IvyMazarin is Jan Maack’s revival of Robert Girard’s 1921 Astrée — later issued as Mazarin by Stephenson Blake in 1926 — and a French 1920s interpretation of Garamond. To do it justice, Jan purchased a rare 1926 Stephenson Blake specimen book and spent time sorting through variants, deciding which quirks to keep and which to change. The result preserves the original’s cool crispness, especially in the Italics, with raised x-height, moderated ascenders, and a confident 12° slant.
A typeface for branding, editorial design, or book typography that rewards a closer look with its refined character and precise, incisive edge.
IvyMazarin is available now through @ivyfoundry ’s link in bio.
#TheTypeFounders #IvyFoundry #TypeDesign #Fonts #Typography
IvyMazarin is here.
A 1920s French Garamond interpretation, revived by Jan Maack from rare specimens and tuned for modern use. Crisp. Measured. Full of small, deliberate details—especially in the Italics. Five weights, matching italics, and a set of historical alternates when you want to lean into its origins. Made for editorial, branding, and books that benefit from a sharper voice.
Explore IvyMazarin → Link in Bio
See more IvyMazarin on Behance → Link in Bio
#ivymazarin #ivyfoundry #thetypefounders #typography #fontrelease
A bit of British design history, packed in a font family.
IvyGrotesque is a distilled homage based on the Stephenson Blake Grotesque No. 9 from 1906. These typefaces are built on space-saving principles, ideal for visually layered typographic layouts, such as magazines, posters, and book covers.
Available now with multiple weights and variable fonts at the Ivy foundry site: ivyfoundry.com/families/ivygrotesque
Pleased to have completed this working together with @thetypefounders
Video animation by the magnificent @algo_riddim
The Typographer collection of fonts is filled with timeless classics and contemporary favorites. Some foundries wrote the rules, others rewrite them. All keep the craft alive.
Find Ludlow Type Foundry, @carterandcone , @connaryfagen , @ivyfoundry , Lanston Type Company, and many more on Typographer.
Try it for free at typographer.com
Jeg skrev til @ivyfoundry efter jeg opdagede at Jan holdt til i Århus. En kaffe på Løves bogcafe blev til starten på et samarbejde om to spots til hans font IvyEpic. Her er 12 sekunder med nogle af de animationer, jeg forslå undervejs. Moral: Hvis du tør række ud til dem, du gerne vil lege med, kan det være, de siger ja.
Musik: Emma in der Eisenbahn - Din Viesel x Lazy
#type #motion #cavalryapp
IvyEpic blends geometric simplicity with grotesque warmth—and takes it further with a versatile variable font that adapts to whatever you throw at it. From editorial to identity work, IvyEpic brings both clarity and character.
With 2 widths, 36 styles, and an impressive range of typographic features, this typeface was built for visual storytelling. Whether you’re setting a footnote or a headline, IvyEpic adjusts with ease.
🔗 Learn more at ivyfoundry.com via link in bio
🎞️ Animation by @algo_riddim
The perfect typeface for branding doesn’t exi... enter IvyPresto. @mission_oslo defines @skunabay , a North American salmon farm, as “quality without compromise,” and they have translated the same culinary excellence into the typography and design across all aspects of this project, including clean and elegant packaging, advertising, and web use. Jan Maack’s IvyPresto together with @jeremytribby ’s Barlow and Robert Slimbach’s Acumin all tell a brand story of top quality and experience.
Discover IvyPresto. https://bit.ly/4g66N5q
IvyOra by Jan Maack is a 17th-century Dutch Old Face made for the future with modern variable font technology, creating a refined family suitable for the most discerning typographers. Inspired by historical specimens from the Plantin-Moretus in Antwerp, IvyOra revives the elegance of punchcutters like Nicolaes Briot and Christoffel van Dijck creating a distinct typeface design crafted for editorial excellence.
IvyOra offers optical sizes for crisp display headlines and fluid, readable text. With 5 weights, matching italics, or 2 variable fonts, IvyOra transforms layouts with precision and grace.
Explore the entire Ivy Foundry typeface library at ivyfoundry.com or the Link in Bio.
See more of this specimen on Behance /janmaack
#IvyOra #TypeHistory #EditorialDesign #TypeDesign #OpticalSizes #FontsInUse
Creating visual harmony for editorial design is all about balance. IvyOra by Jan Maack makes it effortless with optical sizes tailored for their purpose: Display for striking headlines and Text for clear, readable paragraphs. Available in weights from Thin to Bold—or as a variable font—IvyOra gives typographers the precision they need to craft harmonious designs. #IvyOra #TypeDesign #OpticalSizes
Explore the entire Ivy Foundry typeface library at ivyfoundry.com
See more of this specimen on Behance /janmaack
IvyBodoni Condensed—newly released with its standard width counterpart—adds more versatility and impact in layouts with limited space. The dramatic contrast between thick and thin strokes intensifies the elegance and sophistication of any typographic setting, allowing designers to use both widths of IvyBodoni for various contexts, from bold headlines to compact columns, without sacrificing that iconic, sophisticated look.
IvyBodoni is available in two widths, six weights—Light to Bold—plus Italics, and as two variable fonts.
For more IvyBodoni—link in bio!
Fonts in use: IvyPresto is a modern serif specifically created for typographers. It was chosen for the book “Happy Yogi” because, as the publication designer Esther Snel put it, “this is a classic typeface with a wink.” Paired with Azo Sans from @r_typography , IvyPresto Display—one of three available optical sizes—with its precise curves perfectly portrays the lightness and clarity of the overall book design.
Title: Happy Yogi
Design: @esthersnel01
Publisher: @dewereldvansnor
Author: Lou-Lou van der Land
Source: fontsinuse.com/uses/48679/happy-yogi-by-lou-lou-van-der-land
Learn more about IvyPresto https://bit.ly/3Cz8SbW #fontsinuse
IvyEpic is designed for human-centered typography. This means attention to aesthetics and readability were of equal importance. A crucial combination when clear communication is at the heart of what is being designed. Available in 2 widths, 36 styles, and italics, with all of the vital typographic necessities—ordinals, fractions, decimal numbers, scientific inferiors, subscripts, superscripts, numerators, denominators, old style figures, and tabular figures, to name a few—for endless visual opportunities.
Explore everything IvyEpic has to offer: /families/ivyepic/
