New font releases in November 2013
Exciting new fonts – brand new and untouched
Are you hunting for new fonts – ones that are not already in use everywhere you look? Are you on the search for an unusual typographic inspiration for your latest project? If so, why not take a look at some of the new typefaces that have appeared recently. You can discover contemporary headline fonts, fantastic calligraphic typefaces and extensive text fonts.
Buffalo Circus/Buffalo Western (Kustomtype)
Buffalo Circus and Buffalo Western by Coert De Decker represent a Western style evocation of the wooden letters of the 19th century. While Buffalo Circus has ornamental spikes on the stems, Buffalo Western is more neutral and rectilinear. Provided with both are additional variants in the form of Catchwords (short ready-made symbol-based words) and a Poster style with underlined lowercase letters.
The brush script Roadstar has been designed by Coert De Decker in the style of the typefaces found on American advertisements of the 1940s. The decorative, loosely linked letters invoke a retro feel that is currently very much in vogue.
Kilburn (Talbot Type)
A large x-height and the generously proportioned counters predominantly determine the character of Adrian Talbot’s sans-serif Kilburn. Bevelled and slightly conical terminals supply this slender typeface with a dash of vitality. There is a corresponding italic for each of the five different weights.
Staxx Pro (RMU Typedesign)
An amazing 3D typeface, great for setting headlines, adverts, covers and for car and HGV design; Staxx Pro by Ralph M. Unger is a pure uppercase font in which fine lines are used to give the letters a sculpted feel. This font is most effective in the larger point sizes.
Dot Script (Ray Cruz)
Ray Cruz’s calligraphic font constructed, as the name suggests, from tiny rounded dots transposes the effects of neon signs to paper. The youthful charm of Dot Script makes it ideal for use with articles such as music covers, toys and cosmetics.
Montague Script (Stephen Rapp)
Carefully outlined with a fine brush, Montague Script by Stephen W. Rapp owes its appeal to its elegant but restrained look. The sweeping, dynamic letters largely ignore the dictates of the baseline and this provides the typeface with additional energy. There are numerous ligatures and alternative glyphs with which to ring the changes.
Hiatus (Stephen Rapp)
Sweeping flourishes and the consequently large x-height provide Hiatus by Stephen W. Rapp with its very stylish character. Despite this, the font still retains the individual amiability of personal handwriting. The vast range of ligatures and alternative glyphs open up endless opportunities for variation and design experimentation.
Corbert Condensed (The Northern Block)
Corbert Condensed by Jonathan Hill is an extensive artificial Grotesque typeface in addition to the regular version of Corbert in the style of the Bauhaus fonts of the early 20th century. The letters, which are almost imperceptibly tapered, represent a supplement to the Corbert family but are also quite at home on their own, particularly in contexts in which space is at a premium. Unusual for an artificial Grotesque is the fact it is complemented by genuine italics in which the ‘e’ has a more rounded, the ‘a’ a closed and the ‘g’ a single-storey form.
Bartender (Tour de Force Font Foundry)
Slobodan Jelesijevic’s Bartender revives advertising typography of the early 19th century. The forthright letters bear only traces of serifs while there are a number of unusual glyph forms that provide the font with an inimitable personality. There is a second variant with hard, slightly offset shadows that further enhance the retro style of the font.
The geometrically designed characters of Snasm by Ray Larabie are contemporary, technological and futuristic. One special feature of this typeface that is available in six different weights is the shape of the uppercase ‘A’, which shares its form with that of the lowercase letter.
Mirella Script(Intellecta Design)
Extensive contrasts in stroke thickness and lavish, elaborate flourishes give Mirella Script by Iza W and Paulo W a very ornamental texture. With its extensive range of ligatures and alternative glyphs, the typeface can be readily adapted to the needs of any specific situation.
Jeremy Dooley’s Grenale may be derived from the forms of a classical modern style Antiqua, but the letters are more rounded and have slightly curved terminals – an effect that provides this very stylish font with a genial, script-like temperament. To ensure that the thin lines remain clearly defined in printed text, the contrast in the less heavy weights is significantly reduced. There are numerous alternative glyphs, such as swashes, letters with bead-like terminals and special titling variants that make sure that diversity is never a problem with Grenale. This is a very extensive font that boasts eight different weights and three tracking options.
Tikal Sans (Latino Type)
The rounded forms of the characters and the slightly tapering lines of Tikal Sans by Miguel Hernández were inspired by the decorative styles of the Maya culture. This vibrant and modern-seeming font is available in ten weights, each with corresponding italic variant.
The serif font Livory by Hannes von Döhren and Livius Dietzel is derived from French Renaissance Antiquas of the 16th century. It has a warm and friendly temperament and was specially designed for the purpose of setting longer texts. Small caps, more than 50 ligatures and numerous ornaments provide the material for detailed typographic experimentation.