With his long history of lettering and illustration, Jim Parkinson is a treasure of the type community. We are excited to announce some new additions from his work on Typekit. All Parkinson Type Design fonts on Typekit will now be available for both web and sync.

Jim has been delving into chromatic and layered fonts more in the last few years, and you can finally get your hands on all of them here. Each layered typeface has a Primary font with companions like Fill, Inline, and Gradient. These can be stacked or layered in endless combinations and colors — once you see the possibilities, the Primary versions will never look the same again!

Specimen by Jim Parkinson, as part of a flyer distributed at TypeCon 2013 in Portland.

Sutro is a bold slab serif with multiple variations — they can all be thought of as an extended family, but each one has its very own character. Sutro Shaded, shown above, is a testament to Parkinson’s ability to create versatility through layers. Sutro Open (below) instantly pops with a vivid shadow, sporting big blocks without feeling chunky.

All specimens by Jim Parkinson.

We are adding a few new variations of Modesto to the library. With its origin as a circus logo — a commission project of Jim’s for Barnum & Bailey and Ringling Brothers — Modesto’s many variations evoke lettering of the late 19th and early 20th centuries. Modesto Open and Modesto Initials both combine the chromatic technology with that hand-painted feel.

Jim assembled user manuals for many of these typefaces, which include guidance on using chromatic font layers (in addition to some great notes on design). These might be a worthy bookmark if you’re planning to dig in with one of these in a project — and we hope you will! Here is the complete list of new Parkinson Type Design fonts in the Typekit library, ready for you to sync or add to your kits.

Amador
Amboy Black
Amboy Inline
Avebury Black
Avebury Inline
Balboa
Balboa Condensed
Balboa Extra Condensed
Balboa Plus
Chuck
Fresno Black
Fresno Inline
Hoosier Daddy
Meatball
Modesto Initials
Modesto Initials Inline
Modesto Open
Modesto Poster
ModestoLite
ModestoLite Expanded
Sutro (plus Black Initials and Bold Expanded)
Sutro Deluxe
Sutro Open
Sutro Shaded
Wigwag Deluxe
Wigwag Bold

We have two great new families in the library for you: Essonnes from JTD and Capitolina from TypeFolio. All of the fonts are available for web and sync. Let us know what you think!

Essonnes is a reinterpretation of the Didot genre, updating a classic and beloved form to fit in with modern 21st century needs. James Todd has succeeded in creating a very legible and wide-ranging super family; the Headline, Display, and Text subfamilies each include multiple weights. In providing utility, he still manages to enhance the elements that make this genre so unique. Look for the alternate lowercase g, which was one of the first shapes to inspire him in this project. Check out the Essonne website or the JTD foundry site for even more detail and historical background.

(Speaking of fonts from JTD, we have now made Garvis available for sync use — enjoy!)

Capitolina, by Christopher Hammerschmidt and Marconi Lima, was developed with editorial use in mind. The narrow ink traps etch deep into each letter to create an almost handwritten quality, counteracting the sturdy serifs. The lighter weights lend themselves well to text use, while the heavier ones look great at large display sizes — as TypeFolio’s specimen above demonstrates. There are ten weights to play with, ample OpenType features, and extensive language support; see the Capitolina profile on Behance for a full walkthrough of all the great features in this typeface.

Enjoy the new additions to the library — and let us know where you use them!

Are you using Brandon Grotesque for a project right now? Probably, because it’s terrific. But if you’re looking for something different with the same level of aesthetic and technical quality, you’re in luck: today we’re expanding our selection of fonts from designer Hannes von Döhren’s HVD Fonts.

First up we have Niveau Grotesk, with flared vertical terminals and a strong narrow skeleton — while being grounded in geometric forms more akin to Bauhaus and Art Deco styles. Elegant without stodginess, Niveau Grotesk is also a great addition to your “retro-futuristic” collection. Niveau Grotesk is available for web and sync.

Next is Reklame Script, originally introduced to the Typekit Library in 2011 for web — and now also available for sync. The most casual of brush scripts, it’s based on mid-century hand lettering, but isn’t stuck in time — its brashness has a contemporary graffiti quality as well.

Also new to Typekit, these are available for web only:

Brix Slab (+ Condensed) by Hannes von Döhren and Livius Dietzel
Americane (+ Condensed) by Hannes von Döhren
Supria Sans (+ Condensed) by Hannes von Döhren
Cheap Pine (+ Sans and Shadow for chromatic layering) by Hannes von Döhren

We’re adding 24 new families to the library — all from a new foundry partner we’re delighted to work with. Rian Hughes of Device Fonts is a British graphic and type designer who got his start in the world of comics.

Rian’s illustration background shines through in his typefaces, resulting in some very fun designs that we are excited to offer on Typekit. Visit the Device Fonts foundry page for the full list.

Paralucent Light (“Literary”), Condensed (“Digital” and “Paralucent”), and Text (block of text).

Paralucent

Paralucent follows the basic model of a grotesque family, but its unique forms make it stand out among its counterparts. It turns out that something can be square and round, playful and sturdy, legible and unique — all at the same time. We’ve also added the Condensed, Stencil, and Text versions.

English Grotesque (“Metreon” and “the City”) with Korolev.

English Grotesque & Korolev

English Grotesque is wholly British, evoking aspects of early 20th century sans serifs. Its round, almost bulging forms — most exemplified by the capital C and G — make it unique and fun to use. It works particularly well at large sizes, while it is still functional for text.

The sans serif Korolev family feels modern, even though it is based on lettering from Soviet propaganda displays in the 1930s. We’ve added the full Korolev super family, which includes Condensed, Compressed, and Military Stencil.

Quagmire

Quagmire’s chiseled forms are striking at large sizes. Although it is mostly made up of straight lines, they are often cut off with a subtle slant, its direction changing for every letter. This helps to retain a quirky and endearing quality. Check out the Extended version as well.

All families from Device Fonts are available for web and sync. We can’t wait to see where you use them!

Jukebox is the product of 15 years (and counting!) of work from graphic and type designer Jason Walcott, and we’re delighted to welcome him as a new foundry partner.

Specializing in scripts and display faces, Jason is often inspired by hand lettering and vintage lettering. You may find a few familiar faces here, since some were formerly available on Typekit through Veer, but they are now available directly from Jukebox. We’re also adding some new great typefaces.

Acroterion JF

An elegant script with bold character, Acroterion is a great addition to our script catalog. Though it includes many of the flourishes of Copperplate, it’s approachable enough to be used in a wide range of contexts – from formal invites to T-shirts.

Eloquent JF

All specimens by Jason Walcott. 

Eloquent is a beautiful take on a Didone with high contrast and exaggerated ball terminals. Walcott created it as a revival of the photo font Pistilli Roman, adding the Italics and Small Caps to accompany it. For a little extra embellishment, make sure to check out the swashes in the alternates!

The following are also new to our library from Jukebox today:

Baileywick Gothic JF
Bronson Gothic JF
Fairy Tale JF
Fenway Park JF
Hucklebuck JF
Kon Tiki Aloha JF
Kon Tiki Lounge JF
Peregroy JF
Scriptorama Markdown JF
Scriptorama Tradeshow JF

For the complete list of fonts from Jukebox, check out the foundry page. All Jukebox fonts are available for web and sync.

We’d like to welcome our newest foundry partner to the Typekit library: hello, BAT Foundry! BAT is based in France and managed by type designer Jean-Baptiste Levée.

Acier Text (Outline, Strokes, Noir) and Adso.

Acier is BAT Foundry’s revival of a typeface by the same name, designed by Cassandre in the 1930s. Levée is the first designer to bring this typeface into digital form, having redrawn the styles from scratch. It evokes art deco style, but also stays true to its name (acier means ‘steel’ in French) with sharp, precise edges and chiseled details. We’ve added five different text styles to the library: Strokes, Solid, Noir, Gris, and Outline.

Adso by Bruno Bernard is a reintroduction of blackletter forms into the modern world, moving beyond its usual grouping with decorative display faces. Though the blackletter influence is obvious in letters such as the lowercase a, the typeface is appropriate for a wide range of uses and includes 12 variations.

Instant Heavy, Vivid, and Quick.

Instant was designed by Jérôme Knebusch, with each variation representing a speed: the slower, the heavier. The lighter weights have a handwritten feel, while the heavier weights appear more uniform. These distinctive personalities make for a very natural pairing when two weights are used together.

These are a lot of fun to play with — let us know where you end up using them!

We’re always excited to announce additions to the Typekit library, and today’s new foundry partner is of especially historic importance in the world of digital type design and typesetting. Welcome, Emigre!

Emigre has been at the vanguard of digital type for over 30 years. In 1984, Rudy VanderLans and Zuzana Licko began publishing Emigre Magazine — Licko having just acquired her first Macintosh computer, which proved to be an important detail.

Emigre has just published a volume of their collected type specimens with Gingko Press.

Emigre Magazine quickly gained a reputation for publishing iconoclastic and high-spirited essays with intentionally challenging page layout and design. Licko designed bitmap fonts on her computer for use in the magazine.

The exposure resulted in growing requests to release the Emigre fonts for general purchase. By 1989, Licko and VanderLans had dropped their freelance work and were both full-time employees at their own company — which was by then unquestionably a type foundry as well.

Program, designed by Zuzana Licko in 2013.

This is an exciting addition to our library, and we were delighted when Zuzana Licko agreed to answer a few of our questions.

Working with font technology since the 1980s, you’ve seen a lot of shifts in the field. You’ve mentioned the role of the original restraints that personal computers put on design; can you say more about that?

ZL: Today, I’m not sure there are many technological constraints on type design. When Emigre started out, the technology was challenging; we had to figure out a lot of stuff with very primitive tools. And I thoroughly enjoyed these limitations. Paradoxically, working within constraints inspired more free exploration than working with today’s limitless possibilities. There was something to react against, a puzzle to solve, a problem to overcome, we had to reconsider basic assumptions. This lead to unusual forms that we might not have explored otherwise.

Having “something to react against” — is this still something you seek, in your work?

ZL: This happens unintentionally, so probably yes. Right now I am experimenting with ceramics. I’m using font software to create sketches for my ceramic sculptures, which exist of modular elements. Each sculpture has a variety of shapes that can be combined to make different sculptures. The font software helps me go through the possible variations. Perhaps my focusing on a physical medium is a reaction against everything being consumed digitally these days.

How do you think your typefaces would look if you were just starting today, with a different set of technological constraints?

ZL: Today, the situation is very different. The tools are there to create anything, which is an entirely different challenge. So, it’s difficult to predict my direction, if my career was starting today.

Lo-Res, designed by Zuzana Licko in 1985 and 2001.

Do you feel that any particular typefaces are especially representative of Emigre in general?

ZL: Each of our font families exudes a certain quality that is either tied to the technology of the time, the level of craftsmanship of the designer, or the prevailing esthetic preferences of the time. Because the Emigre library developed over the past 30 years, alongside and in reaction to evolving technologies, each typeface is like a snapshot in time.

Some Emigre fonts are tied to the period in which they were designed, like our low resolution fonts. Some actually came to define their era like Template Gothic, and possibly will always be associated with that time. So perhaps it’s not so much a particular typeface that’s representative, it’s the mindset, the process, that’s representative.

Can you say a little more about that mindset? How would you explain it?

ZL: The mindset is informed by the all the external influences, and the experiences; lessons learned from creating past work. This changes the mindset over time. So, the resulting work will change; the same design brief will yield a different design result, at different points in time.

Mrs Eaves, designed by Zuzana Licko in 1996.

Filosofia, designed by Zuzana Licko in 1996.

When you’re working on historic revivals, do you find yourself considering the limitations the technology that would’ve been at the disposal of the original designers, or do you focus more on the aesthetic style of their output?

ZL: I did not intend to follow any specific model. Instead, I wanted to capture the warmth of the original printed samples, while creating an updated version that would be appropriate for digital technology, and that would address my personal preference for lower contrast. This was the approach I took for both of my revivals, Mrs Eaves (from Baskerville) and Filosofia (from Bodoni).

I aimed to distill an overall look from the qualities of the various printed samples. Then, I set out to draw the letterforms “from memory” so to speak. I let the impression and memory of the printed samples I had studied guide my design. Drawing “from memory” was suggested to me by Erik Spiekermann, which I thought was a great idea.

Variex, designed by Rudy VanderLans and Zuzana Licko in 1988.

Where do you draw most of your creative energy from?

ZL: Inspiration for the various designs emerged as the technology changed, or new software or hardware became available. Many of the designs were inspired by asking: “what if…”

For example, with Oblong, the goal was to make a bitmap design that did not show “jaggies.” So this design has no diagonals or curves, only right angles. Similarly, Journal has no curves, they are approximated by segments of straight lines. Totally Gothic started as an experiment with auto tracing. The Base families explored the proportions of the various bitmap masters. Variex was conceived as a stroke design; each character is defined by center-lines of uniform weight, so the x-height varies among the three different weights.

Base 900, designed by Zuzana Licko in 2010.

Are you ever tempted to revisit one of your typefaces from several years back with the technology you have today? In other words, to re-run an experiment under new conditions?

ZL: An example of this is Base 900, which is a spin-off of Base 9. Because of the rigid constraints set for Base 9 by the bitmap grid, there were certain nuances that could not be expressed. Later, I set out to explore this with the Base 900 fonts which still convey a modular, geometric style, reminiscent of the early computer technology era, but with an updated, more refined look made possible by a high resolution grid.

Mr Eaves XL, designed by Zuzana Licko in 2009.

Rudy wrote a reflection in 1998 on how the layout design of Emigre magazine was becoming less expressive as he gained confidence in the quality of the writing. Was there a concurrent shift in Emigre’s type design around this time too?

ZL: By then, font technology and font creation programs had greatly improved, and my skills as a type designer had also evolved. This created an opportunity to design fonts for text application, and this happened to coincide with Emigre magazine’s publishing of longer articles.

Around this time, a new generation of skilled type designers started entering the field, graduates from the recently created or expanded digital type education and training programs. This trend contributed to our release of designs with wide applicability such as Mrs Eaves XL, Mr Eaves, Vista, Base 900, Cardea, and Alda.

Fairplex, designed by Zuzana Licko in 2002.

When you wrote about the design of Fairplex, you said you were inspired to create a text face that was less heavily contrasted since you’d found you were running into reading issues yourself. Has reading experience influenced your designs in general?

ZL: My preference for reading low contrast type continues today, especially with my aging eyesight. Funny thing is, as my eyesight has gotten worse, reading has actually gotten easier, because I pay less attention to the details of letter shapes because I can’t see them as easily, so this is no longer a distraction. When I was younger, I found it difficult to concentrate on reading because I would constantly zoom in on the letter shape details.

Have you ever encountered one of your own typefaces used in a way that surprised you?

ZL: The most surprising encounter was a few years ago when I was reading a text printed quite large on a wall at the Jewish Museum in San Francisco. The text was about the work of Maira Kalman, and I found myself quite absorbed in the writing before I realized I was reading Mr Eaves, a typeface I had just released. I’m not sure what that means, but it surprised me.

Thanks to Zuzana for taking time to share this with us! If you haven’t already, get over to the Emigre page on Typekit to check out their collection for yourself. All fonts from Emigre are available for web and sync use.

We recently introduced a delightful selection of display faces to our library from Laura Worthington, which we think will make for some gorgeous projects. Welcome to Typekit, Laura Worthington Type!

Adorn Smooth Serif, Pomander, and Condensed Sans.

Laura has been interested in calligraphy from a young age. Her career initially focused on graphic design, but with a consistent interest in calligraphy and lettering — to the point that she developed a goal of being an independent type designer. She has now been designing typefaces since 2010, developing a catalogue trending towards casual display typefaces with a practiced flair in the letterforms. My first encounter with Laura was at her brush lettering workshop at Adobe MAX in 2015. The passion and precision she showed in that class is evident in the attention she shows all of her typefaces, which make extensive use of stylistic alternates. Check out the glyph palette for Adorn Smooth Pomander for a clear example of just how detail-driven she is.

Our library additions include the collections Adorn Smooth and Boucherie, whose varied faces complement each other and make for cohesive and gorgeous design. Get formal with Al Fresco and Hummingbird, have fun with Funkydori and Spumante, and everything in between! Though we have not included the ornaments and catchwords, they can be purchased from lauraworthingtontype.com directly.

Bucherie Sans and Spumante (plus Shadow).

Check out all of the additions on Laura’s foundry page, and let us know where you use them — we’d love to see what you make! All fonts from Laura Worthington Type are available for web and sync.

Just a year after James Edmondson founded OH no Type Co. here in San Francisco, we are excited to announce that his foundry’s typefaces are now on Typekit!

The foundry’s name playfully echoes the presumed reaction of the type industry — not another foundry! (Insider’s secret: O H n o also happen to be the most basic control characters type designers use for spacing.)

We are including the complete OH no catalogue in our library: Hobeaux, Hobeaux Rococeaux (both by James Edmondson), and Viktor Script, a joint effort between Edmondson and lettering artist Erik Marinovich.

Hobeaux Rococeaux & Background (top), Hobeaux (“Expensive Homes”), and Hobeaux Rococeaux Sherman.

Hobeaux

James was captivated by Morris Fuller Benton’s Hobo during graduate school. Much to the dismay of his teachers, he decided to explore and expand the original design. After spending many months with Hobo, what transpired was a completely new design. Hobeaux still perfectly embodies the whimsy of Hobo, with its complete absence of straight lines, angles and descenders — and it adds the refinement of a modern, skillful digitization and sophisticated OpenType features.

Hobeaux Rococeaux

James’ explorations on Hobo went far beyond the source material. Among other stylistic experiments (wood log, script, or cat versions), he sought to create a decorative version inspired by Paul Carlyle’s Carlyle Roccoco. The painstaking process of drawing each character with its intricate ornamentation paid off. Hobeaux Rococeaux is a display showhorse, and a joy to admire. Style variants include a compact version of Hobeaux called Sherman, which can be used for smaller text, and a background layer for colorful typesetting. I dare you not to grin when you look at these letters.

Viktor Script with Hobeaux

Viktor Script

Erik Marinovich sought to create a quirky and casual script inspired by the vibrant signs he passed in the Mission district of San Francisco. After several hundred ping-pong iterations of Erik delivering drawings and James turning them into vectors, Viktor Script emerged. It is a real pleasure to use; the large flourishes of the uppercase letters spice up any headline, while refined OpenType features keep longer text settings harmonious. Last but not least, Viktor Script comes with a number of dingbats and symbols, many of which we are still trying to make sense of.

Dingbats from Viktor Script. (Specimen from ohnotype.co)

Today we’re happy to announce the release of a new typeface – 17 years in the making – that has already been vetted by the financial tables of the Wall Street Journal, and has its place reserved in the Museum of Modern Art. Retina from Frere-Jones Type is a special typeface, prestigious not simply because it is acclaimed, but because of the research and ingenuity for which Tobias Frere-Jones is known.

Retina designed by Tobias Frere-Jones, with contributions by Graham Bradley, Nina Stössinger, Tim Ripper, Dave Foster, Octavio Pardo, Ksenya Samarskaya and Colin Ford.

About the design

Retina began as experiments in noisy, grungy typography, when Tobias was a student at RISD. He was a fan of Neville Brody’s FUSE project, and sought to discover what exactly would make letterforms illegible. He designed private, experimental fonts that targeted specific aspects of reading and deliberately made them difficult. He wondered:

“If the distinction between one character and its neighbors were no longer reliable, or if the identity of an individual letter were deliberately vague and could be confused with others, would our experience as readers be able to step in and resolve that ambiguity, or not?”

Tobias returned to these ideas in 1999, when clients approached with challenging scenarios for fuzzy TV screens (PBS’s Art21) and tiny newspaper type (WSJ). For these clients, Tobias designed young versions of Retina as the practical antithesis of his early legibility experiments, incorporating his experience working at The Font Bureau on newspaper and bitmap typefaces. The result is a typeface with remarkable clarity, both on screen and in print.

All artwork courtesy of Frere-Jones Type.

Today, Retina is commercially available as a much fuller and more capable typeface than it has ever been. It comprises a range of weights and widths that have been recalibrated for use on the web, as well as MicroPlus styles – the genesis of the family – that have been battle-tested in the harsh conditions of newspaper agate (the traditional name for an extremely small size of type, 5.5pt) and “duplexed” for perfect copy fitting.

“Duplexing” means that changing font-weight won’t change the amount of horizontal space that MicroPlus glyphs occupy — so emboldening text on hover, for example, or switching to a thinner variation for white-on-black type won’t cause text to reflow or change width.

I was able to ask Tobias a few more questions about Retina:

Q: Aside from its legibility, can you say more about the style of Retina?

A: The crux of the strategy was to identify one event in each letter that identifies it as unmistakably, unambiguously not something else. That’s why the cap R has a curve that dives way in, and then a leg that juts way out. As I see it, these are the most ‘R’ parts of that shape.

Q: Was it hard to wrangle all that individuality?

A: Yeah. Especially because “every glyph for itself” was part of the spec. But once I understood how to get just enough cooperation among these letters, so they’ll work with each other and make useful contributions to the overall word shape, that’s when it started to hang together.

Q: Do you think its legibility makes Retina good for signage and UI?

A: I do! One additional use for these micro sizes is, ironically, very, very large sizes seen at a great distance. This is another thing in the back of my head – the proposal David Kindersley made for the British Highway System. They ultimately went with Calvert’s design, but Kindersley had this entirely different thing. It had serifs, which you don’t expect on a highway sign, and a bizarre allocation of weight/proportions. I could not make sense of it until I realized he’d basically drawn a 4pt master — meant to be seen from 0.5 miles away, however many arc seconds of retinal size that is. Essentially the same thing. I’d love to try out street signs with this.

Q: What other typefaces does it go well with?

A: Because the apertures are so open (more for optical reasons than anything aesthetic), it has a kind of unexpected sympathy with oldstyle faces. A book designer friend of mine paired it up with Dante, and it looked really good. It’s odd that although Retina’s design is not historical at all, it worked out really nicely with this sensitive consideration of type history.

Use Retina on Typekit

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

We’ve been busy adding new fonts to the library! We’d like to introduce The Northern Block, our newest foundry partner. We’ve also added new fonts from one of our existing favorites, Paratype, and we’re excited to share that all Paratype fonts are now available for sync as well as web use.

New foundry partner: The Northern Block

The Northern Block is based in the UK and was founded in 2006 by Jonathan Hill. The foundry’s large type collection includes geometric sans serifs, slabs, and display faces that are a dream for the modern graphic designer. Today we are adding 11 of these families to Typekit.

Calder by Mariya Pigoulevskaya instantly caught our eye — a modern yet rugged display face with a collection of 10 complementary styles. Merel is a sans with high ascenders, giving it a graceful feel. Stolzl is the quintessential geometric with open, round counters and high x-height. And then there’s Erbaum, with square letterforms reminiscent of a monospaced typeface. This is just the beginning — see the rest on the Northern Block foundry page.

Calder Dark Shadow, Calder Script, Merel, Hackman.

New fonts from Paratype

We have added over 50 entirely new typefaces from Paratype for both web and sync, and anything from our existing Paratype collection is now available for sync too. Now you can enjoy all of your favorites — including Futura and Futura Condensed — on all of your desktop apps!

Liberteen (headline), DIN 2014 (subheadings), Circe (article heading), Susan Classic (text).

There’s a great stylistic variety in these new additions. DIN 2014 is as stylish as it is functional, a classic typeface whose angular shapes make it especially effective for clear communication. Liberteen incorporates the classic forms of a Clarendon while adding playful touches, such as the large slab serifs on the T above. Take a look at the full collection on the Paratype foundry page to find more that you love.

As we prepare to snuggle down for our winter naps and say farewell to 2016, a few of us on the team decided to take a look back at what happened at Typekit this year and select some of our favorite additions to our library, our service, and our industry.

Favorite Addition to the Typekit Library

Hobeaux Rococeaux (top), Hobeaux (“Expensive Homes”), and Hobeaux Rococeaux Sherman by James Edmonson

“I have a deep love and respect for Hobeaux and Hobeaux Rococeaux from OH no! Type Co. Such a focused, inventive, and sensitive design project, hiding underneath some of my favorite promotional tactics of the year!” – Dan Rhatigan

Mrs Eaves by Zuzana Licko

“The Emigre fonts, an important addition culturally, and a big win for Typekit customers. If I had to pick one typeface, Mrs Eaves.” – Tim Brown

Paralucent by Rian Hughes

“This is like picking your favorite child! I really like Essonnes by James Todd, Paralucent (Device Fonts) by Rian Hughes, and Viktor Script (OH no! Type Co.) by James Edmondson and Erik Marinovich.” – Ariadne Remoundakis

Azote by Thomas Jockin

“I started playing with Azote (by Thomas Jockin) pretty much as soon as I saw it. I think there’s a lot of fun in its design, and it’s neat how the heavier weights introduce more complex shapes.” – Sally Kerrigan

Nautica from Resistenza Type Foundry

“I adore Roxand Gataud‘s Bely (TypeTogether), which also won the SOTA award in 2016. The display version is the textual embodiment of the emoji and makes me want to start a long-form magazine site just to use it on the regular for headlines. I also had way too much fun playing around with the stylistic alternates in Nautica from Resistenza.” – Meghan Arnold

Additional Faves:

• Spumante from Laura Worthington Type (Liz Galle)
• Cardea from Emigre  (Molly Doane)
• Eloquent JF from Jukebox (Ben Welch)
• Retina from Frere-Jones Type (David Demaree)
• Sutro from Parkinson Type (D.D.)

Favorite Typekit Feature Addition

“Is there anything that could top the introduction of Typekit Marketplace, and the new batch of type foundries that joined us along with it?” – D.R.

“The people! We welcomed so many awesome new team members this year.” – L.G.

“Hands down, redesigned font detail pages. Their simplicity and balance is incredible. They made room for Marketplace (imagine it in our old design), they offer so much potential for adding features tastefully, and they make us (and our foundry partners) look great.” – T.B.

“Joining the team to work on some launch events surrounding Typekit Marketplace was the personal highlight of my 2016. I’m happy to be part of something like TkM that can amplify the work of so many talented type designers. It’s been awesome to collaborate with awesome people in the industry and I’m looking forward to more in 2017.” – M.A.

Favorite Type Industry News

“The collaborative development of variable fonts made me pretty giddy, since I think the new spec will allow all kinds of cool things to happen” – D.R.

“The corporate collaboration around, and public response to, variable fonts.” – T.B. (Molly and Ben also echo the variable fonts sentiment.)

“TYPEKIT MARKETPLACE!” – D.D.

“The increased visibility of women in the type industry, spearheaded by the incredible ladies behind Alphabettes. Great to see Typographics at 50/50 gender representation with its speakers this past year.” – M.A.

We feel fortunate to play a role in supporting a worldwide network of type designers and typographers. Few groups embrace this collective sense of agency as completely as Type Network, which we welcomed as one of our founding Typekit Marketplace partners last fall.

Type Network is an alliance of independent foundries and type designers from all over the world. Your Typekit Marketplace purchases support these independent designers, and we’re delighted to share even more fonts from these foundries with you today.

Lipton Letter Design

Richard Lipton originally designed Meno back in 1994, and this updated version takes advantage of the intervening 20-plus years of type developments and adds in OpenType features, three optical sizes, alternate styles, and plenty more — and Meno was already versatile to begin with! The italics are truly gorgeous and a testament to Lipton’s background as a calligrapher, and don’t miss the chance to play with the small and petite cap styles.

See Meno Text, Banner, & Display on Typekit Marketplace.

More about Meno on Type Network.

David Jonathan Ross

Type Network describes Fit from David Jonathan Ross as a “wildly imaginative all-caps constructivist juggernaut,” and we couldn’t think of a more apt description for this one-of-a-kind typeface. The shapes are truly experimental and make for bold, arresting works of design. With ten weights from Skyline to Ultra Extended, there’s a lot of room to play with this one — and we can’t wait to see what people do with it.

Get Fit on Typekit Marketplace. (Sorry, does not count as physical exercise.)

More about Fit on Type Network.

Newlyn

Miles Newlyn has decades of practice designing typefaces for commercial and corporate use, and the families we’re adding to the Marketplace show the range of his talent, and also each possess distinctive personalities that are easy to fall in love with. Miles worked with Elena Schneider on New Herman, a revival of an Art Nouveau style whose proportions are similar to blackletter but completely modernized. New Rubrik‘s rounded forms add plenty of softness to a page (if too soft, also try New Rubrik Edge), and New Hero was built to travel far — it was originally designed for Citibank, with all the weights and styles a bank (or you!) might need to build into a complete typographic hierarchy.

Get New Hero, New Rubrik, New Rubrik Edge, & New Herman on Typekit Marketplace.

More about New Hero on Type Network.

Font Bureau

Founded in 1989 by Roger Black and David Berlow, Font Bureau’s friendship with Typekit predates Type Network. The foundry has developed countless custom designs for several major American publications, and their fonts are among the most trusted in the industry. Look no further than Apres for a workhorse sans, for example — perhaps even paired with Belizio for a well-balanced serif contrast… or with Stereo, a digital revival of a 1968 design, for something a little more fun and offbeat. And we’re delighted to add a new Bodoni to our collection with Richard Lipton’s extremely sharp-contrasted Bodoni FB.

David Berlow’s high-contrast Californian has a delightful personality, with details like the very-slightly-quirky angle on the i tittle and a funky reverse contrast on the z. And Benton Modern Text, expanded from Tobias Frere-Jones’s 1997 design for The Boston Globe and Detroit Free Press, is simply gorgeous and a should be a strong contender for any long-form publication.

Find Stereo, Bodoni FB, Belizio, Apres, Californian Text and Display, & Benton Modern Text on Typekit Marketplace.

About Typekit Marketplace

The fonts you purchase from Typekit Marketplace are yours to use as long as you have a Creative Cloud login — even if you end your paid subscription.

Questions about getting started? Any other fonts you’re dying to see? Let us know on Twitter or drop an email to support@typekit.com.

TypeTogether is one of our long-time partners. Run by José Scaglione in Argentina and Veronika Burian in Czech Republic, the foundry brings together a wonderful collection of type by designers from all over the world, and we are very pleased to have their typefaces available in our Library and Marketplace.

We recently added three of their new families to Typekit Marketplace. All by acclaimed designers, each one creates its own niche in the collection.

Sanserata

Designed by Dr. Gerard Unger, Sanserata is an expansion of Alverata in sans form. It is a perfect companion to Alverata but also stands comfortably on its own, with flared terminals and a large x height lending it a friendly feel. It’s a sans with enough character to differentiate itself without looking forced, and looks especially vibrant when pairing multiple weights together.

Fino

Fino is striking at first sight, designed by our friend Ermin Međedović as a theatrical display Didone. The options are endless, with Fino Sans and Fino Stencil as companions and the choice between Title and Regular in each family. Check out the alternates and ligatures, too, which are full of surprises — like the wide O and the UM ligature.

Garalda

Garalda, Xavier Dupré’s Garamond reinvention, is constructed for pleasurable long-form reading at text sizes, but also reveals some interesting shapes at display sizes. Note the slab serifs on letters such as the uppercase H, and the thick notched serifs on the lowercase ascenders. These details give the typeface a feeling of sturdiness, which is balanced by the high contrast and traditional humanist forms preserved from Dupre’s original inspiration, a Garamond version from 1914. And that is just the beginning — wait til you play with the swashes on the Italics!

These typefaces are all available for purchase through our Marketplace, which enables web and sync use for all selected weights and styles. Let us know what you think — and if you love TypeTogether, check out their other fonts available for web and sync use in our Library.

All type specimen images courtesy of TypeTogether.

Positype founder Neil Summerour has a practiced eye for making outstanding typefaces, and we’d recommend nearly anything from his collection to make an unforgettable design. We couldn’t be more pleased that Aago and Marshmallow, his two newest typefaces, are now both available on Typekit Marketplace.

Positype was one of our foundry launch partners for Typekit Marketplace, which includes plenty of other great fonts like Ginza and additional weights of Lust. Also, our regular library includes Kari, Lust Script, and Sneakers for web and sync use, along with several more.

Aago

From Hairline to Ultra and the seven weights in between, Aago packs plenty of flexibility into one sans-serif typeface — not to mention extensive language support and OpenType features. The weights are distinct from one another, but share a common sense of tidiness and organization. Even the extremes have a feeling of purposeful restraint.

Just the right amount of personality shows through. The squared-off terminals in the heavier weights make the letters look a little like they just got a great haircut, and check out the unusual construction of the numeral 1.

Marshmallow

Of Marshmallow, Neil writes, “It can’t be used everywhere, but when it is used, it should be used with indulgent abandon… which is pretty much what happens any time we take a soft, gooey bite into marshmallow now, right?!” We’re entranced by this super high-contrast typeface, which shares the generous flourish of Lust Script but with the intensity cranked way up.

The Fluff style loses the filament-thin connectors of the Script version for a slightly more casual look, but maintains the disciplined consistency of those thick vertical strokes. This is an eye-catching typeface with a lot of interesting potential, and we can’t wait to see how you use it.

About Typekit Marketplace

The fonts you purchase from Typekit Marketplace are yours to use as long as you have a Creative Cloud login — even if you end your paid subscription.

Questions about getting started? Any other fonts you’re dying to see? Let us know on Twitter or drop an email to support@typekit.com.

If you’re using type you love in your projects, let us know! Show us your work on Instagram, or share with us on Twitter.

All type specimens courtesy of Neil Summerour & Positype.

We are excited to introduce our newest foundry partner, Typejockeys! Based in Vienna, Austria, the foundry has been producing quality type since 2008 for businesses all over the world.

We’re adding all their typefaces to Typekit Marketplace, with a few styles also available in our regular subscription library. We’ve highlighted a few here, and you can see the entire collection on their foundry page.

Henriette

Henriette Black, Black Italic, and Condensed Medium. Artwork courtesy of Typejockeys.

Michael Hochleitner designed Henriette after researching the street signage that has become part of the cultural landscape in Vienna. The typeface that was created for these signs was modified and stretched over the years, and Michael took a close look at all these versions. They inspired him to create this serif typeface, which shows off its idiosyncrasies at large sizes but also works for text. Check out the alternates too! Five weights of Henriette (along with their italics) are available in the Typekit Library, with the Compressed and Condensed styles available for purchase.

Ingeborg

Ingeborg Fat, Heavy, and Block, with italics. Artwork courtesy of Typejockeys.

Ingeborg is a Didone with a few quirks. The display weights make a statement, and the Italics get a little wild — look at that y! The high contrast and ball terminals add rhythm and weight to a typeface that is overall very well-formed. Didones can be notoriously hard to read at small sizes and on screens, but Ingeborg’s moderate tone opens up more possible uses than would be typical for the genre. Consider it for web use, as the vertical contrast is subtle enough to be pleasing on screen. All four weights and the eye-catching Block style are available for purchase on Typekit Marketplace.

Sauber Script

Sauber Script. Specimen by Ariadne Remoundakis.

We are always looking for that unicorn script: a brush script with just the right mix of casual, utilitarian, and vintage qualities. Hochleitner’s experience with hand lettering clearly shows here in the natural and relaxed letterforms of Sauber Script, which is nonetheless a robust and thoughtfully planned typeface. Features include wide language support, carefully considered letter pairs, and contextual alternates, making Sauber Script a fantastic place to get started with a script font if you’ve felt overwhelmed by them before. You can purchase it on Typekit Marketplace.

Aniuk

Just a few of the supported characters and extras in Aniuk. Artwork courtesy of Typejockeys.

Designed by Thomas Gabriel, Aniuk is a display face optimized for use in large sizes. It comes in five weights and has great character support and figure variations. It is curvy and strong at the same time — and will keep surprising you. The Bold and Regular styles are available for web and sync in the Typekit Library, and the rest can be purchased on Typekit Marketplace.

About Typekit Marketplace

The fonts you purchase from Typekit Marketplace are yours to use as long as you have a Creative Cloud login — even if you end your paid subscription.

Questions about getting started? Any other fonts you’re dying to see? Let us know on Twitter or drop an email to support@typekit.com.

When we released Source Han Sans in 2014, the news made a huge impact among the millions of people who rely on Pan-CJK typefaces for their day-to-day work. Today we’re delighted to announce the release of its serif counterpart, Source Han Serif.

Both of these typefaces support Chinese Traditional, Chinese Standard, Japanese, and Korean languages, and also provide Latin, Greek, and Cyrillic character support. In short, these are among the most extensive typefaces we offer at Adobe, with tens of thousands of glyphs, and an effort like this would not have been realized without the support we got from our partners: Google, Iwata, Sandoll Communications, and Changzhou SinoType.

You’ll find the Source Han Serif fonts on Typekit for web and sync use, and the open-source font files are also available on GitHub.

See our Source Han Serif landing page for full details about the typeface and to learn more about the collaboration behind it. More language options below!

Source Han Serif 源ノ明朝 発表 (Japanese)

Source Han Serif 본명조 발표 (Korean)

Source Han Serif 思源宋體 公告 (Chinese Traditional)

Source Han Serif 思源宋体 公告 (Chinese Simplified)

We’re delighted to add several new fonts to our library from Berlin-based type foundry Lettersoup, founded by Botio Nikoltchev in 2014. If you already have an account with us, or a paid Creative Cloud subscription, these fonts are all part of your collection and can be used on the web or synced. Check them out and let us know what you think!

Milka

Bulgarian artist Milka Peikova designed the stencil alphabet that would become Milka in 1979, which Lettersoup has now turned into a fully-supported digital font. Milka passed away in 2016 at the age of 96, but worked with Botio on the revival design beginning in 2014 along with Ani Petrova and Anelia Pashova — and, back in Berlin, with Adam Twardoch and Andreas Eigendorf. The echo of the late 1970s is strong here, but the design doesn’t feel remotely dated. The six different styles are a fascinating exploration of the effect a slight texture can have on the overall mood.

Quasimoda

Speaking of moods! Quasimoda comes in eleven weights, giving you ample variety when designing around any number of constraints. The extreme weights make for excellent headers or subheads, and at medium weights the type is beautifully proportioned for a smooth reading experience with longer texts. Friendly geometric shapes are a feature at all weights, and the relatively small x-height and long descenders makes this a great typeface to pair with Garamonds or similar serifs.

Ropa Sans, Soft, & Mix

Ropa Sans

The influence of DIN — classic rectangular precision — is definitely visible in Ropa Sans, Soft, and Mix. Botio refers to the three subfamilies as siblings of one another, with Ropa Sans the most straightforward and technically-minded of the trio. It’s certainly the most DIN-like.

Ropa Soft

Ropa Soft introduces a warmer personality, especially noticeable at the thicker weights. The italics are a lovely and striking feature in all the different subfamilies, perhaps most prominently in Ropa Mix where those narrow lines make an emphatic contrast within the letterforms.

Ropa Mix

Let us know what you think — will you mix together a couple different Ropa styles, or maybe experiment a little with Milka? We’d love to know what you’re working on. Tag us (and the fonts!) anytime on Instagram. We love seeing fonts in use!

In the four years since we began providing fonts for desktop sync via Creative Cloud, Typekit’s library has continuously grown as we meet more foundry partners who want to add their fonts to our service. Our library is a trusted resource for designers, and we’re the simplest solution for people who need access to a huge variety of great typefaces — all tested and vetted before we add them.

We’ve made the biggest increase to fonts in our library since we started offering fonts for sync, adding over 1,500 additional fonts to the sync collection from 28 different foundries. Most of these were only available for web use before now, typefaces like Kulturista from Suitcase Type Foundry and Oxtail from MAC Rhino Fonts, which we know you’ll be happy to finally use in your desktop applications.

We’ve also added 446 completely new fonts to the library for web and sync, whose terms are still the same: if you have a paid Creative Cloud subscription, you can use any of the fonts in our full library in your work with no added cost on your plan. With so many more available for sync, you’re likely to hit your sync limit sooner — keep an eye on your Synced fonts page!

Typekit Marketplace continues to grow as well, with this being the biggest update since we launched last November. We’re delighted to be working with so many amazing type designers, and have added 456 fonts to this collection as well. We often profile typefaces on our Instagram, so keep an eye there for inspiration. Or dive right in and take a look around.

You don’t need a paid subscription to get fonts from Marketplace; you can use the free Creative Cloud desktop app to sync fonts to your desktop, and you’ll only need a credit card on file so you can pay for the fonts you’d like to use — which you can use as long as you like with no expiration date.

Here is a list of our foundry partners involved in this release. Check out their pages on Typekit to sync their fonts and discover new ones:

Blambot
Bluhead
Buro Destruct
BV Fonts
Canada Type
Chandler Van De Water
Darden Studio
DizajnDesign
EuropaType
Floodfonts
Fonthead
Fontpartners
Insigne Design
Isaco Type
JTD
MAC Rhino Fonts
Moretype
Outras Fontes
Paragraph
Phils Fonts
P.S.Type
PSY/OPS
R-Typography / Rui Abreu
Suitcase Type Foundry
T26
TypeCulture
Typodermic
Wood Type Revival

We’ll be sharing more about the foundries and fonts involved in this release on Twitter and Instagram — there’s a lot to celebrate! In the meantime, we can’t stop looking at our library and swooning a little. Get in there yourself, and let us know what you think.

We’ve long admired the work of House Industries, and today we’re delighted to welcome eight of their fun and iconic typeface families to Typekit. Founded by Andy Cruz and Rich Roat in 1993, the design studio is based in Delaware and known for creative collaborations with the likes of Heath Ceramics, the Estate of Charles & Ray Eames, and New Yorker magazine.

All of the typefaces we’re adding from House are available through Typekit Marketplace. Whether you have a paid Creative Cloud plan or not, you can purchase fonts from the Marketplace and use them for web or sync. We’ve also added seven styles to our regular library, so those of you with subscription memberships get a neat boost to your collections too.

See the whole offering from House on Typekit. We’ll walk through a few of them here to get a feel for House’s unique, unforgettable style.

Chalet

Chalet styles (from top to bottom) Paris 1960, New York 1960, London 1960 and Paris 1960.

Designed by Andy Cruz and Ken Barber, Chalet gained its name as an homage to a fabricated clothing designer they named “René Albert Chalet,” jokingly riffing off what they considered a trending fixation on Swiss design. As a sans serif, Chalet really does hit the mark. We’ve added six different styles to Typekit — Paris, London, and New York 1960, as well as the obliques for each. While the most apparent difference between the cities is weight (New York, naturally, is boldest) each style has a decided personality all its own. London 1960 and its oblique are both in our subscription library, and you’ll find Paris and New York in Marketplace.

Sign Painter

Sign Painter, showing (top to bottom) House Casual, House Slant, House Script, and House Brush styles.

Sign Painter by Ken Barber is classic House design, and many of its styles are likely to be instantly recognizable. We’re adding seven styles to Typekit, each with a distinctive voice but the same assured construction. A little goes a long way when you use stunning fonts like these — after all, they’re made for display! Each design can be tied back to an actual sign painting style used by people who make hand-painted signs for a living. We’ve added Informal and Slant styles to our subscription library, and all styles are available for purchase on Marketplace.

Burbank

Burbank, in (top to bottom) Big Regular Medium, Big Regular Light, Small Bold, and Small Medium. All specimen art by Ariadne Remoundakis.

Tal Leming designed Burbank over the course of ten years, and the immense attention to detail pays off in a wonderful way for this animated typeface. Normally you’d want to be very selective about using an outspoken style like this, but Burbank is so well-balanced in its asymmetry that it plays well in a number of situations where similar typefaces might be too distracting. We’ve added eight styles of this one to Marketplace.

Of course, the best way to assess a typeface is to try it out for yourself — have a look at everything we’ve added from House, and let us know how you use it in your designs!