow lowercase allows for efficient use of space, while the long ascenders and descenders help maintain the legibility.
A unique find among scripts, Aguafina is useful for product packaging, glossy magazine work, and book covers.
- Cinzel Decorative
Cinzel is a typeface inspired in first century roman inscriptions, and based on classical proportions. However it’s not a simple revivalism, while it conveys all the ancient history of the latin alphabet it also merges a contemporary feel onto it.
- Stalemate
Stalemate is a script of vintage origins but still modern flair. This script exudes confidence and carefree attitude and makes a bold statement in any design.
Designed by Jim Lyles for Astigmatic (AOETI).
- Bitter, designed by Sol Matas
" People read and interact with text on screens more and more each day. What happens on screen ends up being more important than what comes out of the printer. With the accelerating popularity of electronic books, type designers are working hard to seek out the ideal designs for reading on screen.
Motivated by my love for the pixel I designed Bitter. A "contemporary" slab serif typeface for text, it is specially designed for comfortably reading on any computer or device. The robust design started from the austerity of the pixel grid, based on rational rather than emotional principles. It combines the large x-heights and legibility of the humanistic tradition with subtle characteristics in the characters that inject a certain rhythm to flowing texts.
Bitter has little variation in stroke weight and the Regular is thicker than a normal ‘Regular’ style for print design. This generates an intense color in paragraphs, accentuated by the serifs that are as thick as strokes with square terminals.
Each glyph is carefully designed with an excellent curve quality added to the first stage of the design, that was entirely made in a pixel grid. The typeface is balanced and manually spaced to use very few kerning pairs, especially important for web font use since most browsers do not currently support this feature.
Early versions of the Italic and Bold styles were added in December 2011 and will be updated and complemented by a Bold Italic in early 2012. "
- Rambla
Rambla is a humanist sans for medium-long texts. It’s slightly condensed, with a generous x-height and short ascenders and descenders. Its proportions are economical in both height and width. It’s elegant at large sizes and legible at the same time, with a lot of rhythm in small sizes.
- Inika
Inspired by Easter Island and its Rapa Nui language and culture, this typeface captures the essence of an island located in Chile, South America, full of mystery, sacred places and stories of the past. “Inika” means “ink” in the Rapa Nui language, and it represents the tradition of the rongo-rongo writing, used by people on the island thousands of years ago. The tiki style was worked into the characters with a light touch while developing the upper and lowercase letters forms to evoke the spirit of the island. Inika is useful for both long text setting, document titles, and even large display sizes.
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