family of 1 font from Nick"s Fonts
This charming little number is based on a rubber-stamp alphabet set, sold in the early 1900s under the name “Perfection”, which suits it well.
family of 2 fonts from Mika Melvas
Alina is a laid-back condensed script font. Alina includes OpenType ligatures to all lowercase double letters to make them subtle differ from each other. So Alina feels a little bit more hand lettered and lively.
font family from Corradine Fonts, added yesterday
This is a complex typographic system wich includes three different but complementary styles so far: Slab, italic and script, with nine weights each one; plus three sets of ornamental fonts: labels, negative labels and ornaments.
Born into a world of serif fonts, where beautiful styling and script-like italics abound, Alexandar has neither. His appearance is, dare we say it, Spartan.
Alexandar’s styling is minimal, it is stark—with uniform strokes and a high x-height. Alexandar’s goal is to conquer the world of legibility—to be readable in even 4 point text. We think he has succeeded and we are prepared to proclaim him The World’s Most Legible Serif Font.
Of course, you may not want your clients to be able to read the small print—in that case, Alexandar is not for you!
font family from Open Window, added yesterday
Aldin is a stylish and modern typeface based on geometric forms. It is best suited for headlines and subheads but can also work in short paragraphs. Its character makes it a good choice for magazines, advertisements, packaging or logotypes for the fashion or tech industries—particularly the thinner weights. Thicker weights also allow the option for more contrast among elements.
Alasar is a headline face designed for magazines, newspapers, etc. It could easily work for signage, corporate as well as for editorial design.
Includes four weights in roman. Alasar comes in OpenType format.
font family from Adtypo, added today
Many sport publications missed typefaces designed especially for sport communication conditions. We usually see only mechanically slanted or other synthetically destroyed standard typefaces. I want to fill in this space and create a system of fonts, that will be used primary in sport. It is usable for many prints - logotypes, magazines, catalogues, posters etc.
family of 1 font from Jeff Levine
The Redikut Letter Company of Hawthorne, California specialized in die-cut cardboard display letters used by sign makers to achieve a three-dimensional effect on show card and display work.
family of 2 fonts from ParaType
Airy is in fact a very light-minded summer font without any serious design concept. It is a collection of hand-drawn letters that with the help of OpenType features allow you to get a lace texture with mutable structure. Together with the font you also get a bonus  a set of naive pictures that you normally draw on the margins of your sketchbook.
family of 5 fonts from NiceType
Air is a clean, contemporary, geometric sans typeface that has been designed for use in minimalist layouts where type is hero, such as those for high fashion magazines, and luxury brands. The rounded face is smooth, subtle, and non-intrusive, even when scaled up so will work effortlessly in editorial layouts when used with or without imagery.
family of 81 fonts from Positype
Air Soft’s development came as a natural progression in my exploration of Air’s skeleton. I wanted to see Air ‘softer’ in some of the test typesettings I was using during its development… so, well, I went about deriving a visual methodology to soften it. Early attempts had me producing solutions similar to all of the other ‘rounded’ types. I rebelled against that. Had to. Ultimately, I wanted to show that you could put a radius on a corner without rounding it to oblivion. The solution is completely subtle and very intentional along each weight/style, but drastically changes the personality of the letters when contrasted against each other. Radii used to soften the letters were not interpolated across the range of weights but were rather derived independently to balance stroke and proportion.
A paper-clip-inspired typeface with character.
Agrafa is a technical but versatile display face that works well in both large and small sizes. Most of the glyphs are made from one continuous line and shows the constraints of bending a paperclip/wire. The family consist of four weights, Hairline, Thin, Light and Book, last three also comes with an oblique companion. While Hairline works best for setting large headlines/words, the Book weight can be used even for small size texts.
font family from Mina Arko, added today
Afrikana is based on various African letters and signs. The main inspiration for making this typeface was the book by Saki Mafundikwa, Afrikan Alphabets. Letters were designed based on signs and characters from African alphabets. They were than cut out of cardboard, scanned, traced and put in a font. You are free to modify the font in any way and have fun with it.
family of 1 font from Scholtz Fonts
Dominated by a vigorous, african-inspired, jungle-like pattern, this contemporary, 21st century, sans serif font - African Jungle - contains an eclectic mix of elements from the 20th century.
family of 2 fonts from Wordshape
Walter Tracy’s AdSans has been enjoying a resurgence in popularity over the past decade, in no small part from the digital revivals employed by Dutch designer Karel Martens. Adora is a revival of Tracy’s design, but with more attention paid to spacing and kerning for smooth text setting. It has a large x-height and reads well at small point sizes. A range of ligatures have been created for smooth text-setting and detailed display work. Two modular pattern characters are included, custom-spaced so that designers can create seamless patterns to accompany typography using Adora, or to be used as a standalone design feature.
With a strong basis in tradition and ancient iconography, the Adinkra Pro family brings a fresh perspective to the time-honored symbols of West Africa.
Not only is the Pro family a brand new Adinkra symbol font, but it is a comprehensive typeface family with adjustments to all 66 original symbols. The addition of patterns for backgrounds and borders as well as the programming power of OpenType gives you limitless design options at the click of a mouse. More…