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Hundreds of new fonts shine in our showroom this month. So many, in fact, that we’ll have to split the announcement into two newsletters. Here is the first set of type that passed our rigorous standards for joining the FontShop collection. |
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At first glance, Geogrotesque seems meant solely for headlines, with its extra light weights and modular structure — each letter based on the same form principle. But closer inspection reveals that creator Eduardo Manso worked optical adjustments into each shape to make this a worthy text face for short passages. And while the design has a geometric or industrial construction, the rounded finish gives it an approachable warmth. It’s a strong family with surprising versatility. |
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With a large x-height, semi-condensed proportions and short descenders, Nick Shinn’s Pratt is a hard-working serif face that maintains readability in the most demanding of layouts. Despite its heft it is not without grace, displaying an economy of form, and enlivened by angled-slab details and a novel alternate lower case look. Use Pratt for text and the more delicate Display and Alt Display for headlines. |
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Veteran type designer Morten Olsen scored a hit last year with his FP Head, a wide, modern, all-caps sans that brought to mind the sleek power of chrome car emblems and athletic logotypes. Now the Dane has followed up with a complete family extension to the design. FP Head Pro adds a lowercase and includes five weights plus italics, with Extended Latin support in each style. It’s a welcome followup to Olsen’s FF Max, a truly original face that is both hard and soft at the same time. |
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Mousse Script is based on Glenmoy, a 1932 Stephenson Blake typeface, a prime example of what display typography was in pre-WWII American ad art. It graced the pages of magazines, sold numerous products and services, then simply died out when the typographic trends shifted towards the more personalized, stylized and handwritten types of calligraphy. Alejandro Paul’s interpretation expands upon the limited metal character set nearly twice over and takes advantage of the extended typographic features of the OpenType format, including stylistic alternates for many of the characters. |
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“Martinis at the Campbell. Hats against the weather. Pens pressed and released. Ink, trembling in its meniscus, drying into a sheet. Sharp ideas and sharp retorts. Wire dispatches.” In his colorful review for Typographica Gary Munch paints the picture of this newspaper headline face based on Century Expanded and Century Schoolbook by the prolific early 20th century type designer Morris Fuller Benton. Dyana Weissman and Richard Lipton drew Benton Modern Display for large sizes, showing off with a very high contrast, elegant details. It’s available in 36 styles and four widths, down to a tight Compressed. |
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Among the most noteworthy releases of 2008, Bree filled a unique contemporary need as a friendly, upright italic influenced by handwriting. With this update, each of the five weights now has a carefully designed oblique companion. |
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New typefaces by legendary designer Matthew Carter come few and far between, so Rocky naturally grabbed our attention. The design is the result of wondering why there were no Latins with Bodoni proportions, or why no Bodonis had Latin serifs. Rocky lends sharp typographic flavor and authority to newspapers and other publications. A broad family of 40 styles offers a weight and width for any situation. |
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Cenizas |
Tornac |
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... Fonts used in title graphic: Mousse Script |
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