A Climatically Categorised Typeface

From the site: “[Fernando Díaz’s] Logomotion is a typeface specially designed for logotypes, but can also be used in headlines, posters & signage. It has many OpenType feature programming, that give a more playful and rhythmic spirit, creating an interesting geometric-sans and script mix.”

A fantastic typeface for creating simple graphs. This latest version is fantastic!

New face by James T. Edmondson.

From the site: “We are proud to introduce the latest member of the Lost Type family, Edmondsans by James T. Edmondson. From the creator of Wisdom Script, Duke, and Lavanderia comes a hardworking sans serif in three weights with small caps, alternate glyphs, non-lining figures, and more.”

From the site: “Social, [James Mobtalabno’s] latest family of fonts, comes out of the development of that LivingSocial logo and a set of two custom fonts I designed for their identity. [His] aim was to stay away from the bloated, over-fed forms of rounded sans that [he] was seeing and do something that was a bit more, how would you say, athletic. The upright forms are based on italic structure, everything is slightly condensed and taut. The design has some very heavy weights but I don't think they ever look bloated or fat. As with all my designs, I developed this to work as small text as well as display and it has a surprising sparkle and readability in text sizes. This is my first retail release to support Vietnamese, and after having so much fun drawing all of those wonderful stacked accents and hooks and dongs, there is no doubt that all of my future fonts will include Vietnamese support as well.”

From the site: “Stéphane Elbaz submited Geneo in 2008, we were immediately charmed by the subtle mix of styles. Presented in ExtraLight only at the time, the potential was already latent. The following year he received the ultimate accolade for a type designer (TDC Certificate of Type Design Excellence). Stéphane worked even harder on it until April 2012 to meet the requirement of Typofonderie production: Many weights, a large glyphs set, subtlety of its design. […] a synthesis of historic and present-day visions of typography, a slab serif constructed on an oblique axis. Its subtle contrast evokes both Renaissance elegance and the robustness of the Egyptian typefaces that were in vogue during the 19th century. Geneo falls halfway between the classic styles of Garamond and Fournier, with aspects of contemporary slab serifs like Rockwell, Boton, and even Le Monde Courrier. From this blend of styles and genres, it emerges with a singular identity perfectly suited for modern illustrations of quality, savoir-faire, and culture.”

From the site: “Gaytan (Bulgarian for braid) is a fresh new insight on archaic letterforms. [Vassil Kateliev’s family consists] of two unicase typefaces — a modern looking sans and more classic looking serif, equipped with many alternates, so they can suit any typographic taste. Gaytan’s unique design was inspired by Old Church Slavonic Cyrillic, Bulgarian Ustav and the Russian Vyaz stiles, as well as the avant-garde works of Bulgarian type designers in late 1970s.”

From the site: “In the 1920s the Viennese government decided to standardize the street signs across the city […] with white-on-blue enamel plates. An [anonymous] typeface was especially constructed for the purpose […] in Heavy and Bold Condensed versions. Since the 1970s, phototypesetting has been used to produce the plates, which allows the enamel producer to also stretch the typeface to the perfect length (and which kind of hurts sometimes). As the years went by, the typeface was adopted and redrawn by several enamel factories. These adaptations lead to [sixteen] variations on the design […] which we found in our research (bastards not included). Henriette is not a digitization of any of those versions; rather, it is influenced by all of them. In the end, it is another approach on the typeface that we love for its uniqueness, in the otherwise slender typographic history of our country. Henriette was developed by Michael Hochleiter, creator of the TDC award winning didone family Ingeborg, and is his second big type family. It consists of 30 styles including 5 weights, Condensed and Compressed widths and accompanying Italics. We also didn’t scimp on OpenType features: All the Romans include a set of Small Caps, the Italics Swash Caps. All weights have ligatures, alternate glyphs, fractions, arrows and several figure styles. [Additionally, there’s a] Frames font [and] we decided to give away Henriette Black for free.”

From the site: “Rostislav Vaněk decided to create both -sans and -serif families at the same time for the benefit of designers and studios looking for perfectly matching fonts. Clara has distinctive open character with higher x-height assuming its flawless usage in magazines, books, catalogues, corporate style and orientation systems, but it admits an ambition to be regarded as book typeface as well.”