Masthead
In this issue
   
New foundry: Cocijotype
New Rosetta font: Sutturah
New OurType fonts: Corbeau, Fakt Slab, Puncho, Orly, Arnhem Display
More new Fonts: Girga, Solido, Sixta plus free light weight
Must-have fonts: FF Skill Sets & education discount
Helvetica vs. Arial: Spotting the Difference and Knowing Alternatives
Interview on The FontFeed: Mitja Miklavčič
 
 
New foundry: Cocijotype
 
cocijotype
 

CocijoType was founded in 2009 by Mexican designers Elí Castellanos and Manolo Guerrero. This digital type foundry focuses on experimental projects and text faces informed by the contemporary culture and pre-Hispanic heritage of Mexico and Latin America.

 
 
 
zipolite
 
 

Zipolite

Designed by Eli Castellanos
Published by Cocijotype

 

This design is inspired by the relaxed atmosphere of Playa Zipolite, the beach on the southern coast of Oaxaca. The grotesque sans has humanistic details and rather condensed, space-saving letterforms. It is an interesting alternative for text that needs to have character without being too outgoing. The warm and friendly quality of this sans serif becomes apparent in the heavier styles. The family comes in seven fully featured weights with matching italics and supports 94 languages.

 
 
 
optica
 
 

Optica

Designed by Manolo Guerrero
Published by Cocijotype

 

This experimental typeface is a tribute to the Colombian artist Omar Rayo’s optical art. Its geometric characters, created by flipping the slant in a fixed pattern of diagonal lines, create almost subliminal word images within the pattern texture. Only to be used in large sizes! Optica was reviewed on The FontFeed in 2009. It won a Certificate of Excellence in Type Design at TDC2 2009 and at Tipos Latinos 2010.

 
New Rosetta Font: Sutturah
 
sutturah
 

Sutturah

Designed by Octavio Pardo
Published by Rosetta

 

Sutturah is an extra bold display font with dangerous curves, intended for poster and editorial design. Combining very detailed constructed shapes with the flavor of script, it is informal and irreverent. Its strong character quickly catches the eye and surprises the reader. Its personality allows for the creation of stunning pieces of design without the need for any other elements. A single word in Sutturah is worth a thousand images. Extra ligatures and swashes expand the possibilities and add to the fun.
Sutturah was reviewed by Nicole Dotin for Typographica’s Our Favorite Typefaces of 2011.

New OurType Fonts: Corbeau, Fakt Slab, Puncho, Orly Stencil, Arnhem Display
 
corbeau
 

Corbeau

Designed by André Simard
Published by OurType

 

OurType Corbeau is a special addition to OurType’s collection of sans serif typefaces. Integrating gentle curves into primarily squarish forms, its design concept draws on precursors such as Eurostile and FF Meta. This fully contemporary design is precise and approachable, and — in keeping with the geometry of the Roman — coupled to an oblique rather than a true italic. The result is an open, uncomplicated typeface that is efficient in text settings and has a commanding presence in display uses. The generous range of weights and several widths makes Corbeau a versatile solution for all your typographic needs.

 
 
 
fakt_slab
 
 
 

Fakt Slab

Designed by Thomas Thiemich
Published by OurType

 

With Fakt, Thomas Thiemich created a powerful contender for the list of Helvetica alternatives. More than simply a contemporary re-imagining of the “neutral” grotesque, Fakt has a clever stylistic switch that turns it into a geometric-like sans. And now OurType releases Fakt Slab, designed to complement Fakt. The two font families share identical proportions, weights and widths, and they work beautifully together. Fakt Slab also performs superbly on its own. Well-built and balanced, vigorous and full-blooded, it updates the tradition of fully planned slab serifs such as Memphis, Beton and Karnak created in the inter-war years.
Fakt Slab joins OurType’s distinguished slab serif collection, which includes Fresco Informal, Parry, Sansa Slab and Stan.

 
 
 
 

Puncho

Designed by Fred Smeijers
Published by OurType

Based on stencil letters punched from metal plates only 1/8 inch (about 3 mm) high, Puncho’s unusual shapes stem from design limitations at this small size and the mechanical methods used to manufacture such punches.

 
puncho
 
 
 
 

Orly Stencil

Designed by Pierre Pané-Farré
Published by OurType

Orly Stencil’s energetic yet frugal letterforms have their roots in small stencils cut from paper, card or film using simple tools like scissors or knives. Additional styles of Orly fonts, including non-stencil versions, are currently in development.

 
orly_stencil
 
 
 
 

Arnhem Display

Designed by Fred Smeijers
Published by OurType

Arnhem Display is a long-anticipated addition to the acclaimed Arnhem family. A masterful Smeijers design, it lends grace and vigor to your newspaper headlines.

 
arnhem_display
more new fonts: girga, solido, sixta plus free light weight
 
 

Girga

Designed by Dino dos Santos
Published by DSType

Triumphant, vigorous and strong, Girga is a new slab serif by DSType. To maintain the darkness and fatness of all the glyphs, Dino dos Santos inserted a few sans serif forms among the Egyptian letterforms. The powerful display face comes in five styles — regular, italic, stencil, engraved and banner — offering multiple design possibilities.

 
girga
 
 
 
 

Solido

Designed by Dino dos Santos
Published by DSType

The large sans serif family Solido constitutes a versatile type system. It has five widths — Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact — in numerous upright weights, for a total of 35 styles. Alternate characters change the mood of this straight-sided sans from open to closed, from contemporary to retro.

 
solido
 
 
 
 

Sixta

Designed by Dieter Hofrichter
Published by Hoftype

With its large x-height, generous proportions and strong appearance, Sixta is a contemporary sans serif family featuring subtle stylistic hints to vintage grotesque designs. The lively design, full of movement, combined with a discreet line quality is an excellent choice for both text and display use.

 
sixta
must-have fonts: ff skill sets & education discount
 
 
FF SkillSets

Send us a copy of your student ID for a significant education discount on any of these packages.

 

You have ideas. What you don’t have is time. With a deadline closing in, your task list shouldn’t include a mad search for the right fonts. The search ends now. The FF Skill Sets are three curated collections, one for advertising & packaging, one for editorial & publishing, and one for corporate & business work, hand picked by typography masters Erik Spiekermann and Jürgen Siebert. FF Skill Sets make it simpler to build a library of fonts you can use. With all the right fonts licensed in a single package, you can focus on what you do best: design. By bundling these fonts, you’ll save a bundle of cash.

FF Advertising & Packaging »
FF Corporate & Business »
FF Editorial & Publishing »

helvetica vs. arial: spotting the difference and knowing alternatives
 
helv vs arial
 
 
 
helv vs arial overlay
 

Can you tell the difference between Arial and Helvetica at a glance? If not, we’ve compiled a short primer to get you up to speed.

Let’s begin with the differences that are visible from across the room.

Note Helvetica’s tailed lowercase A, spurred cap G, straight-tailed Q, and the dead giveaway, the sturdy leg of its cap R. Contrast this last detail with that of Arial’s timidly put forward leg.

A close-up look reveals that Helvetica’s curved strokes terminate at right angles. Arial’s do not; they tilt slightly. Slightly that is, until you get to its lowercase T, where a 31-degree initial stroke angle disrupts the narrative of Arial being almost passable for Helvetica. Clearly whomever set out to “not make waves” was getting bored. These not-quite-straight terminal angles are scattered throughout Arial’s character set, so when all other methods fail, these clues reliably help us tell these near-twins apart.

Lastly, working with these types over time leads to an intuitive sense of which is which. Eventually Arial and Helvetica begin to feel quite different one from another, as do their predecessors and protégés.

 

 
 
 
helvetica alt button
 

Among Helvetica’s alternatives, one that deserves a look is Dalton Maag’s Aktiv Grotesk, a focused sans-serif design created to replace Arial. Compare Helvetica, Arial, and their alternatives in the FontBook App for iPad.

 

 

dialoguesAktiv Grotesk

  sage oil

FF Bau

  anthology

Suisse BP International

 
 
Interview
 
tisa sans
 
 

It’s been five years since FF Tisa’s release. To follow-up, Mitja Miklavčič offers his newest addition: FF Tisa Sans. With similar proportions to its serif companion, FF Tisa Sans is well-suited for signage and information design projects; it’s a great choice for complex editorial or branding projects, too. The FontFeed caught up with Mitja to learn more about his professional journey and the story behind FF Tisa Sans.

 

more news: correction
 
 

CORRECTION: In our last newsletter, we accidentally omitted the publisher of the custom typeface for 2016 Olympic Games in Rio de Janeiro, Brazil. The face was designed exclusively by Dalton Maag. FontShop regrets the error.

 
Dalton Maag
 
 
See more new fonts at FontShop.com
 
FontShop
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+1 415 252 1003 (International)
 
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