Fontstore

11/08/2017

Sabina Chipară and Diana Ovezea were interviewed by gràffica info, where they talked about their recent collaboration with Fontstore:

https://graffica.info/sabina-chipara-y-diana-ovezea-equipo-tipografico/

Sabina Chipară y Diana Ovezea, un nuevo equipo tipográfico en Ámsterdam. Dos chicas jóvenes con una pasión en común dispuestas a crear grandes proyectos...

25/07/2017

Ekster is a geometric sans serif typeface from the Parisian designer Ilya Naumoff. Many of its letters are simplified; you’ll find several places in the typeface where the connection of bowls to stems isn’t fussy, for example, and horizontal strokes – like those in the ‘f’ and the ’t’ along the x-height – don’t bisect their letters’ main vertical stems (but populate the left-hand side only instead). Ekster’s lowercase ‘u’ is also symmetrical. The family includes a staggering number of weights – eight in total, and these range from Thin through Black. Each weight has both an upright font and an oblique-style italic on offer. The letterforms in all of the Ekster weights are drawn with virtually monolinear strokes. Ekster’s x-height is moderate, and the lowercase’s ascenders rise up to the same height as the capital letters and the numerals. However, the best feature of Ekster’s fonts is the large number of alternates that they contain. Ekster includes alternate forms for almost every lowercase letter, and some even have more than one alternate available – like the ‘a’, ‘e’, and ‘r’. Ekster is an excellent choice for use in both corporate design and editorial design projects, both because of its range of font weights and styles as well as because of its legibility in text.

Ekster is available exclusively on Fontstore:
https://www.fontstore.com/font/ekster

18/07/2017

Griff is a family of sans serif typefaces with unusual stroke contrast. The ‘middle’ parts of many of the fonts’ letterforms are drawn with much thinner strokes than those found in the rest of typeface. The Griff family includes 10 styles; these are five weights that range from Light through Bold, each with an upright and italic font. The typeface is a bit humanist in style; its strokes end in horizontal or vertical cuts, rather than in diagonals. The letterforms’ counters are also mostly open. The fonts’ x-height is tall, and the lowercase letters’ ascenders rise slightly above the height of the capitals. Speaking of Griff’s capital letters, they are a bit narrower in the feeling than the lowercase. Several of Griff’s letters feature ‘vertical’ line segments that are actually slightly diagonal – in terms of draughtsmanship – which livens up text set with the fonts considerably. Griff is anything but monotonous. In its upright fonts, the ‘a’ is double-storey, while the ‘g’ is single-storey (both are single-storey in the italics). The lowercase ‘f’ has a descender in the italic fonts, too. The typeface’s diacriticals marks are streamlined in form, and they look very slick. Griff is the work of Frode Helland, a type designer from Norway. The fonts are best used in larger sizes, where their details can come clearly into view.

Griff is available exclusively on Fontstore:
https://www.fontstore.com/font/griff

17/07/2017

15/07/2017

Introducing Fontstore, is a brand-new font subscription service specially created for graphic designers:

https://vimeo.com/fontstore/intro

Fontstore: A brand-new font distribution service for graphic designers.

15/07/2017

Baro is a family of seven sans serif fonts. Its style is geometric, and its letterforms are all-caps. Some the Baro fonts can be layered overtop of one another, for chromatic typesetting. The base style of the family is the Baro Plain font; all of its characters are comprised of thick, monolinear strokes. Baro Plain can be used on its own as a very heavy geometric sans, or it can be the placed as a base behind other Baro fonts (chromatic typesetting relatively simple to do in Adobe Creative Suite applications: just repeat the same text on multiple layers, use a different font on each layer, and make the text on each layer have a unique color). The characters in the Baro LineOne font are made up of very thin strokes. The letters don’t sit on a consistent, either, but rather bounce up and down along the line of text. In Baro LineTwo, each character is drawn with two parallel strokes – an outline and an inline, with a thick hollow counter space between them. Baro LineThree just is like Baro LinoTwo, but with thicker strokes. Baro LineFour is a stand-alone font; its characters each have thin inline strokes in the center of their ‘background’s’ thick monolinear strokes. Baro Contour is yet another font like Baro LineTwo, except that its parallel strokes are even thinner. Finally, Baro Strip is a prismatic version of Baro, which can either stand alone or combine with Baron Plain. In Baro Contour, the ‘strokes’ of each letterform are made up of five parallel lines. Baro was developed by the Paris-based designer Julie Soudanne.

Baro is available exclusively on Fontstore:
https://www.fontstore.com/font/baro

15/07/2017

Bonny is a family of decorative serif fonts, designed for display typography. The letterforms are very condensed. They also contain a lot of stroke-contrast. Bonny’s thin strokes often terminate in flourishes; these flourishes pair well with the typeface’s serifs, which are both thin and short. Bonny’s uppercase letters are very top-heavy; the upper halves of ‘B’, ‘E’, ‘F’, ‘H’, ‘K’, ‘M’, ‘R’, ‘S’, and ‘X’ are so large that they look almost like caricatures. This feature is carried over the some of the lowercase letters, too. For example, Bonny’s ‘a’, ‘c’, ‘f’, ‘g’, ‘k’, ‘r’, ‘s’, ‘t’, ‘y’, and ‘z’ are all extravagant and lovely. The ‘v’ and ‘w’ have calligraphic flourishes on their right-hand sides; similar expressions appear throughout rest of the the typeface, too. Each font includes 13 f-ligatures. An alternate ‘j’ may be automatically substituted into text, via the Contextual Alternates feature, preventing collisions with glyphs coming before it. The fonts’ numerals are old-style figures, which match the rhythm of the lowercase letters. From the Polish type designer Barbara Bigosinska, Bonny is an excellent choice for use on greeting cards and in packaging design. Its fonts should be set in large point sizes, so that its details have enough space to really shine.

Bonny is available exclusively on Fontstore:
https://www.fontstore.com/font/bonny/about

12/07/2017

HongKong is a large, futuristic-style sans serif family. The letters have straight-sides – even ‘e’ and ‘o’, for example – and the whole typeface has a rather minimalistic design. Many typical sans serif features have been reduced somewhat. Quite a few lowercase letters are spurless. The ‘a’ still has a double-storey structure, but it is without the final spur on its bottom right. Other features of the fonts include a rounded-top ‘A’ and a single-story ‘g’. HongKong includes 14 fonts. These are seven different weights, each with a companion italic. The italics are obliques. Like the upright fonts, all of their letterforms are drawn with monolinear strokes. Each font includes alternate, even more-rounded versions of the letters ‘M’, ‘N’, ‘V’, ‘W’, ‘X’, ‘Y’, ‘Z’, ‘v’, ‘w’, ‘x’, ‘y’, and ‘z’ … plus all of the diacritic characters based on these. HongKong’s lowercase letters have a very tall x-height, and their ascenders rise above caps just a little bit. The family’s lighter weights feel nice and loose in text, while the heavier weights are spaced more tightly. HongKong is a great font for the tech industry, but could also be put to good use to advertise music or art.

HongKong is available exclusively on Fontstore:
https://www.fontstore.com/font/hongkong

11/07/2017

Matteo is a family of geometric sans serif fonts. Designer Diana Ovezea has given the family an Italian name so that users might call fast cars to mind when they see it. The family includes 14 styles; there are seven weights, ranging from Thin to Bold. Each of these includes a companion italic. Matteo’s italics have an extreme angle (15º), which is quite unusual for a sans serif design. These italics are oblique in form, with a single-storey ‘a’ in place of the upright’s double-storey ‘a’. Matteo is an excellent selection for use in editorial and corporate identity designs, as well as advertising or annual reports. The shapes of its letterforms, as well as their spacing, have been optimized to create a pleasant reading experience, even in longer texts. The most prominent feature of the typeface is its geometric construction, which is based on circles and ovals. Letterforms in all seven of the weights are based on the same skeleton, with the ‘O’ maintaining its circular proportions (this makes Matteo’s lighter weights feel wider than its heavier ones). Several of Matteo’s letterforms include sharp corners, e.g., the ‘A’, ‘N’, ‘M’, ‘V’, ‘W’, and ‘Z’, as well as in the numerals ‘2’, ‘3’, and ‘7’. The capital ‘T’, ‘E’, ‘F’, and ‘Z’ each feature slightly angled endings on their horizontal strokes. Three special characters are particularly noteworthy in terms of their design: ¶, ≠, and &. Each font includes four sets of numerals, as well as a full range of subscript and superscript figures for typesetting factions. The period, comma, colon, and semicolon have the same width in each of the family’s 14 fonts; this allows users to set tables more easily. The fonts are also ‘logo-ready’, with extensive kerning having been defined even between the lowercase and uppercase letters. This enables the easy typesetting of CamelCase terms, like ‘SonVender’, ‘eTones’, ‘MunYan’, etc., without any ugly gaps appearing between lowercase and uppercase letters.

Matteo is available exclusively on Fontstore:
https://www.fontstore.com/font/matteo

10/07/2017

Zesta is a family of high-contrast serif fonts, intended for use in display typography. Their design is modern, or ‘Didone’ in style, meaning that its letterforms look like those used in France during the revolutionary, imperial, and restoration eras (late-1700s/early-1800s). This style of type is instantly associated with fashion and design for high-end cosmetic products. It is also used extensively in magazine design. The family includes 10 styles. There are five weights, ranging Light through Black. Each weight has an upright and and italic font on offer. The upright fonts feature letterforms drawn with vertical axes of stress. Ball terminals play a prominent design role in both the upright and italic fonts. The hairlines in all of the fonts are very thin. The thicker strokes just keep getting heavier as one moves up the weight scale, and this is the driver behind the typeface’s high-contrast design. The lowercase letters in Zesta feature a large x-height. Ascenders rise slightly above the capitals, and the default numerals are the same height as the uppercase letters. These default numerals are proportionally-spaced lining figures; however, oldstyle figures are also available via an OpenType feature. The fonts include discretionary ‘ct’ and ‘st’ ligatures, which can be accessed via an OpenType feature as well. The lowercase ‘a’ and ‘g’ are double-storey in the upright fonts and single-storey in the italics.

Zesta is available exclusively on Fontstore:
https://www.fontstore.com/font/zesta

06/07/2017

Tara is a family of serif fonts designed for immersive reading. Its design considers a tall x-height, balanced with high contrast letter-forms and wedge-shaped serifs that propose an elegant character functional at reading sizes. The axis of stress running through the letters is almost vertical; however, Tara is inspired by oldstyle typefaces, characterized by their use of diagonal axes. The family includes four weights that range from Regular through Bold with matching italics. Many of Tara’s lowercase letters retain calligraphic traces in their details, such as the terminal on the upright lowercase ‘a’ and the ear of the ‘g’. The italics contain a few dozen swash alternates, for use in headlines, titles as well as logo designs. All of the fonts include small caps, 14 f-ligatures, and case-sensitive punctuation. The default numeral style is set at proportional oldstyle figures with tabular and lining figures available as OpenType alternates. A full-range of numerators and denominators for fraction-typesetting has been included for its compatibility with a widespread range of contents. With letter-forms quite comfortable to read, Tara’s language support covers an extended Latin character-set and is an excellent choice for editorial projects across print media. Tara was designed by Tania Alvarez Zaldivar, a type and graphic designer from Mexico, and a graduate of the Type & Media program at the Royal Academy of Arts (KABK) in The Hague.

Tara is available exclusively on Fontstore:
https://www.fontstore.com/font/tara

05/07/2017

Malis is a family of humanist sans serif fonts. It includes four different weights, each of which has an upright font and a true italic on offer. The letterforms throughout the typeface are slightly condensed in width. The x-height of the fonts is tall, and Malis’s counterforms are open. The lowercase letters’ ascenders rise up above the height of the capital letters. Letterforms are virtually monolinear in appearance; however, in certain spots, there is a degree of contrast visible. This contrast appears in places one would expect, if one imagines how the letterforms might be written with a broad-pen. Malis’s italics retain some extra ‘handwritten’ features in their letters, too. For instance, the capital ‘G’ has a looped-descender. The top of the ‘T’ has a slight flourish on its left-hand side, and the bottom of the ‘Z’ also ends in a flourish. The same is true for the top of the lowercase ‘k.’ The italic ‘a’ and ‘g’ are single-storey, while their upright counterparts are single-storey. In both the upright and italic fonts, the ‘K’ and ‘R’ feature tails that curve at their ends. The lowercase ‘f’ descends below the baseline. The default numeral style in each font is proportional oldstyle, and tabular lining figures are available via an OpenType feature. As far as sans serifs go, Malis is slightly better apt for use in display settings. It is an excellent selection for editorial and packaging design applications. Malis was developed by Xavier Dupré, one of the leading French type designers of his generation.

Available exclusively on Fontstore: https://www.fontstore.com/font/malis