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This week’s batch of new fonts starts with the vibrant scripts of Charles Borges de Oliveira. Charles comes from a sign painting background, and you see evidence of that training in each stroke of his collection. We also announce new fonts from Gert Wiescher and the Russian masters of multilingual type design: ParaType. |
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Bold and dynamic yet readable, Sarah Script is the perfect ingredient for adding zest to any package design. A set of alternate characters offers flexibility and keeps things from looking repetitive. |
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Enchanted is a unique contemporary font that mimics the style of handwriting and brush scripts; yet it is neither. Seven alternate glyphs are included. |
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German for “chalk”, Tafelkreide is a simple all-caps typeface that convincingly emulates chalkboard writing or the look of crayon on paper. |
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Parangon is chiefly a Cyrillic typeface, but the Latin set of this large family is so interesting and useful for headline and logo work, we think Western audiences shouldn’t overlook it. Designed over the years 1986–2002 by Anatoly Kudryavtsev, it is at first glance a neogrotesque in the style of Helvetica and Univers, but several of its characters enfuse a contemporary flair found in no other neogrot. |
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Designed at ParaType in 1992, Vladimir Yefimov based Didona on letterforms of Firmin Didot, Herb Lubalin’s and Tom Carnase’s ITC Didi, and Russian typefaces of the 18th–19th centuries. Its high contrast curves and ball terminals are available in OpenType with a full Cyrillic and basic Latin character set. |
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Emulating Russia’s Constructivist lettering of the 1920s and ’30s, Rodchenko’s three weights and two widths are now available in multilingual OpenType. |
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Give advertising and packaging a casual, personal touch with this energetic handwriting typeface. |
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Vladimir Pavlikov’s Quadrat Grotesk is named for its square letterforms, based on the shapes of an old Russian typeface, along with the uneven texture that was common in wooden type due to handling and age. A “clean” version is also available. |
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Designed circa 1940 and widely used in the Soviet Union for technical and scientific books for years, New Standard is a high contrast serif or didone. But unlike others of its style (such as Bodoni or Walbaum) New Standard is rarely seen in the West. |
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A futuristic rounded rectangle typeface in the style of Isonorm and Eurostile, Andrey Kryukov's and Dmitry Kirsanov’s creation is available in three weights and a quirky hybrid version. |
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Designer Zakhar Yaschin’s aim with KvadratZ was to represent the Cyrillic and Latin alphabets with the most primative lines, intentionally avoiding symmetry and polished forms. Also available in lighter and “woodcut” variants. |
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Inspired by the lettering of the Russian Avant Garde artists of Kazimir Malevich’s circle at the beginning of the 20th century. |
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Gert Wiescher designed this fantastically ornate calligraphic blackletter to honour London’s famous 18th century calligrapher John Ayres. See Royal Bavarian for another variation on the style. |
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Using bits and pieces of actual tape, Wiescher formed the letters for this irreverant display face available in three widths. |
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... Font used in title graphic: Parangon. |
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