Last month we announced a number of new fonts available from TypeCulture, including Expo Sans and Expo Sans Condensed. Today we’re happy to announce the release of another member of the family: Expo Serif.

Expo Serif by TypeCulture

Expo Serif was of course designed to complement Expo Sans, sharing a sturdy but narrow frame, open, legible counters, and playful details like the tipsy triangular dot on the ‘i’. But Expo Serif brings some new tricks to the table, like a full regiment of swash capitals, and discretionary ligatures as seen in the sample above. It also includes small caps and a wide range of language support.

The eight-style family is available for web to all paid Typekit subscribers. Select styles are available for Creative Cloud desktop sync. If you’ve never tried Typekit, sign up and take a look around, and upgrade to a paid plan when you’re ready.

Have you ever found the perfect typeface… but wished you could ask for a slight tweak or expansion? The new Adobe Type Concepts program is giving you that chance, with an approach to typeface design unlike anything we’ve tried before. Today we are excited to announce the release of Vortice Concept, a bold display typeface by Miguel Sousa. Vortice is the first typeface developed under the Adobe Type Concepts program, and is available on Typekit for desktop and web use with any plan level.

What is Adobe Type Concepts?

The intent behind the Adobe Type Concepts program is to allow the Adobe Type team to release new designs more frequently, initially in scaled-down versions, using an agile development process. After a new font is released, the team will use customer and community feedback as a guide for its future development and expansion. The program is particularly well-suited for display typefaces that will complement Adobe Originals text families.

As an Adobe Type Concept font, Vortice debuts in a single weight with Latin uppercase characters and some punctuation. A typical Adobe type design effort takes about two years to develop from idea to final product; to make Vortice, the challenge for Miguel was to develop the new face in six months, while working on other projects. “Generally, type design is a somewhat solitary undertaking,” commented Miguel. “Often it is only after the font is completed and provided to customers that you begin to get feedback. With Adobe Type Concepts we talked about what it might be like to get users involved earlier in the process. I’m really excited to hear what our customers have to say, and to see where their input takes me.”

Vortice: A sans with character

Vortice is a geometric sans serif display face with a brash personality. This typeface is reminiscent of the symmetrical Art Deco lettering styles first popularized in the 1920s, but unconventional letterforms such as the G, Q, R, and S lend Vortice a refreshingly progressive air. Vortice would appear equally at home on tasteful hand-pressed olive oil packaging and the splashy dress of a Formula One race car.

Miguel’s first inspiration for Vortice came from a “Nitrato do Chile” advertising sign he often saw during his childhood in Portugal; he was drawn to its lettering and color palette. Later, as a graphic design student, Miguel was attracted to Germany’s PAGE magazine logo, which mixed the historic characteristics found in the Nitrato sign lettering with a more modern style. Both references resonated with Miguel, inspiring the type design sketches he used while applying to the MA Typeface Design program at the University of Reading.

Bold angular lettering evokes Art Deco style in this advertising sign for Nitrato do Chile, found in Carrapichana, Portugal. The brand belonged to a company that sold guano fertilizer from Chile throughout Iberia during the 1920s and ‘30s. Signs like this can be spotted across Portugal, especially in rural areas. Photo by Márcio Martins.

PAGE, Germany’s premiere graphic design magazine, and an inspiration for Vortice; its masthead/logo mixes Art Deco angularity with unusual rounded forms. Photo by Frank Grießhammer.

Miguel stashed these sketches away while at Reading and focused on other projects. It wasn’t until the Adobe Type team began discussing the new program that Miguel took out his sketchbook and presented his early drawings to the design team for consideration.

After devoting his tenure at Adobe to mainly assisting with large text families, Miguel was excited to do something more experimental that could grow over time.

Where to find Vortice

Vortice is available with any Typekit plan, and can be used on the web or synced for use in any desktop application. If you haven’t tried desktop font syncing before, it’s pretty simple. Greg Veen, co-founder of Typekit and senior product manager at Adobe, demonstrates the process in this video, where he opens up an InDesign file and syncs a font as he works.

Provide feedback

We hope you’ll take Vortice for a spin! We can’t wait to see it in use, and we’re looking forward to hearing what features and enhancements you would like to see in future versions. Miguel will start working on the next iteration of Vortice this summer, and will take all the feedback we receive into consideration.

Please visit the Behance project page for Vortice to share feedback and stay up to date on future releases of this and other Adobe Type Concepts fonts.

As we announced recently, we’ve added a ton of new fonts to the Typekit library from the extensive collection at WebINK. Among those foundries is Canada Type, a Toronto-based operation founded in 2004. Canada Type works with a number of different designers, making this one of the most stylistically diverse font collections we’ve added to our library at one time.

Classic Comic & Collector Comic

Classic Comic (left) and Collector Comic (“KA-BOOM” and right). All type specimens by Ariadne Remoundakis.

Heavily inspired by comic book lettering styles and “Patrick Griffin’s continued obsession with the genre,” the all-caps Classic Comic typeface brings an unmistakable flavor to display text (and would look completely at home inside a word bubble, if you want to go that route). Sturdy enough for really big sizes; bring it to your billboard. Collector Comic is a condensed, slightly lighter variation on this theme, and is ideal for infographics and more text-focused settings where you might need to elaborate a little beyond BLAMMO.

Clarendon & Clarendon Wide

Clarendon Wide, Text, and Stencil

Clarendon Text is packed with fantastic details in some of its ligatures, and it also has a stunning wide companion font: Clarendon Wide, which we’ve added to the library in both solid and stencil.

Gibson

Gibson

This delightfully flexible humanist sans serif was named in honor of John Gibson, one of the original founders of the Society of Graphic Designers of Canada. With eight styles and weights, you’ll have plenty to play with; try combining a couple weights for a visually-dynamic look that maintains consistency.

Memoriam

Memoriam

Commissioned for the New York Times Magazine in 2008, elegant Memoriam was immediately a hit with readers — who were quick to demand a retail version. You can really get some mileage out of the swashes and alternates here — and we’ve got the Outline, Inline, and Headline variants too.

Orpheus

Orpheus

Orpheus is a revival of a typeface designed in the late 1920s for the metal type market; it enjoyed about a decade of popularity in Germany until World War II — and technological shifts in typography — pushed it out of view for a long spell. This version is packed with creative alternate characters, and the italics are especially lovely with a strong calligraphic flavor.

All the new typefaces from Canada Type are available for sync or for use on the web — try them out anywhere! If you don’t have a Typekit subscription, it’s free to try out and take a look around.

We recently welcomed Isaco Type as one of our newest foundry partners. Founded in 2009 by Isac Rodrigues, Isaco Type is based in Vacaria, Brazil, and we’re delighted to add some of their fonts to our library. Let us know how you like them!

Monarcha

Monarcha. All specimens by Ariadne Remoundakis.

Monarcha has a beautiful, calligraphic rhythm in its strokes, anchored by the strong terminal serifs. It’s substantial, but not domineering; a relatively high x-height makes for a balanced and readable text face. It’s also packed with OpenType features, including over 40 different ligatures.

Mayence

Mayence

Mayence is a single-line script face whose angular shapes and and dashed-off terminals give the impression of someone whose mind is working faster than their pen. The font family contains over 400 ligatures, many of them for more than three joined characters and even a few numerals. There may be only one style, but with nine different ampersands in play, you’ll have plenty of decisions to make as you work with this.

Cantiga & Contiga Condensed

Cantiga Regular and Condensed

With eighteen different styles for both the regular and condensed versions, Cantiga was designed to be a workhorse sans. The thinnest and heaviest weights make for especially striking headlines, while the mid-range weights work nicely as text faces; the slightly rectangular counters lend just a hint more personality than your average sans.

Basel Neue

Basel Neue

For an undressy sans face, Basel has a few tricks up its sleeve — like the symbols that can be activated with discretionary ligatures. (Check Isaco Type’s documentation for the full list — or just play around in your glyph panel.) The open, rounded shapes and slight variation in stroke thickness give Basel a casual, friendly attitude as a text face.

All the new typefaces from Isaco Type are available for use on the web, and many of the styles are also available for syncing. If you don’t have a Typekit subscription, it’s free to try out and take a look around.

We’re delighted to announce the release of Adobe Kannada, the latest installment in our font development program for the languages of India. Adobe Kannada was designed by Erin McLaughlin, with Indian fonts expert Fiona Ross consulting on the design. The Adobe Kannada fonts are available via sync to paid Creative Cloud subscribers. Additionally, almost all of Adobe’s Middle Eastern/North African and Brahmic typefaces are now available for syncing.

The design team

I personally came in contact with Erin during my own studies at the University of Reading through her blogging on eclectic Indian typography and design. She later attended the university, also focusing on Brahmic type design. As part of her Master’s work, she designed the quirky Devanagari face, Katari. Her novel, adept approach impressed me, and we were excited to bring her in to work on Adobe Kannada.

As with our other Indian type projects, we were delighted to have Fiona on board to share her guidance in every aspect of design, including the suitability of the design approach, specifics of letterform construction, and guidance on appropriate parameters such as stroke contrast and letter proportions.

Kannada hand-painted lettering, Bangalore, India

A brief history of Kannada

Today, the Kannada script is used primarily in the Indian state of Karnataka to write the Kannada language, though it has also been used to represent other minority languages including Tulu, Konkani, Kodava, Badaga, and Beary. Historically, the written form of Kannada evolved in tandem with Telugu script. The manuscript forms of these scripts, which can be seen in codices written on palm leaves, were of a monoline style and were considered regional variants of the same writing system.  It was not until the advent of printing in India that these two scripts began to be codified in type and diverge in appearance. The higher-contrast style that is popular today originally emerged in the mid-19th century and was popularized especially by the Basel Mission Press in Mangalore.

As with the other Adobe Brahmic fonts projects to date, the main intended usage for this design is for continuous text settings intended for printed outputs. Erin shared some of her insights from the design process:

Influential Kannada typefaces such as those used by the Basel Mission Press, Linotype’s Kesari design, and Monotype Kannada informed the shape the letterforms and styling. Adobe Tamil was a secondary inspiration for the treatment of details such as stroke differential and treatment of curves.

The contrast of the Regular weight is somewhat lower than most Kannada text faces, resulting in more legible letter forms at small sizes. The Bold weight follows cues of traditional typefaces, adding strong contrast to the horizontals, leaving the interior of the shapes clear and crisp. The scale, weight, and kerning of the subscripts were tested extensively, so that they integrate smoothly into texts.

The Gospel of Mark in Badaga language, Kannada script,
published at the Basel Mission Press, Mangalore, India, 1896

Technical arcana

As the font engineer on this project, I tried to treat the technical aspects with the same attention, care, and drive for excellence that Erin put into the visual design of the type forms. I attempted to follow the philosophy of including only as much information as necessary and no more, which in this case has the practical result of keeping font size smaller and more dynamic. This means I have limited the glyph count as much as possible without sacrificing proper Kannada script shaping, and have worked to ensure that kerning is only applied to combinations that are likely to occur.

Adobe Kannada relies on contextual kerning for correct placement of subscript forms instead of mark placement (the other route typically employed for positioning glyphs relative to each other in OpenType fonts). This is a simpler, more robust solution for Kannada fonts, which otherwise usually don’t require mark placement . I have also tried to ensure that the OpenType shaping instructions have been formatted as concisely as possible.

Availability

With the release of Adobe Kannada, we hope to raise the bar and provide a design for this writing system that is significantly better than other options that are currently available for this purpose. With a paid Creative Cloud subscription, you can sync this font and use it in any desktop application.

We’ve also added our entire collection of Middle Eastern/North African and Brahmic fonts to the Typekit library for syncing, with the exception of Myriad Hebrew Cursive; this includes Adobe Arabic, Adobe Naskh, Myriad Arabic, Adobe Hebrew, Myriad Hebrew, Adobe Thai, Adobe Devanagari, Adobe Bengali, Adobe Gujarati, Adobe Gurmukhi, and Adobe Tamil.

Enjoy the fonts, and let us know what you think! If you have any questions or need help getting started, get in touch at support@typekit.com.

Recently we added a great selection of fonts to the Typekit library from French foundry Mostardesign, established in 2004 by Olivier Gourvat. Check out a few of their typefaces as we welcome the foundry to the library, and give them a try in your projects; we’d love to hear what you think.

Sofia

Sofia. All specimens by Ariadne Remoundakis.

Sofia Pro is a fresh geometric sans serif whose huge open counters give it a somewhat casual, almost playful appearance. It was built with versatility in mind, too, boasting eight different weights from Ultra Light up through Black. And if you’d like a slightly gentler variation on this same flavor, we’ve added Sofia Pro Soft to the library as well.

Metronic Slab & Metronic Slab Narrow

Metronic Slab.

A slab serif with a decidedly blocky character, Metronic Slab can perform brilliantly as either a text face or for big slabby headlines; the dominant serif shapes at the larger text sizes scale down gracefully at text sizes for an uncompromised reading experience. Nestled in there is a set of 60 icons to play with, too. We’ve also added its condensed-width sibling Metronic Slab Narrow to the library.

Kyrial

Kyrial.

Kyrial Sans is a versatile, understated sans serif whose subtle personality emerges upon close inspection of features like the rounded bottom corner on the capital ‘E’, or the slight curve on the leg of the ‘k’. It makes for a clean, smooth text face, and the heavier weights are suitable for headlines.

All the new typefaces from Mostardesign are available for use on the web, and many of the styles are also available for syncing. If you don’t have a Typekit subscription, it’s free to try out and take a look around.

We are thrilled to introduce new additions to our library from Typofonderie, a partner since Typekit’s launch in 2009. Originally a showcase of founder Jean François Porchez’s type designs, Typofonderie has more recently added work from other designers, like Xavier Dupré. Along with type design, Jean François has an illustrious teaching background and will continue to bring type expertise to the world with Type@Paris this summer, a course we’re proud to sponsor.

The Ardoise and Mislab complete families are new to Typekit. All of the Typofonderie families we offer have been newly optimized — we’ve also introduced new additions to the Le Monde family (Journal Std 2, Sans Std 2, Livre Std and Livre Classic), Parisine family (Office and Gris as well as Parisine Plus Gris), and Anisette (Std Petite 2).

Ardoise

All specimens by Typofonderie — see more on their Tumblr.

Ardoise was developed for publications, but its straightforward forms and high x-height make it very well suited to any layout. Even in the most condensed widths and heavy weights, the typeface maintains legibility and consistency. Its proportions are shared by the Le Monde family, designed by Porchez for the premier French newspaper. There are plenty of weights and styles available to create effective combinations.

Mislab

Designed by Xavier Dupré, Mislab succeeds in its role as a robust display face while also maintaining delicate features. Though the uppercase letters maintain strong serifs, most of the lowercase letters — notably the a, c, e and s — are left with sans serif endings. Even the x, a perfect candidate for symmetrical slabs, is treated in a fluid way with one of the terminals ending in a curve. The typeface has an impressive number of weights and styles, well suited for display use.

All the Typofonderie faces are available for use on the web. If you don’t have a Typekit subscription, it’s free to try out and take a look around.

We have new additions to our library for you to try on both your desktop and websites. Three of our existing foundries — Mark Simonson, Rui Abreu and Typefolio — have added some great faces to play with. We’d love to hear what you think.

Mark Simonson

We’ve been busy getting a freshly updated version of Proxima Nova into the library this week. It include updates to standard ligatures, new currency and punctuation characters, and a few other optimizations. You can read up on the specifics in the Mark Simonson Studio Notebook. Republish your kits to get the new version. We’ve done extensive testing and tweaking to make sure that this new version will not cause layout problems for existing sites, but get in touch if you have any questions.

Along with that, we’ve added two scripts from Mark Simonson.

Kinescope

Kinescope has a 1940’s feel along with a playfulness that speaks to its origin in a Superman cartoon series. Simonson programmed contextual alternates into the font to automatically choose the appropriate letter shapes as you type. No more y’s reaching for a non-existent letter when they’re at the end of a word!

Lakeside

Inspired by the titles in a 1940’s film, Lakeside’s loops evoke that classic film noir style. It includes three styles of capital letters — standard, oversized caps for a more upscale appearance and plainer caps for an all-caps setting. Simonson used the same contextual alternate technology mentioned above for Kinescope, as the letters magically adapt to their position in a word.

Rui Abreu

Litania

Litania plays off the natural writing style of medieval scribes, incorporating some of the inevitable variations that worked their way into manuscripts. The typeface contains the more decorative Lombardic capitals along with Roman capitals. Both complement each other well, and the lowercase letters are a great fit for either style. When set in this typeface, Lorem ipsum looks more like an incantation than a placeholder!

Usual

Usual is a neutral and versatile face whose five weights suit uses from text to headlines. Included in the offering are alternates with shorter descenders — this is great for adapting to tight line spacing without compromising the shape of the letter.

Typefolio

Stevie Sans

Stevie Sans is a modern grotesque with seven styles. Its high x-height and open counters make it perfect for digital text, as it lends itself well to screen reading. Maintaining this legibility at the smallest sizes and heaviest weights is no small feat.

Let us know what you think of these new fonts! If you don’t have a Typekit subscription, it’s free to try out and take a look around.

This one’s been simmering for a while, and we’re delighted to finally tell you about a substantial expansion to the Typekit Library. TypeTogether, Dalton Maag, and URW++ are three prolific type foundries, and this huge update introduces hundreds of their fonts into our collection. We’ve got a great mix of totally-new and new-to-Typekit fonts, along with updates and expansions to some of your favorites.

We’ve listed the entire update here for easier browsing. We’ll be diving deeper into each of these foundries’ respective updates in the coming weeks. All of these fonts are available for use on your websites, and many are also available for sync. Check the individual family detail pages for information about usage and to see more examples.

Karmina, LFT Etica Compressed, Lipa Agate High, Adelle Condensed, Pollen

TypeTogether

Our updates from TypeTogether include a few entirely new families, such as Ebony and Lipa Agate (High and Low), as well as width and style additions for some of your favorites. Longtime Typekit stalwarts Adelle and LFT Etica both sport new Condensed widths for added versatility; LFT Etica also adds in an even-slimmer Compressed width. We’re stoked to finally add Karmina — we’ll have more to say about that one in a future post — and Capitolium News 2 expands on the Capitolium family with sturdier forms for setting at text sizes.

Here’s the full list of new families we’ve added from TypeTogether:

Ebony
Karmina
Adelle Condensed
LFT Etica Condensed (Plus Compressed)
Lipa Agate High (Plus Narrow and Condensed)
Lipa Agate Low (Plus Narrow and Condensed)
Capitolium News 2

Lexia Advertising, Tornac, Almaq Rough, King’s Caslon Display, Co Headline

Dalton Maag

“Holy crap, we’re adding all these?!”
“Yuuup.”
That is a direct quote from the Typekit office upon seeing the list of new Dalton Maag fonts in queue. We’ve finally added the popular Aller, and are happy to include some of Dalton Maag’s newer designs, including the award-winning Soleto and Blenny.

Aller (Plus Display)
Almaq Refined and Rough
Blenny
Bligh
Co Text and Headline
Cordale
Grueber
King’s Caslon Display
Lexia Advertising
Magpie
Oscine
Plume (Plus Plume Advertising)
Prometo
Soleto
Stroudley
Tondo
Tornac
Verveine

Antique Olive Nord, Bernhard Gothic, Bee One, Clarendon, Balloon Drop Shadow, Stymie, Classico URW

URW++

This one has been brewing for awhile: we’ve finally dipped into URW’s vast inventory to bring you a ton of classic type designs, including Adrian Frutiger’s Serifa, Aldo Novarese’s Eurostile, and John Baskerville’s … um, well, Baskerville.

Antique Olive (Plus Nord, Condensed, and Compact)
Anzeigen Grotesk
Balloon (Plus Drop Shadow and Outline)
Baucher Gothic (Plus Extended)
Baucher Gothic Alternates (Plus Extended)
Bee
Bernhard Gothic
Casablanca
Copperplate (Plus Condensed)
Corporate A
Corporate E
Corporate S
Craw Modern
Didoni
Egizio (Plus Condensed)
Eurostile (Plus Extended and Condensed)
Goudy Old Style
Handel Gothic
Imperial
Isonorm
Jay Gothic
Justus
Nimbus Roman
Serifa (Plus Condensed)
Stymie (Plus Drop Caps, Small Caps, and Condensed)
URW Antiqua
Baskerville
Bodoni
Clarendon URW (Plus Extra Wide and Extra Narrow)
Classico URW
Latino URW
Neuzeit Grotesk (Plus Condensed and Extra Condensed)
VAG Rundschrift D

We’re taking the rest of the day off to recover from all that — but we’ll share more here soon about each foundry so that a few of these great typefaces can get the attention they deserve. In the meantime, start exploring! If you don’t have a Typekit subscription, it’s free to try out and take a look around.

Wow, what a ride! 🎢  Fans of Source Code Pro, your day has arrived: we’ve updated our popular open source coding family with lots of new, exciting goodies. 🙌 Source Code now has true italics, the upright fonts now feature support for Greek and Cyrillic, and we have accommodated many user requests and made general improvements to the family. The updated versions of Source Code Pro upright fonts along with new italics are available now to sync or serve from Typekit for all plans.

Some history 💻

The public saga of Source Code Pro started with a teaser image on the initial blog post announcing Source Sans Pro, our first open source font family. That was just about three years ago. Right away, there seemed to be interest in having the monospaced version of Source Sans available, even though it was still in early beta stage. Luckily, I had previously completed a substantial portion of the initial work on Source Code in response to our own internal customer, Brackets, who had requested it. With much support from the rest of my team, we were able to pull together and push out the initial release of six upright styles of Source Code in under two months after the Source Sans release.

‘But where are the italics❓’

Perhaps this rapid turnaround set some unrealistic expectations about how quickly typeface design and font development can happen. We were very pleased at our own responsiveness to the open source community request, but immediately after the Source Code release, we began getting petitions for matching italics.

True italics are not made by magic, but they are ✨magic✨.
Illustration by the ever-amazing Frank Grießhammer

Personally, I have never used any coding environments where having an italic monospaced font is necessary, but apparently there are such platforms that rely on the typographic nicety that is italics. As one programmer pointed out: ‘auto-italics will wreak havoc on characters like \ / and |.’ This convinced us that there was a need for true italics, not automatically sloped obliques.

Since our small team didn’t have the bandwidth for this project, we sat on this request, hoping that some members from the community we were trying to cultivate would take an interest in starting some of the initial work required on such a vast undertaking. Unfortunately nothing happened, except that the number of +1’s grew and grew. They grew to such a magnitude that we started considering options on how to make this project happen. Ultimately, we hired the outstanding Teo Tuominen to do the work of developing the italic outlines for Source Code.

Source Code family development 👪

At the same time Teo was working on the italics, I was busy adapting Greek and Cyrillic glyphs for the upright fonts, as the Brackets team had requested. I received the italic design sources back from Teo the middle of last September, and since that time I have been working hard to integrate the work that he did into the rest of the family. I made my own tweaks to the italic shapes. I finalized the Greek and Cyrillic designs for the uprights. Leveraging the new MutatorMath capabilities recently added to our font development tools, I made intermediate design masters to better control glyph features that become too light in direct interpolation between ExtraLight and Black weights. These include things such as the crossbar on the lowercase e, and the diagonals of M, W & w, which had been bugging me for some time.

The opening lines to Pushkin’s ‘I once loved you,’ with emoji for emphasis

I fleshed out the Latin support in all styles to match that of Source Sans. I added virtually all of the characters that were specifically requested by users (but not entire Unicode blocks that were asked for). I added an alternate shape for ‘i’ for those who don’t particularly like the default ‘zombie’ shape. I added characters to support the old WGL4 standard, since I was most of the way there and it seemed reasonable to cover this base. And I added a handful of essential 😜 emoji characters, including ‘hot beverage’ ☕️ to honor our friends at Papa November (their site is set in Source Code!), the newly-encoded robot face for a friend who complained there should be more robot emoji, and I just had to draw the always-appropriate smiley poo! 💩 All this work was only the type design portion of the process.

Source Code’s ‘zombie i’ can be replaced by a serifed form via stylistic set 4

On the font development end of things, I spent a good chunk of time harmonizing anchor information and composite glyphs to ensure that characters such as ‘á’ look uniform whether the user is composing this letter via atomic encoding, or with combining diacritics. I made TrueType versions of the fonts, with carefully instructed hinting (not automatically generated). All together, the design and development work took the better part of a year, all while I was also working on guiding and producing other projects such as Adobe Bengali, Adobe Kannada, and more.

But now this big chunk of work is complete and the fonts are ready for you to enjoy, just under three years after the initial Source Code Pro release. I hope that you will find that having the uprights early has been a benefit to you these past years, and that the italics were worth the wait. To reiterate, the fonts can be accessed via Typekit, or they can be downloaded from GitHub, where the project sources are also available. Additionally, if you do much coding with Japanese text, you will want to check out Source Han Code JP, a sister project to this one that fuses Source Code Pro and Source Han Sans.

Future plans 🚀

There is still more work to do. Now that I can close this chapter of the Source family development, I hope to turn my attention back to Greek and Cyrillic italics for Source Sans, which will then trickle back into Source Code. But be patient, there is only one of me wrangling these fonts (okay, I always have to credit the rest of my type development colleagues), and thousands of users. In the meantime, if you have specific requests, please file an issue on the GitHub issue tracker page. And as always, we are more than happy to accept contributions to make these fonts even more useful.

P.S. 📝

You may have noticed that for the first time on the Typekit blog, there have been (a lot of) emoji in the body of the post. Well, there are a couple reasons for that. As mentioned above, the fonts now include a few emoji characters; but not only that, about a dozen glyphs have been given color versions that will appear in apps that support the new(ish) OpenType SVG table. These are our first-released fonts to include such capabilities. The fonts available for desktop sync and those on GitHub feature an SVG table for colored glyphs. And you may not have realized it, but because today is July 17, I’d like to wish you all a very happy World Emoji Day! 📅 Also, I just love emoji. 😍❤️ But as much as I’d be giddy to drop everything and make a full Source Emoji font, please don’t ask me for it. Thanks. 😄

P.P.S.

If you are interested in open source emoji projects, you may want to check out the following:

• Emoji One
• Twemoji
• Noto Emoji

New fonts! New foundries! We are happy to welcome Fort Foundry and Regular Bold Italic to the Typekit library, with over 10 families now available for web and sync use.

Fort Foundry

With his motto “Never quit building,” Mattox Shuler brings his childhood love of building forts to his passion for the craft of type design. Most of his typefaces have a retro display style, with inspiration ranging from wartime posters and 1960’s cars to bottle labels.

Despite their distinctive character, these typefaces are versatile when put in different contexts, lending bold, clean lines to any design. The layering capabilities of Industry Inc in particular are great to experiment with. Visit the Fort Foundry website for more detail and the full specimen manuals on each.

Prohibition, Industry Inc Base, 3D, Inline Stroke (layered), and Colt.

Included in the Typekit library are:

Abolition and Abolition Soft
Bourbon
Colt and Colt Soft
Factoria
Gin
Industry
Industry Inc 3D, Base, Bevel, Bevel Fill, In-N-Out, Inline, Inline Stroke, Outline, and Stencil
Prohibition

Regular Bold Italic

Regular Bold Italic is based in the Netherlands and founded by Timo Kuilder and Jeff Schreiber, two graphic designers who share a passion for type design. The fun personality and unusual shapes of their typefaces are grounded by rhythm and consistency in design.

Rucksack (above), FatFrank (below)

Rucksack is a modern and versatile sans serif family, mainly inspired by geometric typefaces like Paul Renner’s Futura. It’s powerful as a display face, but it is also designed for text-sized legibility with some indented stems and a tall x-height. And FatFrank is a sturdy yet friendly typeface inspired by 20th century sans serifs. It renders well at large sizes and gives emphasis without overpowering its surroundings.

Take them for a spin and let us know what you think! All these new additions to the library are available for both web use and syncing. If you don’t have a Typekit subscription, it’s free to try out and take a look around.

We’ve long enjoyed having fonts from Delve Fonts and Phil’s Fonts on Typekit for use on the web, and with today’s additions to the library we’re delighted that both foundries have made their entire Typekit offerings available for sync as well. Enjoy the broadened availability, and let us know what you think of the new additions!

Delve Fonts

Discourse Middle Heavy Fill, Outline, and Shadow.

Discourse

Dave Bailey went beyond the classic characteristics of “Western” wood type for this design. The extremely thick horizontal strokes, fun curves, and pronounced notches all make this typeface sturdy yet whimsical. There is a lot to work with too; both a light and heavy weight, each with its own shadow, outline, and fill versions. Check out the specimen from the Delve Fonts website (PDF) for more detail and instructions on how to layer the font.

Stenciletta (Regular and Bold) and Stenciletta Solid (Regular and Bold).

Stenciletta

Joachim Müller-Lancé was inspired by construction and signage in creating this stencil font. He manages to make the slanted bridge work well even in the letters which have no diagonal strokes or curves. Regular and bold weights are included, along with a solid option. For two-tone letters like those in the specimen, try the Right and Left families together. Check out the specimen (PDF) for more details.

Phil’s Fonts

District Pro

District Pro Light, Bold, Book, Black and Thin Italic.

Designed by Kienan Smith and Dylan Smith, this sans serif has a wide variety of weights and styles. It is fully equipped with small caps and extensive foreign language support, making it a great choice for text.

More fonts for Freight in the library

Freight Sans Pro, Freight Sans Condensed Pro and Freight Sans Compressed Pro.

Finally, we’re adding four new Freight fonts to the Typekit library: Freight Macro Pro, Freight Neo Pro, Freight Sans Compressed Pro, and Freight Sans Condensed Pro.

Freight Macro and Neo were designed by GarageFonts as extensions to the Freight family. Freight Macro Pro is a slab serif while Freight Neo Pro is a sans serif with high contrast, and both work well for either display or text settings.

Freight Sans Compressed and Condensed are also great companions to Freight Sans Pro, which you may already be using on Typekit as it’s been in our library prior to this release. These additional widths can add versatility to your designs — both for web and print.

All these new additions to the library are available for both web use and syncing. If you don’t have a Typekit subscription, it’s free to try out and take a look around.

Coming in with a staggering 90 different weights and styles, the Acumin family is the latest typeface from Robert Slimbach, the principal designer at Adobe Type. It’s our pleasure to add this to our library for use on the web and for syncing.

Acumin is a sans serif that classifies firmly as neo-grotesque, with all the relevant historical lineage informing its functionality. Robert’s aim was to strike an original note with the design while resisting the urge to make the face more “human” (and thus less of a true neo-grotesque). The ubiquity of popular neo-grotesques gave Robert a very “narrow design latitude” to work within.

Neo-grotesques are typically great for display typography, but tend to be harder to read as a text face. Robert took pains to counter this, and applied a great deal of attention towards making the middle weights and widths of Acumin workable for text settings; in his design notes, he explains, “With practical neutrality in mind, my attention was focused primarily on the subtleties of design that make a type more readable.”

Type historian John Berry wrote an extraordinary background on the history of neo-grotesques and the design process that Robert went through to shape Acumin. Take a look at the Acumin site for more details, as well as suggestions from Robert about usage and an interactive type specimen. (Nick Sherman put a lot of time into making the site, with help from Chris Lewis, and we’re pretty impressed!)

All of the weights and styles are available for use on the web and for syncing to your desktop. If you need a perpetual license, the entire family is available from our partners at Fontspring. This is a lot to play with, and we’re excited to see what you make. Let us know what you think!

We’re adding typefaces from two foundries that are completely new to the library today: Alan Meeks and Lettermin. A big welcome to our new foundry partners! All the typefaces we’re adding today are available for use on the web and for syncing.

If you’ve ever played around with Letraset dry transfer sheets, you’ve likely come across typefaces by Alan Meeks. Alan has been working in design and typography for over 25 years, and is known for his charming and distinctive display faces. The collection we’re introducing today includes some great display faces and scripts, and also has faces such as Astoria and Brigade that hold up well for text.

Pinot Grigio Modern

Astoria is a reinterpretation of Eric Gill’s eponymous typeface, offering more uniformity at extreme sizes, as well as an extensive amount of weights. The seriffed version only includes serifs on one part of the letter, making each letter look like it flew in and landed on the page. Pinot Grigio Modern does away with all of our preconceptions about x height, ascenders, small caps, and much more.

Kestrel Script and Astoria

The full list of Alan Meeks typefaces now available in the library (or you can browse them all at once on the foundry page):

Astoria
Astoria Condensed
Astoria Sans
Astoria Sans Condensed
Brigade
Chalfont
Chalky
Colosseum
Copacabana
Dublin
Fairway
Falcon Script
Kestrel Script
Pinot Grigio Modern
Spartacus
Spartacus Condensed
Vatican

Ingra Bold, Ingra Condensed Regular, Ingra Wide Extra Bold, Ingra Wide Ultra Light

Ermin Međedović runs Lettermin, a small type and design studio in Slovenia, and we’re delighted to add his Ingra to the Typekit library for use on the web and for syncing. Ingra is a large family inspired by Ermin’s earlier design of Lipa. Ermin began expanding Lipa for a broader range of uses beyond newspaper columns, its original intended form, but as he worked, he realized he was creating a whole new typeface. Ingra is therefore a descendant of Lipa, but completely redrawn and intended for different uses.

You can find Ermin’s Lipa Agate on Typekit as well — it is well-suited to print at small sizes, whereas Ingra is more at home in the digital space. Ingra’s wide range of weights makes it versatile enough for any kind of design, with a wealth of numeral styles, symbols, ligatures, and even pictograms.

Now in the library from Lettermin:
Ingra
Ingra 2
Ingra Condensed
Ingra Condensed 2
Ingra Wide
Ingra Wide 2

Let us know what you think of these new additions to the library, and show us what you make! If you’re new to Typekit, you get full access to the library with your Creative Cloud membership — and it’s always free to take a look around.

Mallory, the first typeface from Frere-Jones Type, is a British-American, geometric-humanist hybrid typeface designed to work well alongside many other popular typefaces. Purpose-built for use both in print and on screen with minimal fuss, all of Mallory’s weights and styles are available to license directly from Frere-Jones Type and host on Typekit at no additional cost.

Tobias Frere-Jones decided that his foundry’s inaugural typeface should be an experiment in mapping family history onto type history, so like himself (Mallory is one of his middle names) it has a mix of British and American influences. Tobias describes Gill Sans and Metro – an American response to Futura – as Mallory’s “parents.” The result is a crisp, cosmopolitan typeface that feels timelessly stylish — but also comfortable. And like a good pair of blue jeans, it looks great with anything.

Mallory with Garamond Premier Pro (left) and Adobe Caslon (right).

The core five of Mallory’s eight weights come in MicroPlus styles, made for use at small sizes both on screen and in print. On screen, they’re best used at sizes below 1em (16px). In print, they shine from 7pt all the way down to an incredible 4pt!

Mallory, Book (left) and MicroPlus Book (right).

The same qualities that help a typeface succeed at text sizes on screen also help in print, at very small sizes and in coarse conditions, Tobias says. He should know: he designed a custom typeface, Retina, for stock listings in the Wall Street Journal, and worked on the design of Verdana alongside Matthew Carter prior to that — not to mention the dozens of web fonts for which he’s done the hinting.

“Making type work well at small sizes in coarse contexts — I don’t know what parts of the web you could say have 500 years of beta testing behind them, but this does,” says Tobias.

By drawing from our past, we can better face today’s design challenges — challenges like making sure that small text is readable in any context, and that fonts for small text feel like a proper part of a larger type family. We’re really excited to see Mallory and its MicroPlus variations put to good use, and we can’t wait to see what Frere-Jones Type comes up with next. Cheers, Tobias!

To use Mallory in your kits, select the web license from Frere-Jones Type (scroll down for the license options), and transfer it to your Purchased Fonts library. While it isn’t available for syncing through the Creative Cloud app, the perpetual desktop license from Frere-Jones Type will enable you to use Mallory in any of your desktop programs.

We thought we’d sneak one last library update in before the end of 2015. As of today, all of the fonts in our library by Chank Diesel are available for sync as well as on the web.

We’ve also added a few new variations and one new typeface from the Chank catalog. We hope you enjoy the slightly-expanded collection!

Completely new to our library, Good Bad Man is a historic font created by Chank and Sierra Kamatchus for the San Francisco Silent Film Festival. It’s a great choice for vintage flavor, on screen and off. In addition to uppercase and lowercase letters, the font also contains italics, “big capitals,” and period-appropriate punctuation styles.

We now offer Thin weights for Adrianna, Adrianna Condensed, and Adrianna Extended — a new dimension for an old favorite.

Take a look at the updated library, and let us know what inspires you! If you have questions about getting started, feel free to get in touch with us at support@typekit.com.

Introducing Three Islands Press and Jamie Clarke Type, two independent foundries producing decorative and script fonts — and now in the Typekit library. We hope you enjoy working with these fonts as much as we have!

Three Islands Press

Brian Willson has been designing typefaces for over 20 years, and is known for his historical focus. Text is instantly imbued with character when it is set in one of his typefaces, and most of them are even modeled on real historic figures — for example, Old Man Eloquent is modeled after the handwriting of John Quincy Adams. Accompanying these in the collection are map fonts like Antiquarian Scribe and the fun and casual Marydale.

Now available on Typekit for both web and sync:
American Scribe
Antiquarian
Antiquarian Scribe
Attic Antique
Broadsheet
Emily Austin
Lamar Pen
Texas Hero
Marydale
Old Man Eloquent

Antiquarian Scribe, based on an 18th-century atlas.

Emily Austin, based on the handwriting of one of Texas’s early colonists. Specimens by Brian Willson.

Jamie Clarke Type

Brim Narrow is a layered display face, which Jamie Clarke originally started designing for a logotype. Inspired by wood type and chromatic type from the 1800s, Brim can be layered to create endless combinations using the various styles and color. Jamie has done some of the work for you — along with the eight styles that make up the Brim family, there are also three combined families which layer some of the styles. Last week, Jamie was featured on I Love Typography; read their article to find out more about his design process and the traditional wood type that inspired him.

Now available on Typekit for both web and sync:
Brim Narrow
Brim Narrow Combined 1
Brim Narrow Combined 2
Brim Narrow Combined 3

Brim specimens by Jamie Clarke.

This week on Typekit: more new fonts! This round is brought to you by a few of our long-time partners: Typofonderie, Dada Studio, and exljbris. Without further ado:

Anisette (top & “Menu”) and Retiro (lower) from Typofonderie.

Typofonderie, led by Jean-François Porchez, is a master of producing elegant typefaces with a particular Western European distinction. We’ve added two more families that fit that bill: Anisette and Retiro.

Anisette Std is an Art Deco display sans that contains two widths of capitals in each font. Its capital forms contain a wider design, while the lowercase characters produce a narrower set of caps. The Pro version of Anisette, available at Typofonderie.com – Anisette, also contains a bevy of playful cap ligatures. If you need a compatible text typeface with true lowercase, check out Anisette Std’s sibling, Anisette Std Petite.

Retiro is also a display face, a high-contrast serif design of the Didone variety. Originally designed for a Madrid publication, the Pro version of Retiro (found at Typoefonderie.com – Retiro) contains ornate alternate capital forms with Spanish influence. Retiro Std, now available on Typekit, is available in five optical variants, each named for the intended point size at which they were designed to be set. The biggest difference is in the hairline horizontal strokes: they’re ultra-light when set at larger sizes, and a little sturdier at smaller point sizes.

Anisette Std and Retiro Std are both available for web only.

Macho from Dada Studio.

Macho, the most recent release from Poland-based Dada Studio, is an energetic sans with an almost graffiti-like script influence. Semi-rounded and unconventionally angled terminals lend to a sort of clumsy warmth — unrefined, but confident and bold. Available for web and sync, Macho is full of OpenType features like Small Caps and Stylistic Alternates, and supports Latin Extended as well as Cyrillic in all 18 styles.

Museo Sans Display from exljbris.

Museo Sans from exljbris is a longtime stalwart of web design, and has long been one of Typekit’s most popular. Museo Sans Display is a fresh addition to the family. Even in the extreme Hairline and ExtraBlack weights, Museo Sans is mostly restrained and neutral, though the large x-heights and moderate ascenders and descenders push it toward the informal.

We’ve got new fonts! Our latest additions to the library are from two new foundry partners — Resistenza and Thomas Jockin, both independent and with great designs we can’t wait to see in use.

Thomas Jockin

Thomas Jockin is the graphic and type designer behind TypeThursday, a monthly speaking event in Brooklyn and published interview series geared towards, as he puts it, “people who love letters.” Thomas’s typeface Azote was inspired by the 1968 Mexico Olympics logo and uses multiple lines to add weight to letters. Even as more lines are added on, each letter maintains its proportions and harmony with those around it. We’ve got a soft spot for the lowercase g in Bold. Azote is available for both web and sync, and comes in four weights with italics.

Azote Light, Italic, Regular, and Bold

Resistenza Type Foundry

Resistenza Type Foundry is run by Giuseppe Salerno and Paco González, from Italy and Spain respectively. They specialize in handwritten typefaces, calligraphy, and scripts — many more of which you can find on their website. Resistenza’s Nautica is a beautiful script that brings modern flair to traditional Copperplate forms. With three weights to choose among and combine, you can add a subtle vibrance to your designs — a level of versatility that’s rare to find in script faces. It’s available for both web and sync, so you can enjoy its elegance on the web and on your desktop.

Nautica, from Resistenza Type Foundry.

We are delighted to announce a number of new additions to the Typekit Library from Rosetta Type. Headed up by David Březina, designer of the popular typeface Skolar, Rosetta Type specializes in designing for a diverse, extensive range of languages. Their designs offer beautiful stylistic consistency across Latin and non-Latin characters in each typeface.

While Typekit continues to work toward bringing better, more performant multi-script language support to the web, we are happy for now to offer the Latin versions of a number of families, for both web and Creative Cloud font sync.

Image courtesy of Rosetta Type. Click on the image above to see the full specimen PDF.

Skolar Sans is the sibling to the seriffed Skolar, a longtime go-to for Typekit users. With nine weights, four widths, and italics for all, the super-family weighs in at 72 fonts in total. Březina, along with co-designer Sláva Jevčinová, designed Skolar Sans based on its serif sibling’s skeleton, intending for the two to “play well” together, but at the same time designing Skolar Sans to stand on its own as a versatile workhorse. Each style contains small caps, discretionary ligatures, and a number of other OpenType features.

Speaking of the non-sans Skolar: with this release we will be replacing our current offering, Skolar Web, with the new and improved (and feature-packed) Skolar Latin. If you have already published a kit with Skolar Web, don’t worry — it will continue to work until you edit your kit. If you’ve been waiting to use Skolar small caps, add it to your kit now and be sure to check OpenType features in the kit editor.

Also note that the default numerals of Skolar Web are old style (or “lowercase”) figures, while Skolar Latin contains proportional lining (or “uppercase”) figures. To use old style numerals in Skolar Latin, you will need to enable them via OpenType features.

The bouncy and bountiful Sutturah, designed by Octavio Pardo, is a unique change-of-pace display script — heavy throughout, with the narrowest of counters, with strokes that are almost three-dimensional in how they overlap. In short: Have fun!

And there’s more! Here are Eskorte, Clone Rounded, and Aisha — great designs with different purposes.

Eskorte, designed by Elena Schneider, is a straight-laced contemporary serif, with a livelier italic that pairs well with its Arabic character set.

Lasko Dzurovski’s Clone is a stylized faux monospace typeface that helps tell a story about technology and code without sacrificing the familiar flow and feel of a proportionally spaced design.

Finally, the Latin version of Aisha was somewhat atypically designed as a complement to the Arabic design, rather than vice versa; the designer Titus Nemeth drew inspiration from Moroccan hand lettering and Maghribi calligraphy.

With this Library update, all Rosetta families — with the exception of Skolar Latin — are available for both web and sync for Creative Cloud and Typekit subscribers with Portfolio plans and above.

[Editor’s note: The original publication omitted Sláva Jevčinová as co-designer of Skolar Sans. This post has been updated to correct that error.]