New font releases in January 2017

New arrivals January 2016: The noble Antiqua Royal Romain, the raw, lively brush font Lullabies, the geometrical, rounded sans Aquawax and other fonts


As we do every month, we would like to introduce some of the many interesting, modern and inspiring fonts only recently added to our web shop. This includes text and headline fonts, small and large families, and also beautiful calligraphy. Add a special touch to your designs with fonts that are not yet well-known.


Royal Romain (Wiescher Design)

 Royal Romain
Gert Wiescher’s inspiration for the noble Royal Romain was a typeface originally designed for the French King Louis XIV. Subtle embellishments and a number of rounded forms lend the somewhat structured font a friendly character.
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Airways (Aring Typefaces)

 Airways
The dynamic script font Airways from Måns Grebäck not only adds a vintage flair, but an airy atmosphere, as well. Use this impressive and well-equipped font with numerous alternative characters in advertising or for logos, for example.
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Woodford Bourne Pro (Paulo Goode)

 Woodford Bourne Pro
Inspired by the carved facade fonts on the Woodford, Bourne & Co building in Cork City, Ireland, Paulo Goode designed the striking grotesque Woodford Bourne Pro. With numerous alternative characters, including underlined variants, for example, you can lend your designs a unique, logo-like appearance.
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Matcha (Los Andes Type)

 Matcha
The font duo Matcha from Guisela Mendoza and Luciano Vergara combines a quick, dynamic brush font with a solid, structured slab. Both fonts combine perfectly and emanate a loose, organic lifestyle.
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Nurom (The Northern Block)

 Nurom
Jonathan Hill’s contemporary, neutral sans Nurom is based on early grotesque fonts. Well-equipped with eight weights, the font can be used for headlines as well as body text.
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Lullabies (Yellow Design Studio)

 Lullabies
The warm-hearted brush font family Lullabies from Ryan Martinson comprises not only several raw, lively script fonts, but also various uppercase and pictogram styles. All are in a rough, hand-painted style, and are ideal for personal invitations, logos or headlines.
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Clasica Sans (Latinotype)

 Clasica Sans
Slightly grooved stems and a significant contrast in weight lend the humanist Clasica Sans by Enrique Hernandez a noble character. Use this font and its seven weights with matching italics for design tasks that require short or long texts.
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Another Shabby (Zetafonts)

 Another Shabby
Generous and long strokes characterize the powerful brush font Another Shabby by Francesco Canovaro. A somewhat angular appearance lends the font a realistic look. In addition to various weights, the font also includes two styles with incomplete paint application.
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Figgins Sans (ShinnType)

 Figgins Sans
Abgeleitet von den ersten Londoner Sans Serif-Schriften am Anfang des 19. Jahrhunderts zeichnet Nick Shinn derived the neutral Figgins Sans from the first London sans serif fonts form the early 19th century. The geometrical characters are available in three weights and one lively italic style for diverse tasks in text and headline design.
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Banana Yeti (Zetafonts)

 Banana Yeti
The script font Banana Yeti from Francesco Canovaro comes in five weights and the appearance has a steady rhythm. Use the vintage feeling of the well-equipped font for food packaging, for example, in logo and display design or in advertising.
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Aquawax (Zetafonts)

 Aquawax
Several unusual letter shapes in Francesco Canovaro’s sans Aquawax call attention to the font. Rounded forms lend the font an evenly flowing character. Equipped with six weights, matching italics and a pictogram style, you can use the modern and contemporary Aquawax for large design projects.
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Encina Script (Aring Typefaces)

 Encina Script
The fine, delicate forms of the calligraphic Encina Script by Måns Grebäck come into their own in larger font sizes. Here, the font, equipped with numerous alternative characters, can show of its noble character on invitations, greeting cards or logos.
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