New font releases in April 2015
Hot new contemporary fonts with good typographic support for your projectsLet us introduce you to some of the newcomers that have appeared recently. We have selected for you text and headline fonts, small and large font families and some truly eye-catching calligraphic fonts. With the help of these newborn and striking typefaces, you will not only be able to supplement your tools of the trade but create a contemporary inventory to facilitate that perfect design.
KG Ways To Say Goodbye (Kimberley Geswein)
Generous and extensive curves and loops determine the personality of the extravagant calligraphic font KG Ways To Say Goodbye by Kimberly Geswein. If only the capital letters are used, the result has a much more placid and discreet appearance.
The uneven outlines that appear similar to those of letters carved in stone are responsible for the effect of the comic font-like Piedra by Angel Koziupa and Alejandro Paul. Alternative glyphs add irregular punctuation marks that seem like traces of the work of the sculptor to the overall design.
Alana (Laura Worthington)
The dynamic handwriting-based font Alana by Laura Worthington is elegant without being showy. There are many alternates and swash variants for the connected letters of the typeface. There is also a vibrant and friendly variant with ornaments and another with somewhat heavier glyphs.
Core Mellow (S-Core)
With letters constructed from a few simple elements and forms based on that of the superellipse, Core Mellow by Hyun-Seung Lee, Dae-Hoon Hahm and Min-Joo Ham has a very technical and futuristic feel. Available as it is in seven weights with three different kerning widths, this distinctive font is very versatile when it comes to use.
Petala Pro (Typefolio)
The extensive x-height means that Petala Pro by Marconi Lima is easy to read even in small point sizes. A particularly dynamic and vivid touch is provided by the expressive ink traps that are particularly prominent in the case of the italic variants. Attractive ligatures and a selection of ornaments add to the features of this extensive font.
Campton (Rene Bieder)
Rene Bieder’s simplified sans serif Campton reproduces the style of the grotesque fonts of the 1920s and 1930s, although it has a warmer appearance. This extensive family is ideal for use in editorials and corporate design. Campton Light and Bold are available as free demo fonts.
Los Niches (Latinotype)
The combination of calligraphic elements with the industrial feel of a monolinear sans gives Los Niches by Juan Pablo De Gregorio a very special and dynamic character. Irrespective of whether its unusually but interestingly formed letters are printed in garish colors or in sober black, Los Niches has a youthful and even elegant effect.
Kahlo/Kahlo Rounded (Latinotype)
The generously conceived, linear glyphs of Luciano Vergara’s Kahlo will add a touch of affability and elegance to any design. Special effects can be achieved using the initials from the swash variants. While Kahlo itself has angular line terminals, those of Kahlo Rounded are, unsurprisingly, rounded. There is also an additional pictogram style that provides modern symbols, including a range of skulls.
Booster Next (Fontyou)
The stylized grotesque font Booster Next by Luis Gomes, Jérémie Hornus and Alisa Nowak has a warm and friendly feel thanks to its rounded line terminals. The five weights of this extensive font can be used, for example, to create logos, in editorial design or for web and other screen applications.
Runaround Sue (Nicks Fonts)
Nick Curtis’ laid-back but dynamic calligraphic font Runaround Sue will add a carefree retro charm to any project it graces. Runaround Sue can be best appreciated in larger point sizes.
Gemmadonati by Carine de Wandeleer simulates handwriting produced using a quill pen. The contrast-rich letters with the typically sharp connecting strokes supplement the historic flavor of the font. Highly original designs can be created with the help of the numerous alternative glyphs.
Magesta Script (Yellow Design Studio)
A vintage quality and the charm of old letterpress printing are invoked by Magesta Script by Ryan Martinson. The four styles of the font are used to simulate differing extents of inking. The incomplete coverage and small imperfections in the characters give it a very realistic appearance.
Thystle (Scholtz Fonts)
Thystle by Anton Scholtz consists of six distinctive handwritten styles in which not only the letter forms but also the pen strokes differ. This covers a range from delicately monolinear to powerfully contrasted calligraphic lines. Thystle is thus a font family for “all seasons” and can be used to create invitation cards and expressive poster headlines.
Ray Larabie’s neutral sans serif Divulge has its roots in the grotesque fonts of the 19th century. This extensive typeface is available in three weights with two kerning widths and the matching italic variants.