New arrivals June 2017: Tropical, a brush script with a South-Pacific feel; the modern Renaissance Antiqua Garalda; the contemporary, geometrical sans Hollyday and other fonts
This month’s selection of our new font arrivals from all the different font libraries of our product portfolio include modern designs from the font categories script, sans and serif.
Tropical is a collection of three typefaces by Joluvian and Alejandro Paul that capture the flair of the Caribbean. Like the ingredients of a good cocktail, the flowing Bold, the rough Brush and the noble, upper-case Caps combine perfectly.
Xavier Dupré designed the modern Renaissance Antiqua Garalda based on the forms of Garamond. The highly readable and friendly font comes well-equipped with eight weights, each with a matching italic. Use it for long texts or striking headlines.
Geometric shapes derived from the rectangle lend the modern sans Hollyday by Marcio Duarte a technical flair reminiscent of a stencil font. The family, which includes three weights, was designed as a headline font and is right at home in shorter texts, magazine titles or advertisements.
Clareza (Wilton Foundry)
Slightly grooved, striking line ends lend the sans Clareza by Robbie de Villiers an unusual, crystalline character. Use this geometric, easily legible font in advertising, for example, or in branding or signalization.
Cold Brew (Fenotype)
Curved letters and a large contrast in the stroke width lend Cold Brew, a brush font by Emil Bertell, a dynamic appearance. Many alternative characters and swashes provide for plenty of variation in the font, which is available in three weights.
The constructed and geometric sans Favela by Mateusz Machalski takes an experimental approach. The width changes among the styles, not only the weight. The very narrow Thin style, for example, has a noble appearance, while the extremely wide Black screams for attention.
Pigeon (Mans Grebäck)
With its very wide letters and many extravagant curves, the slab serif Pigeon by Måns Grebäck attracts plenty of attention. The numerous ligatures and alternate characters in the typeface – which is available in three weights – help you make logo-like headlines.
Lasiver (Type Dynamic)
The sans Lasiver by Nico Inosanto appears restrained, yet very friendly. Slanted line ends and round points loosen up the neutral character of the sans, which comes with seven weights. Lasiver can be used for long texts or even headlines.
Letterforms derived from the Antiqua and a cautious contrast in stroke width lend the sans Secca a fresh, modern appearance. The font has a space-saving design, but is easily legible. It comes in twelve weights, each with a genuine italic.
The powerful, hand-written letters of Momotaro by David Kerkhoff, with their frayed line ends and incomplete color application, create the realistic impression of a rough brush font. The many details of Momotaro work best in the large font sizes.
Lemance (Dalton Maag)
Open shapes with a slightly handwritten appearance give the sans Lemance by Damien Collot a friendly, warm character. The dynamic, flowing italic that accompanies all three weights is also remarkable. Lemance cuts a fine figure not only in text, but in headlines, as well.
Midpoint (Mint Type)
The rounded corners of the square sans Midpoint by Oleh Lishchuk make the font a little less austere. While the typeface retains its technical character, the letters add a soft and friendly ambiance to your designs. With nine weights and matching italics, Midpoint is equipped for many tasks.
WTF Brasserie (Wilton Foundry)
The careful characters of the lovely handwritten font WTF Brasserie recall a school font. Use this highly legible font not only for product packaging, but also on posters or magazine titles.