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A circa-1920s book on lettering entitled “Book of Alphabets” by Regan Publishing displayed an example of a Grotesk typeface (a popular style of sans serif of the time).
This design was re-drawn digitally as Not So Grotesk JNL and is available in four varieties - regular, oblique, condensed and condensed oblique.
Not So Grotesk JNL is the perfect companion font family to use alongside Simply Grotesk JNL.
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The 1912 publication “Essentials of Lettering” has an example of a hand lettered, condensed spurred serif design called “Compressed Roman”.
This is now available digitally as New Thin Roman JNL in both regular and oblique versions.
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A 1916 lettering book provided an example of a slab serif alphabet with Art Nouveau influence designed by Thomas Wood Stevens.
This alphabet served as the model for Nouveau Lettering JNL, which is available in both regular and oblique versions.
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This is Avris, an exceptional and feminine stencil font. The base was designed in 2015. The word ‘avris’ derives from the latin rara avis, which means “rare bird”. Stencil fonts were initially designed for mass production and transportation companies. Unlike this one, Avris’ curvy and minimalistic design feels and looks like the wings of birds, flying above the quiet ocean. It also has a roman, calligraphic and cryptographic touch to it. It can be used for editorial (fashion) magazines and poster designs. Looks great in headlines! Also the numerals are a must see when you put it in use.
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Cristoforo is a display typeface published by SoftMaker.
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Iconic is a rounded condensed sans serif typeface designed by Andrea Tartarelli together with Cosimo Lorenzo Pancini and Francesco Canovaro at Zetafonts. It’s a multi-purpose workhorse family designed for clear and effective editorial, interface and information design with minimum usage of space. The soft, rounded shapes are all derived from basic circular geometry, but slight humanist touches have been added to make the family look more informal and readable. With his slim, minimal aesthetic, Iconic embodies the spirit of contemporary tech, and the desire for an effortless, natural digital experience. The extensive range of weights allows both for text and display usage. In body copy Iconic excels in clarity from light to bold with a choice of medium and regular for text appearance fine tuning; in display use it allows endless design expressions with a range that goes from the hairline thin weight to the super-fat heavy, all with matching italics. To complement the basic, regular shapes of the Iconic family, a Stencil subfamily has been designed with a more aggressive technical look. Perfect for wayfinding, branding and interaction design, the six Stencil weights can also be used next to the base family for a rich textural approach to type setting. Both Iconic and Iconic Stencil feature an extended character set of over 1200 glyphs that covers over 220 languages using the Latin alphabet, as well as Greek and Russian Cyrillic. Open type features include small caps, positional figures, alternate letter forms, stylistic sets, arrows and extra punctuation and discretionary ligatures. A six-weight icon set, Iconic Pictograms, has been also developed in matching weights to the base family to allow maximum control over the design of digital interfaces using Iconic.
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Radar is a revival of the sans serif typeface “Grotesca Radio”, from the Spanish foundry Richard Gans, which existed from 1888 to 1975. His authorship is attributed to the German type designer and master punchcutter Carl Winkow. Although the new version of this font has always tried to keep accurate similarities with the original typeface, Radar is not intended as a strict revival, but as a contemporary interpretation. In this new version the user can find some alternate characters that give the typeface a more art-déco or neutral flair.
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Bookkeeper JNL is based on the lighter weight version of R. Hunter Middleton’s ‘Karnak’, produced in 1936 for Ludlow.
“Karnak” itself was based on the geometric slab-serif “Memphis”, designed in 1929 by Dr. Rudolf Wolf and released originally by the Stempel Type Foundry of Germany.
According to Wikipedia, “Karnak” "was named after the Karnak Temple Complex in Egypt, in reference to the fact that early slab serifs were often called “Egyptians” as an exoticism by nineteenth-century type founders."
Available in both regular and oblique versions, Bookkeeper JNL serves well as both a headline and text type face.
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Yaty is a relaxed and spontaneous script font.
With its long descenders, bold capital letters and genuine style, this typeface fits perfectly for a down-to-earth logo or headline, emitting familiarity and friendliness.
The font contains ligatures and support for an extensive range of world-wide languages.
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Alvar, a modular Humanist-flavored Sans Serif typeface, is ideal for corporate use, and brand and corporate identity design. The font performs well for mid-length text. Alvar is a neutral and clean font but it has friendly and modern design characteristics.
Alvar comes in 8 weights with matching italics and the whole family is composed of 3 subfamilies: Pro, Essential and Alt Essential, resulting in a total of 48 different styles. The Pro version includes a Latin Extended character set and OpenType features—stylistic alternates, small caps, case-sensitive forms, proportional and tabular figures, currency symbols, etc. The Essential and Alt Essential versions are well-suited for both web and corporate use.
Thank you for inspiration Alvar Aalto!
Special thanks to Alfonso García for his help with digital editing—especially for his contribution to the design of the beautiful italics.