New font releases in July 2017
New font arrivals July 2017: The nonchalant and roughly edged brush font Somersault, the narrow didone font Rigatoni, the humanistic sans Sanserata and others
Join us in getting acquainted with the recent new additions. We’ve picked out text and headline fonts, large and small families, as well as beautiful calligraphy for you. Give your designs that special touch by using fonts that are not well known. The newly introduced, interesting and striking fonts serve not only to expand your collection, but also to provide a modern foundation for creating perfect designs.
Casual, raw and hand-painted letters offer the brush font Somersault by Hanneke Classen a strong as well as spontaneous personality. The natural charm of the well-equipped font brings ease and vitality into your creations.
Emiral Script (Måns Grebäck)
The dynamic lettering of Måns Grebäck’s Emiral Script brush font, that is rich in contrast, offers you the modern vintage look of old advertising fonts. You can use two weights and numerous alternative forms for designing varied logos and letterings.
Bunday Slab (Buntype)
Offering three different styles, the extended family Bunday Slab by Ralf Sander and Petra Niedernolte provides variety for your designs. Apart from the friendly slab serif style, you can also use the italic styles influenced by handwritten letters – either with or without slanted letters.
British Empire (Alan Meeks)
Open curves and swaying ends convey the flair of non-Latin letters to Alan Meeks’ sans British Empire. The individual and dynamic family is designed as headline font, but also cuts a fine figure in logos and short texts.
Casual Mark Script (Pedro Teixeira)
Derived from handwritten letters, the nonchalant font Casual Mark Script by Pedro Teixeira introduces a personal flair to your designs and is available in a regular version.
TT Russo Sans (TypeType)
Large counters and a significant accentuation of the x-height in the Square Sans TT Russo Sans by Ivan Gladkikh generate an open and airy feeling. The perfectly legible family is optimally equipped with five weights and can be used in print or even on the web.
Alonga (Tour De Force)
The modern antiqua Alonga by Dusan Jelesijevic is characterized by extreme contrasts in the weight and triangular serifs. Here and there, a rounded finish removes some harshness from the fine font that is available in three weights.
Publica Play (FaceType)
The letters of the rounded sans Publica Play by Marcus Sterz are starkly reduced in their form and based on the circular form. Several alternative forms introduce design variety into the slightly technical and design-oriented family.
The design of the narrow didone Rigatoni by Alejandro Paul is based on a font by Nerdinger, but provides a significantly revised and developed version. A large x-height and several lively details lend Rigatoni a classy but also a friendly vibe. It is available with five weights and two stencil styles.
Opinion (Mint Type)
The strikingly geometric, but indubitably friendly sans Opinion by Oleh Lishchuk offers an incredible variety of styles. Four widths, each in eight weights, provide the suitable style for every occasion. Opinion can play out its slightly technical character not just in headlines.
In the modern brush font Respect, old passion for hand-painted labels is mixed with influences from the world of street-art. Different weights and styles as well as alternative signs create a varied design.
A basic form derived from the antiqua, suggestive of serifs with slightly swaying ends and an extreme x-height are the ingredients that Gerard Unger uses for his humanistic sans Sanserata. The family is well equipped with seven weights and is perfectly legible in small sizes and striking when used for headlines.
Apoka (The Northern Block)
While the very light styles of Sans Apoka by Mariya V. Pigoulevskaya seem rather classy and delicate, the weight contrast and rounded ends have a bearing on the expression of the font in the bolder styles – and offer a warm and lively character. Apoka is available in six weights and is suitable both for text as well as headline applications.
The fine calligraphic font Bluebell by Teo Tuominen and Emil Bertell is suggestive of the style of the English copperplate fonts. Equipped with six weights, swash varieties and several ornaments, it leaves nothing to be desired.