Courier Prime Regular, designed by Alan Dague-Greene, released by Quote-Unquote Apps.
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—Birra Stout, designed by Joshua Darden of Darden Studio.
Birra arose from years of compulsive doodling in pen and ink, and conjures the whimsy and syncopated contrast of novelty handlettering in the early 20th century. Birra Stout is a free font, and the first release of a still-evolving project which we’ll expand as time permits.
—ARS Novelty, designed by Angus R. Shamal.
Merging the Baroque with the Geometric, the high contrast Serif with the monoline Sans, the Fun with the Functional—ARS Novelty is a sign of things to come. This is an hybrid sample of several projects currently in production, demonstrating that they both can coexist simultaneously and even compliment each other, while maintaining a contemporary edge.
—Monstre, designed by Lev Berry.
Painted letters from 1882, found while browsing Patricia's uploaded ephemera on Flickr.
I digitised Monstre to use across titles, logos, layouts and animations. Designers can manipulate five layers of lighting and shading to achieve the right look. Monstre retains original slight imperfections so as not to completely erase the feeling of the human touch when it was first coloured and shaded in 1882.
—Aleo Light, by Alessio Laiso.
Aleo is a contemporary typeface designed as the slab serif companion to the Lato font by Łukasz Dziedzic. Aleo has semi-rounded details and a sleek structure, giving it a strong personality while still keeping readability high. The family comprises six styles: three weights (light, regular and bold) with corresponding true italics.
—Rambla Regular, by Martin Summaroga of TipoType.
Rambla is a humanist sans for medium-long texts. It’s slightly condensed, with a generous x-height and short ascenders and descenders. Its proportions are economical in both height and width. It’s elegant at large sizes and legible at the same time, with a lot of rhythm in small sizes.
—Quiroga Serif Regular, by Fernando Díaz of TipoType.
Quiroga Serif … was designed for continuous text, legible at medium and small sizes, with great saving of space, optimized for 6, 8, 10 and 12 points. The morphology is a mix between tradition and innovation; it has a vertical axis, thick serifs, tall x-height, light modulation and a lot of internal space between letters: key to improve legibility at small sizes.
—Winnie The Hoop, designed by Teo Tuominen.
Winnie the Hoop is a combination of chubby sans-serif capitals and semi-slab lowercase. It is best suited for display sizes, headlines, posters, and advertisements.
—Fenix Regular, by Fernando Díaz of TipoType.
Fenix is a serif typeface designed for display and long texts, its foundations are based in calligraphy, with strong serifs and rough strokes. Its proportions seek to gain space in height and width. Fénix is elegant at large sizes and legible at the same time, with a lot of rhythm in small sizes.