Indikator is a family of humanist-style sans serif fonts. There are five weights in the Indicator family; these range from Light through Bold. Each weight has both an upright as well as an italic font on offer. The italic fonts contain slanted, or oblique-style letters. The letters in each of Indikator’s weights appear virtually monolinear, in terms of stoke contrast. Strokes end in either horizontal or vertical cuts, rather than in diagonals. The fonts have a large x-height, and the lowercase letters’ ascenders are taller than the heights of the capital letters. Indikator’s numerals are tabular lining figures; these are just as tall as the fonts’ uppercase. The fonts’ OpenType features include alternate forms for the ‘I’, ‘J’, ‘4’, ‘i’, and ‘l’ – as well as a more Scandinavian version of the ‘Å’. There is also an alternate version of the zero, with a slash running through its counter. Indikator had a lot of character and verve than many other humanist sans serif families. It feels a little ‘old-timey,’ like it is channeling design ideas from the first half of the twentieth century, rather today’s Silicon-Valley-style designs. Indikator is an excellent selection for use in corporate communication or editorial design work. It will surely also come to good use in publications about contemporary culture and lifestyle issues. Indikator is the work of Frode Helland, a type designer from Norway.
This is a new font that I describe as a casual faux antique letterform. Great for many decorative and fun projects.
Aure Brash speaks with the cheeky inuendo of a sassy parrot. The quirky forms of this unique outline font engage the reader with a subtext of whimsy. Designed for its visual impact, Brash stands out as a title font and offers delightful possibilities for graphic imagery.
Brash is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets.
The CJ glyphset is a full text font with an extended set of lowercase and uppercase glyphs supporting a variety of European languages. Additional glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face.
Numbers are available in lining and oldstyle versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators.
The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs.
Brash is not designed for use in extended text. It shows its strength paired with strong text fonts such as Aure Jane or Aure Teddy. Used sparingly, Brash will add witty highlights to catch the reader’s eye.
Give Aure Brash a trial run! You may discover a permanent place for this font family in your typographic palette.
>> AureFontDesign.com
Roundabout is a hand drawn, top heavy font that comes in three variations: a regular version with decorative fill and inner lines and simplified options with just the fill or just the outline. The uppercase and lowercase letters are the same with the exceptions of the characters k, n, r, x, and y.
Ballinger began life as a single-weight proprietary typeface called baasic, designed for Dublin-based design office aad. baasic was intended as a plain, hardworking grotesque: a simple tool for clear communication. We’ve developed it into a fully-featured eight-weight family with matching italics. Sources include early 20th century jobbing sanses like Morris Benton’s News Gothic and Candia, a 70s-era typewriter face Josef Müller-Brockmann designed for Olivetti, which had unusually deep junctures that added energy to letters like m and n.
The family takes its name from Raymond A. Ballinger, the great mid-century American designer, author of ‘Lettering Art in Modern Use,’ and champion of elegance and readability. Ballinger has large counters and a generous x-height. Letters like a, e, and s open out gradually as they move from Thin to Black to maintain ample apertures, even in the darkest weights. Semi-oldstyle figures are available, as well as case-sensitive punctuation and delimiters. Italics incorporate subtle ogee curves to lend warmth and energy to the page or screen.
Neuropa is a five-weight semi-extended sans that projects a muscular corporate authority. The bowls of the rounded characters use an ‘obround’ form, and the apexes of the A and V and the uprights on the D and E are curved to suggest a sleek modernity.
Casat Cap is a all-caps brush family.
The typeface is an original creation by Måns Grebäck, built during 2017.
Its five weight has been carefully designed and gives great variation to the font family:
Casat Cap Thin, Casat Cap Light, Casat Cap Med, Casat Cap Bold and Casat Cap Fat.
With its hundreds of glyphs, Casat Cap supports a very wide range of languages.
Futo Sans family is a modern & soft sans-serif family has 8 weights upright with matching italics. Its corners and shape give a soft feeling but straight strokes and solid structure make it strong. Each font includes opentype features such as Proportional Figures, Tabular Figures, Numerator, Superscript, Subscript, Case-Sensitive, Denominators, Scientific Inferiors, Ordinals, Ligatures and Fractions.
Changa is a layered font intended for titles or short texts blocks, with its short ascenders and descenders and a set of lowercase letters inscribed within a square. The uppercases case gains slightly more in height and develops its morphology in a single height in order to make it possible to create text composition with minimum line spacing.
Its counter-shapes are rectangular, featuring small curvatures in opposite vertexes which accompany and break the shapes, thus evoking a modern style.
