Veneer font family
Designed by Ryan Martinson in 2012
New font releases in February 2014
Large sans serif families and delightful display fontsFor this issue, we have selected from the wealth of recently published new typefaces a range of sans serif font families that we think are likely to have a highly promising future. These fonts have a wide range of potential uses thanks to their extensive and exemplary features. Our selection is supplemented by some fascinating and original headline fonts. Look carefully and you will also find among the families fonts that you can download for free.
Cast (Dominique Kerber)
The letters of the sans serif Cast by Dominique Kerber are characterised by open forms and skilfully employed curves, giving the font a contemporary and somewhat technical feel. Cast is well provided for with its six different weights and is suitably equipped for use in different contexts.
Veneer (Yellow Design Studio)
The uppercase font Veneer by Ryan Martinson needs space as its characters emulate incompletely printed letterpress produced by hand with insufficient inking. The fine inconsistencies are high resolution and can be best appreciated in the larger point sizes. To provide for textual variation, there are six versions of each letter with differing modifications in appearance. There is a corresponding set of pictograms that can be downloaded for free.
Verb (Yellow Design Studio)
The clear and readily legible characters of the sans serif super family Verb by Ryan Martinson may appear slightly energetic but they retain a certain warmth. In the larger point sizes, the font is dominated by its dynamic forms. The 72 styles of Verb take the form of nine weights, each of which has four different tracking options.
Oval (Fontfabric Type Foundry)
The fabricated, monolinear letters of Oval by Svetoslav Simov look not unlike those of a stencil font. Oval not only has eight line weights but also outline and ornamental variants in which the letters have an integrated line.
Solomon (Fontfabric Type Foundry)
Svetoslav Simov’s sans serif family Solomon consists of two groups. The letters of Solomon Normal appear artificial and are reminiscent of the grotesque fonts of the early 20th century. Each of the six weights also has a Deco variant in which the characters are decorated with monolinear and ornamental swirls.
St Marie (Stereotypes)
The slab-serif St Marie by Sascha Timplan is clearly legible even in small point sizes because of its generous x-height. In the larger point sizes, the contrast between differing internal and external forms provides this font with a unique character with a considerable recognition factor. St Marie has eight different weights.
Dark Angel (Alphabet Soup)
Michael Doret’sDark Angel is a reinterpretation of old Blackletter characters. Doret has combined the standard forms with the swirls and extended lines that are familiar from advertising copy of the 1950s. The numerous alternative glyphs and ligatures provide the materials for creating highly differentiated texts.
Deliscript (Alphabet Soup)
Taking as his original inspiration neon signs, Michael Doret has made a typographic microcosm of Deliscript. There is a wide diversity of character variants in the form of ligatures and word logos that can be used to great effect in creating diversified text forms. There are extra sets with numerous underlinings and extended t-crossbars.
Steinweiss Script (Alphabet Soup)
For Steinweiss Script Michael Doret took as his starting point the typefaces used by Alex Steinweiss on the many album covers he has designed. The decorative and somewhat playful characters of Steinweiss Script have their own unique personality. The numerous alternative glyphs provide for variation when setting text.
The brush font Vanille with its 1950s feel is ideal for creating logos, to give one example, and can also be used in the field of product design. Vanille was designed by Adrien Midzic, Jason Vandenberg, Jérémie Hornus and Julien Priez.
Brixton is an original and sympathetic calligraphic font by Benjamin Lieb, Gia Tran and Julien Priez. Its character is mainly determined by the rounded and sinuous serifs. There are numerous glyph variants, pictograms and ornaments that provide for extensive variation in text design.
Ristretto/Ristretto Slab (Mint Type)
The highly condensed letters of the display font by Andriy Konstantynov exhibit a fabricated, somewhat technological quality that is similar to that of a stencil font. There is a second variant, Ristretto Slab, in which the six weights are available with prominent slab serifs.
Grimm (The Type Fetish)
Grimm by Michael Wallner is an unusual (some might say bizarre) display font in which the features of Blackletter are combined with those of a normal antiqua font.
Otama (Tim Donaldson)
While Didot and Bodoni are among the sources of inspiration for Tim Donaldson’sOtama, additional historical influences and calligraphic materials give the font with its total of 28 styles its warmth of character. In the special display variants, even greater emphasis is placed on the contrasts in line thickness.
Cafe Aroma (BA Graphics)
This dynamic quill font Cafe Aroma by Bob Alonso has a stylistic but personal feel. It can also be used to set short text sections.
French Vanilla (BA Graphics)
Major contrasts in line weight determine the character of the cheerful and yet stylish French Vanilla by Bob Alonso. The swash variants of the second style can be used to give text creations a special touch.
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