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Zoo 300 Familia tipográfica

Diseñado por Dmitry Greshnev

Hasta 12 Tipos de letra / 3 Value Packs
Compatible con al menos 21 idiomas (Std / OT CFF)

Licencias disponibles para todos los estilos:

Soporta hasta 69 idiomas.

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Soporta hasta 3 características OpenType.

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15 exciting new fonts from various foundries

We have once more gone out searching for you and have discovered some exciting new releases. This section introduces you to 15 new fonts, from fresh text font to extravagant calligraphic cursive.

Directo (GreenType)

Dmitry Greshnev’s structured sans serif Directo is available in four stroke widths, each with matching Italic. The monolinear font takes its character not only from the slightly rounded corners, but also from the striking hooks on the crown of many letters. They give the impression that an essence of Antiqua has wafted across Directo.

Hypermarket (Green Type)

Dmitry Greshnev’s Hypermarket is inspired by supermarket checkout receipts. The form of the letters recalls the early screen fonts, which were constructed from a limited number of pixels. Raw edges imitate the slightly damaged form of the letters in the rapid termoprint.

Patriciana (Green Type)

Lavishly designed letters, very fine lines and a great contrast in stroke widths contribute to the very noble character of Patriciana from Dmitry Greshnev. A large number of letter alternatives make it possible to create highly individual varieties of lettering.

Zoo 300 (Green Type)

At first glance Dmitry Greshnev’s Zoo 300 reminds you of the formal letters of a stencil font. However, Greshnev breaks up the cool character of this type family with slightly slanted line ends and slightly distended projections and lends the Zoo 300 font a very lively characteristic style.

CM Taluhla (Cultivated Mind)

With Taluhla Cindy Kinash is imitating a carefully hand-written Antiqua in the serif style. The lively character of the font, available in three stroke widths, is good for greetings cards or invitations, for example. An extra font style with numerous frames and ornaments offers material for a variety of creative ideas.

CM Happy Cloud (Cultivated Mind)

Extremely narrow letters and extreme x-height give this script font designed by Cindy Kinash a quite special feel. Happy Cloud is available in five stroke widths.

CM Luella (Cultivated Mind)

The Luella is also a script font, carefully designed by Cindy Kinash. The letters of the sans serif Luella are influenced by historical scripts and are perfect for combining with the many frames and ornaments in the retro style, which Kinash provides in other scripts.

Lev Serif (TypeFaith Fonts)

The character of the well structured slab serif Lev Serif from Leon Hulst is defined by the striking, rectangular serifs and the right-angled connecting lines. As well as four stroke widths, each with matching Italic, there are also fonts available, which give the impression that the letters have been drawn by hand.

Frank Woods (Wiescher Design)

With the Frank Woods from Gert Wiescher you get letters with a wood grain. An additional font style provides a hard shadow for the letters. To be effective the font, based on the forms of Franklin Gothic Heavy, requires a large font size.

Rooney, Rooney Pro, Rooney Sans (Jan Fromm)

The rounded serifs and terminals determine the image of Jan Fromm’s Rooney in large font sizes, whereas in running text they give the font a soft, friendly character.
Rooney Pro is based on the same form as in the Rooney font, but, in comparison is more typographically developed and provides, for example, letter alternatives, small caps and a variety of ligatures.
In addition, with the Rooney Sans Fromm is offering a sans serif version of the font. The similarly rounded line terminals are characteristic of this humanist sans serif, which is a strong feature of the other members of the Rooney clan family.

Serge (Font Bureau)

The Serge from Cyrus Highsmith, inspired by a feather font, gives captions a playful, slightly angular character, full of joie de vivre. Serge is available in three stroke widths.

Turnip (Font Bureau)

The obvious tension between inner and outer form defines the character of the Turnip font from David Jonathan Ross. Solid letters and strong serifs help to give this very well developed family with eight stroke widths a clear typeface.

Number Five (Laura Worthington)

Laura Worthington’ Number Five brush font captures the essence of the advertising fonts of the 1940’s and 50’s. Countless letter alternatives put within your reach lots of possibilities for variation in designing captions and logos. Number Five is available in two versions, one with smooth outlines and the other with raw outlines.

Bellisima Script (Sudtipos)

Ramón Stirling’ calligraphy from the 19th century has inspired Alejandro Paul to create the extravagant, noble Bellisima Script feather font. There are quite a few alternatives for the lavish, sweeping letters, which you can use to create a very individual type face.

Platinus Script (Sudtipos)

Platinus Script from Angel Koziupa and Alejandro Paul captures the essence of advertising fonts from the 1930’s. The character of the lively, laid-back letters of the Platinus Script combines a chic script font with elements of calligraphy.

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