WE'RE PROUDLY AFLUTTER these days as we gaze at the newest stock on the FontShop shelves. Discover new releases from Fountain® and Font Bureau®, as well as a new member of the FontShop family, the distinguished Red Rooster Collection®, known for their careful revivals of undiscovered pre-digital type. Below are just a few highlights of the library. Be sure to stroll the entire aisle for more type you probably haven’t seen but could surely put to use.
Red Rooster founder Steve Jackaman created this soft headliner back in the film type days at Typographic House, Boston, MA. It quickly became popular and we expect it will again now that it’s in digital form.
Sans and swash come together in this beautifully modern take on 1920s ornamental typography. Also available in its original serif flavor.
As deep and majestic as the natural wonder itself, the Grand Canyon fonts come in a variety of fills and shadows to replicate the letterpressed posters of the American West.
Among the many typographic valuables unearthed by Jackaman are original drawings from Ludlow, an important American foundry from the metal era. This sprightly script is one of the gems of this library.
Lesmore is one of the few truly original sans serifs to come out of North America. Paul Hickson lovingly digitized the work of Les Usherwood, a pioneer in Canadian type design who created hundreds of fonts for his Typsettra studio and foundries like Letraset and ITC.
Along with its cousin Honduras™, celebrate decorative fill lettering of the ’20s and ’30s.
During the dark nordic days of winter (9 months long), Swedes like Martin Fredrikson are driven to cook up happy, sun-shiney letters and dingbats.
Fredrikson expanded on the success of his signage-inspired Borgstrand with a stencil version in two forms, one with the round corners of the original, the other with machine-optimized straight forms.
Book typography should deliver the text without distraction. Stockholm’s Stefan Hattenbach achieves this goal with a classic family that is both reserved and expressive.
Cyrus Highsmith’s deliberate workhorse family is a departure from the liveliness of his other typefaces. With its huge range of widths and weights, Antenna is ideal for the modern business or publication with myriad needs.
Commissioned for the pages of Martha Stewart Weddings, Novia exudes the grace and elegance of a regal ceremony with her perfect flow and varying forms. But give her room: like any delicate copperplate script, Novia deserves settings of 100 pts. and above.
David Berlow’s extremely versatile Bureau Grotesque is one of our best sellers, successfully utilized at the Tribune Companies and Newsweek, but it bore the antiquated labels and packaging of its nineteenth-century roots. With the help of Jill Pichotta, Christian Schwartz, and Richard Lipton, this revision adds new weights and a friendlier naming scheme.
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