The market for humanistic sans serif type families is saturated, so what can a new release add, and what does it take to stand out from the crowd? Asterisk Sans Pro (named after my favourite glyph to make) aims to be a highly versatile type family; massively useful due to its pan-European language support and bounty of OpenType features which make it the ideal choice for demanding typography. The look is contemporary; details which give the fonts character at large sizes all but disappear when small, making the middle weights suitable for large chunks of text. The family ranges from a hairline ultra light to a pretty weighty black – a must in a new typeface. Asterisk Sans Pro supports Latin, modern Greek and Cyrillic, with localized forms for Bulgarian, Serbian and Macedonian to boot. This is rare enough, but to have small caps for all these scripts in both upright and italic fonts is a big plus. Your client may not need all this language support right now, but this typeface gives them the option to grow while keeping a consistent look, and at a similar price point to families with a much narrower scope. The ability to customize Asterisk Sans Pro through the use of Stylistic Sets in OpenType savvy layout programs means you are really in control. Want more italic forms in the uprights? Go for it. A more Roman italic? Easy! The spurless m, n, r and u, accessible through SS13 give a graphic, almost bauhaus feel. The Dutch IJ glyph can be changed to a much cooler thing using SS14, and the family even supports ij-acute. Other OpenType features include a wealth of numeral styles (tabular and proportional, lining and oldstyle, plus small cap figures, numerators, denominators, subscript and superscript) and automatic fractions. There are also case-sensitive forms for all caps settings, a bunch of useful arrows, and superscript lower case Latin letters. All in, there are well over 1200 glyphs per font, making Asterisk Sans Pro an invaluable tool in your typeface arsenal, great for everything from corporate identities to editorial work, apps to cookbooks.

Touch Me is a Script hand-drawn style typeface—designed by Coto Mendoza—resulting from polyrhythmic exploration, sign deconstruction and altered calligraphic contrast plays with watercolour brush. Coto has been using these experimental calligraphy techniques when creating the catchwords for Macarons, the Boho Family, Bikini Season Script and Matcha Script and so forth. Touch Me was inspired by a character in a story written by Coto while attending a literary workshop with Ina Groovie in Santiago de Chile. The character is a tribal girl who lives on an island in the Caribbean. She is heir of ancestral knowledge and possesses wild beauty, very passionate and sensual: intense, strong and free. These features are reflected in the polyrhythm of the typeface's curves: an irregular baseline, variable x-height, different lengths of initial and terminal strokes (that sometimes expand and sometimes shrink) and amount of brush pressure that generates changes in contrast within the characters. This way, when composing, signs with stroke contrast randomly alternate with monolinear ones and with signs of altered contrast, thanks to the typeface's OpenType programming. The family, with more than 3,000 glyphs, provides a number of alternative characters, swashes, ligatures, initial and terminal forms, in short, a vast ocean of choices! Touch Me is a spontaneous typeface with a fresh and unique personality. It is the perfect choice for short text in both print and digital formats. The family comes with a Script Regular version and a seductive Script Drop that you will enjoy a lot! The Extras set includes some catchwords, dingbats and ornaments that allows for endless composition options. The family also comes with a Caps version —designed by Luciano Vergara—in 2 styles: a funny and big-headed condensed Sans Grotesk display of inverted vertical proportion plus a Grotesk, neutral and slightly expressive Petite. Both versions, available in 6 weights, have been especially designed to create hierarchies when composing. This allows for balance between strokes of different weight when it comes to the Sans and Script fonts. Come and dare yourself! Touch Me! Thanks Alisa for sharing your amazing and beautiful picture with us.

When Candy Script was officially released and in the hands of a few designers, I was in the middle of a three-week trip in North America. After returning to Buenos Aires, I found a few reactions to the font in my inbox. Alongside the congratulatory notes, flattering samples of the face in use, and the inevitable three or four “How do I use it?” emails, one interesting note asked me to consider an italic counterpart. 

I had experimented with a few different angles during the initial brainstorming of the concept but never really thought of Candy Script as an upright italic character set. A few trials confirmed to me that an italic Candy Script would be a bad idea. However, some of these trials showed conceptual promise of their own, so I decided to pursue them and see where they would go. Initially, it seemed a few changes to the Candy Script forms would work well at angles ranging from 18 to 24 degrees, but as the typeface evolved, I realized all the forms had to be modified considerably for a typeface of this style to work as both a digital font and a true emulation of real hand-lettering. Those were the pre-birth contractions of the idea for this font. I called it Sugar Pie because it has a sweet taste similar to Candy Script, mostly due to its round-to-sharp terminal concept. This in turn echoes the concept of the clean brush scripts found in the different film type processes of late 1960s and early 1970s.
 
While Candy Script’s main visual appeal counts on the loops, swashes, and stroke extensions working within a concept of casual form variation, Sugar Pie is artistically a straightforward packaging typeface. Its many ligatures and alternates are just as visually effective as Candy Script’s but in a subtler and less pronounced fashion. The alternates and ligatures in Sugar Pie offer many nice variations on the main character set. Use them to achieve the right degree of softness you desire for your design. Take a look of the How to use PDF file in our gallery section for inspiration.

Greenhorn is a hand-traced comic type for headlines. Funky, irregular and smiling. The first inspiration comes from the unique lettering of a classic czech cartoonist.

Take a classic hand lettered Art Deco alphabet, add in a treatment of dual straight vertical lines and the resulting typeface is Double Line Deco JNL.

There is just one subtle difference between these two fonts. The A version has a straight lowercase 'e'; the B version has an angled lowercase 'e'.

Kanigara is a handwritten like monoline typeface. Its signature style is perfect for adding a natural touch to your logos, branding, invitations, covers, and much more!

SoftMaker’s Abbott Old Style is a revival of Joseph W. Phinney’s typeface of the same name, a modified serif typeface. It is charmingly antique and exotic.

Milk Bath is a cute and funny handwritten font. It’s simple and friendly style makes this design incredibly versatile, fitting a wide variety of creative ideas.

Lemon Party is a cute and quirky handwritten font. It’s simple and friendly style makes this design incredibly versatile, fitting a wide variety of creative ideas.

Lelet Script is a TrueType font inspired by my mother’s exquisite handwriting. It has a graceful, smooth look that makes it very legible for any project.

Strong Enough is a beautiful and authentic modern calligraphy script that feels fresh and unique. Use it for any design project that requires a charming appearance!

Friskily is a soft bold script font with a retro and simple vibe. It will look great on headlines, magazines, logos, branding and so much more!

Rosie is a chunky but elegant pen script with useful OpenType features. In non OpenType-savvy applications it still works beautifully as a fully joined script.

Phyllis was designed by Heinrich Wieynck in 1904. The Phyllis font has a suite of alternative initials that provide a flourish to an otherwise modest script.

Handletter Signature is a gorgeous, elegant and unique handletter-based signature font with a modern look. Improve your design or make it as your own signature!

Mol is a slightly condensed feminine serif font recommended for use as a display typeface. It features hairline serifs, strong vertical stress and heavy ball terminals.

This typeface was developed by Roland John Goulsbra in 1995. Almost like the printing of a child, the irregular forms of Agrafie make a unique impression.

This smooth, modern typeface named "Sweet & Fresh" has a trendy look with nice rounded shapes and multi-lingual support. Thank you and have a nice day!

The presidents busts in a typeable format. Use a Glyph palette or Character Map for quick navigation. Who knows, one day it may come in handy.

The OTSU SANS family is a new sans-serifs typefaces family based on a geometric design. It can be use for text as for titling applications.

Pelago is a semi-formal sans-serif type family by Adobe Principal Designer Robert Slimbach. The family has a crisp contemporary appearance and an understated elegance.

A revival of one of the popular wooden type fonts of the 19th century, extremely condensed, bold, flat thick serifs, a very useful design for display.

Friendly by shape, serious by structure. Serious Sans is a font for many occasions and it includes an alternate 'a' and 'g' for primary school use.

The OTSU SLAB family is a new slab-serifs typefaces family based on a geometric design. It can be use for text as for titling applications.

Funkywarp is a simple distorted font, a warped sans-serif typeface. The package contains both OTF and TTF versions - install either OTF or TTF, not both.

Nostalgia styled font designed by Samborghini Uppercase Character Set A-Z Lowercase Character Set a-z Tons of alternate characters Numerals & Simple punctuation OTF file format

This font contains a selection of typographical symbols, covering mainly Astrology, Biology (Botany), Meteorology and Mathematics. Its glyphs are in a sensibly adjusted light monoline style.

A font based on the Germanic rune divination system dating back to medieval times NOTE: this font comes with a comprehensive interpretation guide in pdf format.

Wishkey is a cool and interestingly designed display font. It will elevate a wide range of crafting ideas from cards to branding, labels, and much more.

Hand-drawn playful lettering full of curls and whimsy. This is designed to be completely legible while still offering a fun flair to a finished project.

Ayalda is a classy and elegant handwritten font with beautiful swashes. Get inspired by its unique look, and turn any design idea into a true standout!

A product of the Inland Type Foundry, some say stolen from a hand lettering job done by Goudy. (Goudy was one of those who said it!)

Ole is a retro jazz inspired font with clean lines and a classic style. Use it big to fully appreciate the extreme nature of its design.

Windlesham is a more traditional sans serif version of our Guildford typeface. Windlesham contains all the high-end features expected in a quality OpenType Pro font.

AZ Claire was inspired by hand scripts, but with the necessity for a bolder look. This font was designed for use as a fun bold headline.

Joyeux is a font family of an all caps font and a dingbat font with 52 cute clipart illustrations which will make crafting so much fun.

Sunkiss Cafe is a cute and funny handwritten font. It’s simple and friendly style makes this design incredibly versatile, fitting a wide variety of creative ideas.

Fordham JNL is a slab serif typeface in regular and oblique versions that has a casual, informal look reminiscent of 50s and 60s-era ad headlines.