Copenhagen Grotesk Nova is based on its 2015 predecessor (Copenhagen Grotesk). The Nova edition is carefully designed with new details, a simpler set of glyphs and with moderate descenders and ascenders in relation to less accentuated capitals.

The ITC Nova Lineta™ design is the first commercial typeface from Slobodan Jelesijevic. As with many typeface designs, it began as simple sketches. “I was working on a packaging design project,” recalls Jelesijevic, “and wanted an informal, slightly cursive design for the type. I could not find anything that matched my need, so I began sketching.” The preliminary design had an elegant yet fresh quality that, once developed, turned out to be perfect for Jelesijevic’s project. After its first use, however, Nova Lineta lay dormant for over a year. Other projects came and went, and new typeface ideas filled Jelesijevic’s notebook. Although Nova Lineta continued to tickle the creative crevices of his mind, no more work was done on the face. Then, in a period between projects, Jelesijevic began to polish the design – and, in the process, created extended and condensed versions to complement the normally-proportioned original. Born in Gornji Milanovac, Serbia in 1951, Jelesijevic graduated with a degree in graphic communication and lettering from the Faculty of Applied Arts in Belgrade. These days, Jelesijevic is sought out not only as a typeface designer, but also as a graphic designer and illustrator. When not working on design projects, he teaches graphic communication at the Faculty of Art in Niš, Serbia. Although it is a casual and inviting design, Nova Lineta has been carefully constructed and refined. As a result, it performs exceptionally well within a wide range of sizes and in a wealth of applications. An ample x-height, open counters and distinctive character shapes also ensure a high level of legibility. And, although at first glance Nova Lineta may appear to be a sans serif design, subtle serifs make their presence known at large sizes. Nova Lineta emanates warmth when used for extensive text, and it has a fresh quality at display sizes. The small family’s range of proportions also provides added flexibility. The result is a friendly yet powerful communication tool in a remarkably modestly-sized package.

Berling Nova Sans Pro is the companion famous Berling Nova type family. Made by Pangea design, the sans family consists of seven fonts: Light, Regular, and Bold - all with true italics - and the additional weight of Extra Bold for real impact. The original Berling spirit was transfered into this sans design so it functions well as a pairing with its serifed counterpart. Useful for anything from text through display sizes, this clear and modern humanist design is sure to add just the right amount of personality to your project. For more information on this extended type system, be sure to check out the Berling Nova family!

Originally commissioned by magazine publisher IPC, Rogue has proved to be one of the most popular Device releases. Now extended and updated as Rogue Nova, it sports additional weights, East European language support and reengineered spacing and kerning. It is now a versatile 30-font family, with five weights and three widths, all with italics. Powerful and authoritative, sharp-edged and contemporary.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

MVB Bossa Nova is based on unattributed hand-lettering found in an old book, circa 1946. Yet unlike many scripts based on a vintage source, it feels fresh and dynamic. This is due to the skilled hands of Holly Goldsmith, who gave the forms a contemporary vigor despite their age. Alternate glyphs with extended ascenders offer extra flair.

Garamond Nova Pro is one of the fonts of the SoftMaker font library. It is a modern interpretation of the classic Garamond style. SoftMaker’s Garamond Nova Pro typeface family contains OpenType layout tables for sophisticated typography. It also comes with a huge character set that covers not only Western European languages, but also includes Central European, Baltic, Croatian, Slovene, Romanian, and Turkish characters. Case-sensitive punctuation signs for all-caps titles are included as well as many fractions, an extensive set of ligatures, and separate sets of tabular and proportional digits.

Lindisfarne Nova is an uncial-like design based on the script found in the Lindisfarne Gospels. Created by Harry Pears and Margaret Layson, it is available in two weights, regular and bold. Lindisfarne Nova is Harry’s first completed font. There are also two companion styles, Lindisfarne Nova Incised and Lindisfarne Runes.

Tupã is a Brazilian indigienous god of thunder. This typeface is a geometric Sans Serif based on vertical and diagonal strokes. The heavy weights are great for impact layouts and the light weights are perfect to make sutil and strong messages. Tupã has a wide character set, including Cyrillic, with Small Caps, Ligatures, regular and tabular numbers and a lot of alternates. This Font is great for tight leading, including when diacritics are involved, there are alternates and case sensitives symbols to make all blocked. And yes!, there's a Variable Font too.

The Joanna® Sans Nova family is the only typeface in the Eric Gill Series that was not initially designed by Gill. Created by Monotype Studio designer Terrance Weinzierl over a three-year period with digital applications at the forefront of the design criteria, Joanna Sans Nova is a humanist sans serif based primarily on Gill’s original Joanna. The design comprises 16 fonts, from thin to black, each with a complementary italic. Joanna Sans Nova has a larger x-height to ensure high levels of legibility – even on small digital screens. Due to its inherent humanist proportions, Joanna Sans Nova is surprisingly comfortable for longer form reading. Its low contrast in character stroke weights also improves imaging in a variety of environments. In addition, the calligraphic and fluid details enable the roman and italic designs to shine in headlines and other display uses. Joanna Sans features a robust range of OpenType features for fine typography, including small caps, old style figures, proportional figures, ligatures, superscript and subscript figures and support for fractions. With over 1000 glyphs per font, Joanna Sans supports more than 50 languages – in Latin, Greek and Cyrillic scripts. “I've always been a fan of Gill’s work, explains Weinzierl, and found the simple, humanist qualities of Joanna really fitting for a sans serif design. I wanted to make something with Gill flavor, but with more harmony in the extreme weights than Gill Sans – and with my twist on it. I went through six or seven different italic designs before landing on the current direction.” “The original Joanna had a very distinct italic, Weinzierl continues. “It’s very condensed, and has a very shallow angle. I wanted to have an italic that stood out, but in a different way. I took a cursive direction for the italic details, which are wider and slanted more, both improving character legibility.” The Joanna Sans Nova typeface family is part of the new Eric Gill series, drawing on Monotype’s heritage to remaster and expand and revitalize Eric Gill’s body of work, with more weights, more characters and more languages to meet a wide range of design requirements. The series also brings to life new elements inspired by some of Gill’s unreleased work, discovered in Monotype’s archive of original typeface drawings and materials of the last century.