Tooting some horns: new type releases!

Self-promotion can feel somewhat gross but who doesn’t love touting the accomplishments of others? The past several months have seen a bevy of new typeface releases by many talented folks, but perhaps you haven’t heard about all of them yet? In no particular order, let the horn-tooting begin. Drumroll, please!

Pigeonette sample
Pigeonette (Future Fonts)
by Ro Hernández

Pigeonette “combines the sketchiness of handwriting with the open spacing and charmingly awkward proportions of typewriters in a not-quite-monospaced design with a comfortable reading texture.” Started as Hernández’s graduation project, it’s now getting its wings on Future Fonts. Throw it some bread while support for central European languages and Cyrillic is still in the works.

FS Kim sample
FS Kim (FontSmith)
by Krista Radoeva

If you’re not following Krista Radoeva on Instagram, then I highly recommend doing so because you will be treated to some lovely details and behind the scenes sketches of Radoeva’s process. FS Kim is a robust (no wait, exuberant) family with a range of text and display options as well as uppercase inline styles in Regular and Black. I can’t wait to see where FS Kim ends up in the world, perhaps your next branding project?

FS Ostro sample
FS Ostro(FontSmith)
by Alessia Mazzarella

If you’re looking for a Bodoni alternative, check out FS Ostro. Inspired by “the 19th century British Scotch Roman designs, Italian modern style typefaces and highly contrasted display Spanish examples”, these combined influences give the family a refined feel. Also, the display styles are Italian chef-kiss dreamy.

Adelle Sans Devanagari
Adelle Sans Devenagari (TypeTogether)
by Vaibhav Singh, José Scaglione, Pooja Saxena, Erin McLaughlin, and Veronika Burian

Five years in the making, Adelle Sans Devenagari is a welcome addition to the Adelle catalogue. Maintaining the spirit of the Latin, Adelle Sans Devenagari comes in seven weights “that capitalise on legibility and provide the designer a wide range of text emphasis within their layout.”

Nomada Didone sample
Nomada Didone (Tipografies)
by Maria Ramos and Jordi Embodas

Nomada Didone is part of the much larger Nomada family which includes Sans, Serif, Slab and Incise. This cut “exhibits a more pronounced contrast than Nomada Serif, with vertical stress and finer hairlines.” The rhythm of the italics are particularly striking.

Dunkel Sans sample
Dunkel Sans (FutureFonts)
by Minjoo Ham

Dunkel Sans explores “the limits of how black a Hangul typeface can be.” This article (in Korean only) gives a nice peek into Ham’s process and thinking (I also love that a description of Future Fonts is translated as “a US font roasting program” — thanks Google Translate!). I’m looking forward to the beefy Latin when it’s fully cooked.

Decorata Sample
Decorata (Positype)
by Martina Flor and Neil Summerour

It’s hard to believe it’s taken this long for Martina Flor’s lettering to become a typeface but some things are worth waiting for. Ornamental lettering by Martina Flor is brought to life in an eight style type family by Neil Summerour. Combining different styles offers a variety of lovely possibilities. The next time some cranky pants designer asks you why color or animated fonts are necessary, you can point them to Decorata — the family clearly shines with different color palettes, layers, and in motion.

Kafa sample
by Nadine Chahine

While using “the resistance” to market fonts feels a bit icky to me, Kafa is a true rallying “cry against the politics of hate and xenophobia.” Released on November 6, 2018, the date of the mid-term elections in the United States, Kafa (enough in Arabic) protests the current US president’s shameful policies in the Middle East. I appreciated following Chahine’s process on Twitter and the font is now available for free on her site.

Decoupe sample
by María Carla Mazzitelli (Sudtipos)

Decoupe is reminiscent of jagged-edged faces like Pilot but holds its own with its nods to “gestural graphic expressions — like paper cut-outs (découpes) and spontaneous handwriting”. I’m especially drawn to the italics and thinner weights and I hope we can convince Mazzitelli to publish it as an header one of these days (no pressure!).

Know of any other recent releases that deserve a little 🎺? Comments are open!

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