We’re delighted to introduce Hidden Treasures of the Bauhaus Dessau, a font collection inspired by original type specimens the Bauhaus artists left undeveloped.

Images from Hidden Treasures campaign.

Fittingly, these fonts are now a reality thanks to type design students a few generations beyond the Bauhaus era. Project co-coordinators Erik Spiekermann and Ferdinand Ulrich worked with instructors at five different design schools to nominate students to participate in the project. Under the supervision of Spiekermann and Ulrich, the students designed fresh new fonts based on the original source materials.

We’re making the fonts freely available, and will add them to our library as they are released. Keep an eye on this space over the summer as new fonts appear!

Joschmi
When designing Joshmi, Flavia Zimbardi referenced the design of a lesser-known stencil alphabet by Joost Schmidt, who instructed many other type designers of the Bauhaus Dessau. She had only six of the original letterforms to work with: a, b, c, d, e, and g. Based in New York, Zimbardi hails from Rio de Janeiro and is a graduate of the Type@Cooper Extended Program.

Xants
Designed by Luca Pellegrini, Xants is based on an alphabet by Swiss-Italian designer Xanti Schawinsky that combines stencil characteristics with a neo-classical stroke contrast for a unique mix of lettering influences in one place. Pelligrini is a second-year student at the MA program in type design at the University of Art and Design/ECAL in Lausanne, Switzerland.

Visit the Hidden Treasures campaign page for more history about the project, design challenges, and more.

What was the Bauhaus?

Bauhaus design school. Image from the Hidden Treasures campaign.

The Bauhaus was a German design school that became celebrated for its novel holistic approach to design. Artists like Paul Klee and Wassily Kandinsky spent time at the school as instructors, and the broadly-themed curriculum included courses on lettering, which typographer Joost Schmidt taught for seven years.

Schmidt, his students, and a handful of other teachers at the school worked on numerous lettering projects over the years to accompany the designs coming from all corners of the Bauhaus. Many of the letters incorporated geometric features in the “modernist” tradition. A similar geometric, unadorned character imbued much of the design work emerging from the Bauhaus, often earning strong reactions from the public when unveiled.

The school was in operation from 1919 to 1933, when it closed down due to pressure from the Nazi regime. It is with the cooperation of the Bauhaus archives that the original source material from the school became available for renewed typographic study. Today we’re delighted that the Hidden Treasures collaboration has resulted in a new life for the letter designs that were left as one-off or incomplete projects so many years ago.

Darden Studio, based in New York, is the source of classic branding fonts like Omnes, and more recently released Halyard. We’ve offered a selection of their fonts for years, and are thrilled that they’ve now added their entire collection to our library.

Omnes in use, showing off the versatility of varying weights and widths.

The already-friendly design of Omnes becomes even more versatile with the addition of condensed widths. If you’ve ever tried typesetting with Omnes, you might have noticed that it tends to be a bit wide. That’s great if you want to fill more space, but sometimes you might want to keep things a little tighter. Condensed, Semicondensed, and Narrow widths are here for you!

Make yourself comfortable. However much you have to say, there’s a width of Omnes built to work with the rest of your design.

Halyard is another strong option from Darden Studio, and from its release this was designed to be used everywhere. It’s one of those fonts you won’t even realize you’re reading — like many sans-serifs, it’s designed to be unobtrusive, which is great for getting information across to people without a lot of time for mental processing; think signage, or infographics.

Halyard in use: Micro for the body text, Display for headlines, and Text for graph labels and nameplates. All artwork by Darden Studio.

Halyard comes in eight weights, from Extralight to Black, as well as optical sizes (which means we have super-specialized options that are great for tiny print or big poster displays).

Check out Darden Studio foundry page to see everything in their catalog that’s available. Since everything from Darden Studio is in our regular library now, it’s all included with Creative Cloud plans. Try a couple out, play with the width options a bit to see what feels right to you. Let us know what you think!

What’s new this month? So glad you asked! There’s some fun stuff in here, including a couple fonts that are brand-new to the world. Feels like a great way to kick the summer off.

Dolce from Anatoletype

Dolce by Elena Albertoni. Art from Anatoletype.

Designed by Elena Albertoni, Dolce comes with a delicious number of alternate glyphs so you can really hone the look of this. It’s available in five weights, which opens up a lot of options for your typesetting — the heaviest weight is especially stunning for titles and larger settings, but all are beautifully balanced and fun to work with.

Hidden Treasures of the Bauhaus Dessau

The Hidden Treasures campaign launched with Xants and Joschmi.

This global campaign kicked off this month with two fonts and a design challenge (definitely worth your time if one of your summer goals was to work on design skills). Xants and Joschmi, the first two fonts in what will eventually be a series of five, are free for anyone to use. Learn more about the designers and their unique source material in our overview, which we’ll update very soon (!) with the next font in the series.

New from Darden Studio

Omnes from Darden Studio.

There’s so much more to Omnes now that Darden Studio has added three new widths to the family. Get more out of this typeface and all of the Darden Studio fonts, all of which are now included with your Creative Cloud subscription.

Get into these, let us know what you love, and stay tuned for more — summer has only just started.

Our team has been bustling about this past month adding new fonts to the library. There’s something to suit nearly any project in this month’s roundup — see for yourself and let us know what you think.

New scripts (and more) with Cyrillic support from ParaType

Kapelka

ParaType has added several new families to the library, all with Cyrillic support — including some handwritten-style scripts, a rare find for Cyrillic type. Zakhar Yaschin designed Kapelka to resemble the effect of writing with a soft pointed brush, and the stylish result is perfect for friendly headlines and would also work nicely for packaging design.

Bowman

Still too formal for you? Try Alexandra Korolkova’s Bowman for something a little different. She designed this to look as though it was written with a marker, and it’s fun to see in use. You’ll find these and many other new scripts on ParaType’s foundry page.

New from Sudtipos

Envelove by Yanina Arabena

The idea of writing letters with an old-fashioned pointed nib sounds charming, until you end up with a hand covered in ink. Yani Arabena took the messy part out of the process for us, and her amazing pointed-nib calligraphy became Envelove — an expressive and spontaneous script font that we’re excited to offer for purchase in our Marketplace.

Speakeasy

Don’t miss the other new Marketplace addition from Sudtipos while you’re in there, Speakeasy. Five variations offer almost every option you might need for stylish design, including a gorgeous script, all-caps wide “Modern” with serifs, and even a sans-serif.

Find these and even more from Sudtipos on their foundry page; we’ve added nearly 100 of their fonts to the library that were previously for additional purchase only. With even more fonts now included with your Creative Cloud plan, it’s a great time to peruse their whole collection.

Fort Foundry ships out Shackleton

Shackleton

Don’t be fooled by the Victorian theme — Shackleton by Brian Brubaker isn’t stiff or stodgy. Rather, it’s ready for stylish adventure; it even comes in four widths for added versatility. The flared serifs add a wonderful quirky edge.

Typefolio adds Obvia

Obvia

Marconi Lima designed nine different weights for powerhouse Obvia, making this a great option for developing a whole typographic hierarchy in your design. He classifies the font as “geohumanist,” meaning that he started with the distinctive square shapes but then refined small details to soften these edges and make the font a bit friendlier for typesetting.

Get IBM Plex

Plex

Plex from IBM is more of a type superfamily, seeing as it contains a serif, a sans, a mono width, and a Hebrew version, each with multiple weights of their own. In fact, we’re thinking this qualifies as a full-fledged typographic system. Now the whole collection is in your library and ready to try out!

Alfarn added to Hidden Treasures collection

Alfarn

Earlier this week we shared the news about the Alfarn release, the latest from the Hidden Treasures campaign. Find descriptions of all the fonts in our blog post and get any (or all) of the fonts directly from us. A great way to get some experience working with Alfarn (or any of the Hidden Treasures fonts) is to join in on a design challenge — see the Hidden Treasures campaign page for more info.

That’s it for this month’s roundup. Let us know what speaks to you here!

Creative Cloud customers now have access to 665 new fonts from 41 different type families, thanks to new additions from Monotype.

Many of these fonts were designed in the earlier 20th century and have since inspired a number of other typefaces in turn, which makes them valuable to have in your design toolkit. They’ve also seen a number of refinements over the years as they were all gradually adapted into digital type.

In short, we’re happy to add these to your Creative Cloud subscriptions. There’s a lot to browse, so here are a few highlights you might start with.

ITC Benguiat

Yes, it’s the Stranger Things font! ITC Benguiat was also a classic used in a lot of 1980s book covers, and it’s not unusual to catch it in signage today. Designed by Ed Benguiat, this font looks iconic even if you don’t make any further changes to the typesetting.

ITC Avant Garde Gothic

This one also involves the design work of Ed Benguiat, though in this case he was working from original designs by Herb Lubalin and Tom Carnase to expand the font they designed for the cover of Avant Garde Magazine in the 1970s. It’s insanely flexible, with a personality that comes through with thoughtful use of the alternate glyphs.

Gill Sans Nova

Mind the gap! Inspired by the type used in the London Underground, Gill Sans will definitely fit the bill if “midcentury train glam” is your desired aesthetic, but it’s also much more versatile beyond that. In the decades since Eric Gill’s initial work, several other designers have stepped in to design extended alphabets, making this a true typographic system with a Condensed width and even some fun shading and outline variants.

Plantin

This font celebrated its 100th birthday not too long ago, and it still holds up — in fact it was an inspiration for Times New Roman. Named after a 16th-century printer by the name of Christophe Plantin, the original cuts for this revival typeface were made in 1913 for hot-metal typesetting. Now we’ve got the tidy digital version of that.

Rockwell Nova

What would happen if you took a geometric sans typeface like Futura and added serifs? Designers at Monotype posed this question in 1934 and the answer was Rockwell. This has been a popular choice for decades of titles and branding, sometimes used for graceful, organized paragraphs and other times sized up for strong, commanding headlines. It fits right in almost anywhere, especially if you employ the Condensed width for tighter spaces.

Sabon

Sabon was designed precisely to spec, with a series of constraints that might sound pretty odd to type designers today:

• must work identically for Monotype, Linotype, and manual typesetting systems;
• no kerning (the letters all completely self-contained, with nary a crossbar bumping into the neighboring letter);
• italic and bold styles must not take up any additional space;
• also it needs to look like Garamond.

Lucky for us, Jan Tschichold was up to the task. The typeface released in 1967 ended up becoming enormously popular, especially for book typesetting.

Trade Gothic Next

There’s always a place for a typeface like Trade Gothic in a designer’s arsenal. It’s a go-to for clear headlines and fantastic in infographics. The Soft Rounded option is a great way to scale back if the regular style feels a little abrupt.

These fonts are all part of your Creative Cloud subscriptions now. Some may appear in a font pack in the future, so stay tuned for that — and in the meantime, enjoy getting these into your designs.

We’re delighted to introduce two of our newest foundry partners, both based in Japan. Welcome Skill Information“S” and Kinuta Font Factory!

There are eleven new fonts in the library now from these two foundry partners.

Kinuta Font Factory

Kinuta has been producing fonts for nearly twenty years, and we’re pleased to add three of these typefaces to our library.

Among these is Iroha 32 Sakura Kana, a fresh take on the Gothic style that is commonly used in signage around Japan. Our Kinuta contact refers to this one as a new alternative for anyone needing to set Kana text in the Gothic style. Give it a try and let us know what you think.

Skill Information“S”

Known for its focus on software development, particularly for the health services industry, Skill Information“S” found itself in the font business through a collaboration with Techno Advance Co, Ltd, in 2007.

Kenji Miyazawa was a poet, renowned especially for his children’s stories – many of which have since been adapted into anime.

We are adding eight of their fonts to the library, including TA-Kai. Designed by Shintaro Ajioka, TA Kai is the result of Ajioka’s experience in logotype design in traditional calligraphic styles. The typeface exhibits a thoughtful balance between the straight, linear stroke formation and an overall sense of softness.

All the new fonts from both foundries are available in our subscription library. Sync them to add them to the font menus in your design applications, or add them to a kit to use them on the web. Enjoy!

Just in time to get you sorted for a new school year, we’ve got more fonts in the library!

New fonts from Adam Ladd

Adam Ladd’s eye for graphic design is clear in the fonts he’s designed, and we’re excited to add these to our collection. For designs that might otherwise feel a little flat, Active adds a visual texture and contains plenty of alternate character styles to play with.

For a more personal touch than bold Active, try the gentle script Braisetto. This one stands up on its own, especially for packaging and branding uses, but can also be paired with bolder fonts to add a warm contrast. We’ve got two weights of this to work with, too.

See everything we’ve added from Adam Ladd on his foundry page.

Source Serif Italics

The long awaited Italic complement to our popular Source Serif by Frank Grießhammer. Why were the italics released four years after the upright style? See Frank’s blog post where he walks through the design process. Source Serif is available open source on GitHub as well.

Rounding out Hidden Treasures with Reross

The Hidden Treasures of the Bauhaus Dessau collection is now complete with all five typefaces available for you to use. If you need an excuse to try them out, the design challenge is open until September 9.

Hundreds more from Monotype

We’re still reeling from this, to be honest — we added over 600 new fonts from Monotype to our library last month. In our roundup we walked through a few of the highlights, but there wasn’t time or space to give all the fonts their due recognition. You may recognize quite a few classics in there! Check out the Monotype foundry page for the full rundown.

New foundry partners, new Japanese fonts

Our freshest news comes at the end — just this week we welcomed two new Japanese foundry partners to Typekit. Learn more about Kinuta Font Factory and Skill Information”S” in our blog post, or go directly to the foundry pages to check out the new fonts.

Looking for new inspiration? You can always sort our font collection by Newest to catch anything we’ve added recently.

Hard to believe we’re nearly halfway through October. We’ve got a lot of updates for you this month, many of which you’ll hear about next week at Adobe’s annual MAX conference. Let’s kick it off with a look at what we’ve added to the library recently.

This week’s news comes from two of our foundry partners, Typofonderie and Underware. Both have just made their full collections available for desktop use in addition to web — that’s right, no more web-only fonts from these two!

Typofonderie

The collection from Typofonderie is full of winning options for all sorts of design needs. Now that all their fonts are available in more places, this cheat sheet might come in handy.

What’s your type? Consult the Typofonderie cheat sheet for quick diagnosis. Courtesy of Typofonderie.

The formal serifs are gorgeous, and easy to put to use. Le Monde Journal is a great one to start with if you need something flexible; the subtle Demibold and Book weights that fall between the usual Regular and Bold give you just a bit more volume without sacrificing too much breathing space.

A sampling of serifs from Typofonderie: Le Monde Journal, Mencken Text, Mencken Text, PS Fournier Petit, Apolline, Le Monde Livre Classic, Geneo, and Apolline. Courtesy of Typofonderie.

Let’s not overlook the sans options! Ysans Mondrian is a mesmerizing display font that could make for great logo design. Less obviously decorated options like Anisette contain a few surprises of their own.

Display sans-serifs from Typofonderie: Ysans Mondrian, Anisette, AW Conqueror Inline, Prosaic, AW Conqueror Inline, Ysans, AW Conqueror Sans, and AW Conqueror Carved. Courtesy of Typofonderie.

Underware

The Underware collection includes several outstanding and unique options that can make for unforgettable signage.

Bello literally takes up the whole room. Photo courtesy of Underware.

Bello is an all-time favorite of ours. You just can’t look away from it, and it’s supremely fun to work with. Use it big! This one’s meant to take up all the room you can give it.

The mono styles of Zeitung. Courtesy of Underware.

Zeitung is what we call a “superfamily”: dozens of weights and styles with the same name intended to work in tandem with one another. It’s a great option for all kinds of editorial use, and we’re particularly smitten with the italic monospace. Some people would say there’s no practical need for italic monospace fonts, but… we really want to use this one. Don’t you?

Let us know what speaks to you from this round of new fonts in the library. More to come soon!