We design libre / open source fonts. That means that you can use, modify and redistribute them freely! Learn more and contribute to the adventure of Velvetyne Type Foundry by reading our “about” page!Learn more
13 January 2023In 2023, a new version of Grotesk developed by Ariel Martín Pérez was released. This new version introduces new weights that are multiplexed, which means that you can change the weight of the font without changing the width of the paragraphs. This new version also presents some subtle optical corrections. Last but not least, it considerably expands the glyphset of the font with a brand new lowercase set as well as language support for Russian, Ukrainian, Tifinagh and many Latin-based languages.BackOut 2.1
5 October 2022The 2.1 version of Backout presents improved spacing and kerning, some new ligatures and some subtle optical adjustments.Basteleur v2.0
15 June 2022A bit more than a year after its original release, Keussel adds a new sharp thinner weight to the pre-existing soft bold weight of Basteleur. Welcome Basteleur Moonlight!!!Pilowlava v1.1
22 March 2022Ukrainian design Maksym Kobuzan added the Cyrillic to Pilowlava, allowing speakers of Russian, Bulgarian, Ukrainian and Serbian languages to play with the typeface. The unicase approach of Pilowlava particularly suits the Cyrillic script and Maksym made a good use of his playful mind to offer a truly original Cyrillic.More
Sir Anthony Alfred Caro OM CBE (8 March 1924 – 23 October 2013) was an English abstract sculptor whose work is characterised by assemblages of metal using 'found' industrial objects. His style was of the modernist school, having worked with Henry Moore early in his career. He was lauded as the greatest British sculptor of his generation. His work Veduggio Glimpse, on loan from the Metropolitan Museum of Art, is currently on display as part of Landmarks, the public art program of The University of Texas at Austin.
THE main office of the Dodge Manufacturing Company hummed with activity. Six typewriters were trembling under a high-speed pounding; shipping-clerks scurried hither and thither; bookkeepers buried their noses deeper in the pages of stuffy ledgers and ostentatiously displayed ink-smeared finger-tips. Even the office-boy temporarily paused in his enthralling pastime of carving the credit man's quartered-oak desk to answer the stentorian call of the filing-clerk, an underling ordinarily beneath his notice. Then Mr. Thaddeus Dodge, president of the company, finished his stroll through the general office and slammed the door of his private sanctum. Six typewriter keys were hit with a final aggressive bang; six stenographers leaned back and rearranged their hair into more fluffy array. Bookkeepers straightened their bent backs and drummed tattooes with their pens. The office-boy abruptly paused in his mission for the filing-clerk and consigned that worthy to the lower regions. One of the bookkeepers shivered slightly. "When the old man sails through this here office," he vouchsafed, "I gets the shivers!" His fellow slaves of the high stools tittered—with one exception. To Jim Lynch, the head bookkeeper, any mention of the great Dodge in terms other than those of reverence savored of heresy. Yet Jim said nothing. Mechanically he dipped his pen in the ink-well and prepared for more of the never-ending grind
Black Cover Flat (1974)
Prefabricated metal parts?
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