Blender from Gestalten

Nik Thoenen’s tribute to Wim Crouwel is based on the Dutch design legend’s rational approach, built on a grid system, yet with an emotional, human element. When Thoenen first designed Blender, he was heavily influenced by an alphabet that Crouwel called “the thinking man’s Courier”. The intention was then to create a typeface that was less conspicuous, featuring a curved outline in place of Crowel’s sharp, rigid shapes.

Since its original release, Blender has expanded from 254 to 468 glyphs per font. The Pro version includes support for all Eastern European languages from Czech to Turkish, plus Cyrillic characters.

Download Blender Specimen (232KB PDF)

Novel from Büro Dunst

Christoph Dunst designed Novel for use in editorial and literary design — which shouldn’t be too surprising given its name. Yet he also wanted it to work for corporate typography, where he felt most typefaces are a bit harsh and stiff. He set out to create a design with a calligraphic appearance but still conventional enough for use in serious applications, with italics that are very readable, due in part to their upright stance. The effort earned him a Certificate of Excellence from the Type Director᾿s Club in 2009.

The Novel family consists of 6 weights and 6 styles, each with generous character sets, small caps for both roman and italics, a complete range of figures, OpenType-enhanced ligatures and features, and support for most Latin-based languages.

T-Star from Gestalten

T-Star is the fruit of designer Michael Mischler’s many labors. Originally designed and used as the text font for the popular book Los Logos, Mischler spent several years tweaking T-Star Mono Round (a face of soft-ended glyphs, all with same width). The result was T-Star, a nine-weight proportional sans serif face with a clinical look. Built using a rational — rather than chirographic — concept, T-Star has much in common with the cold, technical typefaces in the DIN genre. But its narrow fit and unusual details put it in a class by itself.

Download T-Star Specimen (712KB PDF)

Starling from the Font Bureau

The story, as told by the Font Bureau, goes like this: “In 1904 William Starling Burgess, Boston racing sailor, designed his second typeface. Six years later, now the Wright Brothers’ partner, Starling quit type, returning the drawings to Monotype. Frank Pierpont collected the nameless roman for British Monotype, passing it to Stanley Morison in 1932 for The London Times. Typography historian Mike Parker found the original superior and prepared this Starling series for Font Bureau, who found it to be ‘the right stuff’.”

We agree. This extensive family of five weights (from Book to Ultra), with small caps and a much more palatable italic, makes it difficult to justify using common Times or Times New Roman again.

Download Starling Specimen (84KB PDF)

Opera

Generell TW

Boxen

Knochen

Quoten

Braten

Frank

Generika Mono

CC Marian Churchland

CC Long Underwear