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Up to 10 Typefaces / 1 Value Packs
Supports at least 21 languages (Std / OT CFF)

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Supports up to 74 languages.

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Supports up to 5 OpenType features.

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New font releases in October 2013

New and original font families and other new publications

With our readers in mind, we have again selected a few of the highlights from among the many new typefaces that have recently appeared. There are several major font families, unusual calligraphic fonts and interesting headline fonts to discover.

Charcuterie (Laura Worthington)

The name Charcuterie (French for “preparation of meats”) designates a group of ten distinct typefaces designed by Laura Worthington. Inspired by old French tales and films, these fonts pay homage to traditional hand-crafted products and the shop signs, advertisements and labels associated with them. All the fonts have a handmade feel about them and thus correspondingly have somewhat irregular forms. They include a vast range of uppercase, serif and sans serif variants. There are ornamental fonts with different outline styles and pictograms that can be used on labels or as framing elements. All the fonts can be readily combined with each other and offer the perfect starting point for designing retro-style posters, packaging and advertisements.

Alianza (Sardiez)

The Alianza family by Sergio Ramírez consists of three styles, each with nine weights. The basic design is that of a sturdy slab serif with forms that are moderately industrial in form and stencil-like. An italic is derived from this underlying concept that is more rounded but still exhibits a technological character and a handwritten calligraphic font designated as ‘Script’. All the styles have been carefully coordinated and have the same very generous x-height so that they can be readily used in combination in the same text. The family is enhanced by a selection of ornaments and negative labels.

Invitation Script (Intellecta Design)

Invitation Script as well as Invitation Script Two by Paulo W and Iza W are technical high-end products with their more than 1100 glyphs, numerous ligatures, up to 40 alternatives per character and a never-ending collection of kerning pairs. This calligraphic font is a revival of the work of the Portuguese master penman Manuel de Andrade de Figueiredo and comes with two additional fonts of ornaments.

Profiterole (Counterpoint Type Studio)

Jason Walcott’s informal and individual handwritten font Profiterole seems both elegant and good-humoured thanks to its fine lines and decorative finials.

Frontage (Juri Zaech)

Juri Zaech’s Frontage is a multilayered typeface system. It is essentially a neutral sans serif that can be embellished with outlines, 3D shadows and dotted internal forms with the help of various layer alternatives. The various combination options can be used to adapt the font to your design requirements.

Quarca (insigne)

Jeremy Dooley has used a rectilinear grid with rounded corners as the underlying form for his Quarca. Minute variations in line thickness and rectangular punctuation and tittle marks accentuate the stencil-like appearance of this font. Quarca is capable of overcoming the most complex of tasks with its three different tracking options and six weights, each with corresponding italic typeface. A special feature of this font is the fact that there are lots of alternative glyphs, some with a very futuristic touch, meaning that you can incessantly ring the changes with this font when setting logos and headlines.

De Soto (Stephen Rapp)

Stephen Rapp found the inspiration for his font De Soto in several of the letters of an automobile advertisement dating to 1958. This stylish and generously endowed Antiqua-style font has been designed as a small caps typeface and has three different weights. The characters of the Engraved variant are hollow, just like many of the letters that can be found in engravings.

NewCuisine (Stephen Rapp)

NewCuisine is a calligraphic font by Stephen Rapp in which the individual letters are carefully linked with each other. The bold lines of this rather whimsical script with its retro influences make it ideal, for example, for use in packaging designs, headlines and logos.

Shoebop (Stephen Rapp)

Somewhat playful, very animated and genial – these are the main traits of Shoebop by Stephen Rapp. Possible applications for this retro-style font include greetings cards, posters and signs.

Grota (Latinotype)

Just traces of ascenders and descenders are present in the character-rich Grota by Eli and Daniel Hernández – lowercase and uppercase letters are all of the same height. This calligraphy-inspired typeface thus has considerable individuality and a high recognition factor that makes it predestined for use in logos, magazine titles and brand names.

Neuron (Sardiez)

The personality of Neuron by Manuel Eduardo Corradine and Sergio Ramírez is mainly determined by the contrast between a basically squarish form and soft, gently curving lines. Thanks to its eight weights, each with corresponding italic, this all-rounder is best equipped to face up to any challenge you care to throw at it.

Selektor & Selektor Slab (Tour de Force Font Foundry)

The near monolinear Selektor by Dusan Jelesijevic is an artificial Grotesque font. The sterility of the font is offset by extended line terminals and extremely compacted forms in the case of some of the letters, which also provide this typeface with a state-of-the-art feel. Selektor is available in three weights, each with corresponding italic. A second variation of the font, Selektor Slab, retains the same basic letter forms but modifies these to provide a slab serif.

Primus (Ceyhun Birinci)

Rounded edges and line terminals produce a soft but stencil-like character in the case of the geometrical sans serif Primus by Ceyhun Birinci. The forward-looking and futuristic Primus is ideal for setting headlines, logos and brand names.

Built (Typodermic)

Built has been designed by Ray Larabie with one job in mind – setting headlines onscreen. This clearly legible, compact font is derived from typical newsprint typefaces. The five weights of Built have been devised to ensure that the slender characters remain perfectly legible when displayed on screens. And although its main strengths are most apparent in the digital world, Built is also at home on paper.

Fluctuation (Typodermic)

When creating his font Fluctuation, Ray Larabie had the many household electronic gadgets now available in mind, such as game controllers, mobile phones and TV remotes. The result is not merely a squarish sans but also a modern, revolutionary font with a warm character. Fluctuation is available in six weights, each with corresponding italic.

Rolling Pen (Alejandro Paul)

For his Rolling Pen font, Alejandro Paul let himself be inspired by the monolinear letters written with the aid of a ballpoint pen. There are numerous alternative glyphs that provide not just for linking between letters but also for diversity when setting texts.

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