Spring is on the way, and if you’re in mind to check out some fresh typefaces in your next projects, here are a few we’ve added or updated recently that might encourage a bit of spring cleaning.

Lust Script type specimen
Lust Script

From Positype, Lust Script starts with the bold calligraphic strokes from Lust and adds a flourish that makes this decorative display font extraordinarily memorable without feeling overdone.

Clavo type specimen
Clavo Extralight Italic and Medium

Clavo is a truly stylish new addition from Dada Studio, and we’re delighted to offer it in 16 different weights. The serif marks look especially charismatic in lighter weights, while the bolder options feel a bit tidier—though still solid and full of character.

Sharik Sans type specimen
Sharik Sans Regular Italic and Medium

Also from Dada Studio, Sharik Sans is an approachable and adaptable sans-serif, and adds just a touch more character than the average sans with that lowercase “k” — especially in italics.

Adriane Text type specimen
Adriane Text Regular and Italic. All text samples from Project Gutenberg.

Some of you may already be familiar with Adriane Text from Typefolio, and may even be using it already on your websites. We’ve recently updated this to cover desktop use as well, so you can now enjoy it in even more of your projects. Its bookish regular style is a classic pick anytime you need a great serif, and it includes an absolutely beautiful set of italics.

If you’ve never given Typekit a try, sign up (it’s free!) and upgrade to a paid plan whenever you’re ready.


Please join us in our excitement: Alverata, a new typeface from TypeTogether and designer Gerard Unger, is available today on Adobe Typekit.

Alverata presents a blending of historical typographic and artistic elements, rooted in the typographic forms of the Romanesque period and brought up to date for 2014.

Unger explains how he drew inspiration from capital letters that were engraved, painted, or chiseled into stone during the Romanesque period, which in turn were derived from multiple Mediterranean and Western European scripts. The contemporary trend in art and architecture was to embrace variety and the combination of disparate elements, and this trend appears to have carried over to the use of type; letterforms from those scripts were interchanged at random, creating a rich nonuniformity.

Alverata Irregular

Alverata Irregular

Unger created alternate glyphs inspired by the caps from those varying scripts, and brought those characteristics to an extensive set of lowercase alternates. The Alverata Irregular set makes good use of the Contextual Alternates OpenType feature; when enabled, alternates will sub in as you type, seemingly at random.

Alverata Irregular - Contextual Alternates

Alverata Irregular in Adobe Illustrator CC

The Romanesque caps also share some characteristics with contemporary type — namely, narrower forms with tighter spacing. It makes perfect sense to accompany those caps with a lowercase set with narrow body and tall x-height, in keeping with current trends of designing for readability across print and digital platforms — not to mention Unger’s personal preference as seen in much of his previous work. Unger also kept some meat on the bones of horizontal strokes that would normally thin out in written examples of the source scripts, opting instead for a sturdier structure that holds up better at small sizes. So while the Irregular set lends itself to display settings, the “regular” version of Alverata, complete with a full complement of italics (as well as Informal upright alternates) and a healthy range of weights, is well-suited for use at text sizes, whether in print or on screen.


Alverata (headline and body text) and Alverata Informal (subhead)

TypeTogether has a lot more information on Alverata. Read Gerard Unger’s introduction and background, and check out the extensive PDF specimen. Portfolio subscribers can add Alverata to kits for web serving today; Alverata is also available for desktop use on all eligible plans. If you’ve never given Typekit a try, sign up (it’s free!) and upgrade to a paid plan whenever you’re ready.

Are you ready to start 2014 off with some fresh faces? We’ve updated a few fonts in our library recently—and added a new one we think you’ll love.

Petala from Typefolio
Petala Black (top) and Thin (bottom).

Gorgeous Petala from Typefolio is new to our library, and comes packed with 14 different weights and styles. Each weight shows off a slightly different side of this typeface’s character, which is pronounced without being overwhelming.

Foco and Effra from Dalton Maag
Foco Light Italic (top) and Effra Heavy (bottom) from Dalton Maag.

Here are a couple great typefaces from Dalton Maag, both featuring updates for even better performance on screen. Foco carries a lot of personality with its handwriting-like features—the “f” in particular giving a forward-leaning energy that’s accelerated in italics. And Effra is a dependable pick for clear text with an approachable, low-key attitude. You might already be familiar with these; republish your kits if you’re already using them, and if not, now’s a great time to check them out.

Updates to Bernini from Just Another Foundry
JAF Bernino Sans Bold (top) and JAF Bernina Sans Light Italic (bottom). All text from Project Gutenberg

We also updated JAF Bernini recently with TrueType hinting improvements, which means smoother performance on screen from this extensive typeface family. This is a well-balanced collection with a number of width variations to support various design needs, be it longform editorial work or punchy headers. It’s also worth taking a look at other typefaces in the foundry catalog with your projects in mind, because now you can sync any of them to your desktop too.

That should give you a few ideas for new typefaces to bring into your designs in the new year! If you’ve never given Typekit a try, sign up (it’s free!) and upgrade to a paid plan whenever you’re ready.

We’ve got a few new fonts we’d like to share with you today, as well as an update to one of our old favorites. You’ll find all of these in our font library; go ahead, play with the Type Tester, see which weights and styles best suit your content. We think you’ll love using these.

Tenso type specimen
Tenso Black and Regular

Fresh from exljbris, the sans-serif Tenso makes for some wonderfully bold headlines that pair well with a number of more delicate serif faces. The rounded shapes of the letters give this typeface an especially playful edge at any weight.

Hamilton Wood Type Slab Columbian type specimen
Hamilton Wood Type Slab Columbian

The difference between Hamilton Wood Type’s HWT Slab Antique and HWT Slab Columbian is subtle; Antique’s slabs are squared off in the traditional style, while those in Columbian are very slightly rounded. Both variants look great in big sizes and add a distinctive character to your work.

Dapifer type specimen
Dapifer Semibold and Dapifer Light Italic

Dapifer, by Darden Studio, is a flexible slab serif suitable for a number of different editorial settings—and with 12 different weights and styles to mix, you can cover a lot of ground with this typeface.

League Gothic type specimen
League Gothic. Text for all specimens from Project Gutenberg.

League Gothic, by open-source type foundry The League of Moveable Type, is a reliable favorite on Typekit, and we’ve just released some improvements to the typeface—namely, hinting adjustments to resolve some rendering issues in Chrome. If you’re already using it in one of your kits, just republish the kit, and the updates will carry through to your sites.

We hope you enjoy using these new typefaces. If you’ve never given Typekit a try, sign up (it’s free!) and upgrade to a paid plan whenever you’re ready.

In case you missed our tweets about some of these updates from TypeTogether, here’s a roundup showing off some of their latest. If you’re looking to revamp a blog or personal site, you’ll find some great inspiration here.

Ronnia and Ronnia Condensed type specimen

Ronnia Condensed in its Heavy weight (top) and Ronnia in its Light weight (below).

You might need to set aside the better part of an afternoon when designing with this typeface, because both Ronnia and Ronnia Condensed are available in seven different weights apiece and can be combined in nearly endless configurations that all look great. Perfect for magazine layouts and other editorial uses. (For some advice on designing with multiple weights and styles of the same font, check out Brian Warren’s guest post on the topic.)


Bree Serif.

A seriffed cousin to Bree, Bree Serif retains the bold character of its predecessor, but with a slightly more subtle approach that’s designed to work well for intensive editorial settings.

Edita Book weight specimen

Edita in Book weight.

Edita makes for a beautiful typeface to display long-form writing, and we’ve recently added its Book weight to the Typekit library in addition to the Regular and Bold weights already on offer. The Book weight almost has a letterpress feel to it, even on screen.

Capitolium 2 type specimen

Capitolium 2. Text for all specimens from Project Gutenberg.

Capitolium 2 takes its name from a typeface designed back in 1998 to help with wayfinding around Rome, which was in turn inspired heavily by the centuries-old tradition of lettering on Roman buildings. TypeTogether’s updated version here works just about anywhere chiseled stone won’t reach, and can serve as a nice alternative to Times New Roman.

We hope you enjoy using these new typefaces. If you’ve never given Typekit a try, sign up (it’s free!) and upgrade to a paid plan whenever you’re ready.

Housing Neil Summerour’s typefaces since its establishment in 2000, Positype covers the spectrum from tasteful restraint to cheerfully outrageous, and shows a clear affection for handmade pen-and-ink lettering. Among the brands and publications that have used Positype fonts are Communication Arts, HOW Magazine, ABC, MTV, and Victoria’s Secret. Available on Typekit for both web and desktop, Positype faces can be dynamic components for almost any kind of creative project.


Lust Italic, Regular, and Display Italic.

Lust is reminiscent of the more flamboyant designs from International Typeface Corporation in the ’70s, which were often inspired by classic text faces but infused with a heightened personality and begged for use with advertising and branding. Lust’s strong and distinctive appearance is attention-grabbing in almost any setting, particularly in a medium which can fully support its extensive ligatures and alternates. Even in more restricted settings, such as web browsers lacking OpenType layout support, Summerour has ensured it will make an immediate impression. Check out Lust’s Didone style for more vertical stress and unbracketed serifs, and its display styles for larger settings.


Halogen Medium Oblique, Hairline, Bold, Black, and Bold Oblique.

Halogen sports generous width and a hint of reverse stress—that is, horizontal strokes thicker than vertical strokes—putting it somewhere between mid-century advertising faces like Estro and commercial workhorses like Copperplate Gothic. This varying stroke weight often evokes pen writing, but it is more sculptural in the case of Halogen, giving the letterforms a satisfying substance at display sizes. It performs well at smaller subhead sizes too.


Akagi Pro Bold, Medium Italic, Medium, Bold Italic, and Thin.

Akagi Pro is a comprehensive, humanist sans serif family which serves more quietly but just as deftly. It’s not without some distinctive design quirks—see the italic’s kinky y and curvy v, w and k—which clearly reflect a handwritten influence more than a mechanical one. Still, its overall character is modern in the best sense of the word. Nine weights, ranging from thin to fat, will provide plenty of options for any typographic environment.


Muscle Wide Italic, Narrow, and Narrow Italic.

Muscle works best when your goal is to coat the page or screen with as much (actual or virtual) ink as possible. Strangely legible if you set it large enough, Muscle adds heft to word marks and short headlines, and works particularly well in designs where color plays a leading role. Check out both the Narrow and Wide variations—and their italic companions, which seem quite comfortable leaning to the right.

All of the font families from Positype on Typekit are available for desktop sync. If you haven’t already, sign up for access today!

We’ve made some new additions to the Typekit library recently—and they cover quite a bit of ground stylistically. Here’s a few to consider for your next project.

Azo Sans type specimen
Azo Sans from Rui Abreu.

Designer Rui Abreu brings us Azo Sans, a geometric sans that takes heavy inspiration from Futura but with softer angles that lend, in Abreu’s words, a “humanistic quality” to the typeface. The result is polished at any size, with the bolder faces making for exceptionally dynamic headlines. Available in five different weights, with corresponding italics for each.

Courier Prime type specimen
Courier Prime from Quote-Unquote Apps.

Screenplays are traditionally written in a monospace typeface, which generally means Courier. Frustrated by this status quo, John August at Quote-Unquote Apps set out to build “the best damn Courier ever,” enlisting Alan Dague-Greene for the design. Courier Prime is optimized for 12-point display, and works nicely onscreen or in print. Don’t miss the gracefully-done italics, either.

Sketch Text and Square type specimen
Sketch Square and Sketch Type from Delve Fonts. Text for all specimens from Wikipedia.

Sketchnote emerged from a project between Mike Rohde and Delve Fonts proprietor Delve Withrington to develop the typeface for Rohde’s The Sketchnote Handbook. The hand-drawn style is clean and restrained, with the Text font designed to be legible at smaller sizes, while Square works nicely as a headline counterpart.

We hope you enjoy using these new typefaces. If you’ve never given Typekit a try, sign up (it’s free!) and upgrade to a paid plan whenever you’re ready.

When we first announced desktop font sync for the Creative Cloud, we mentioned eight top-tier foundries that would be included at launch, and posted about each of their offerings in subsequent weeks. Today we’ll continue the series with an addition to that fine collection of type: Just Another Foundry.

JAF Facit


Specimen courtesy of Just Another Foundry. Click image for complete specimen PDF.

Facit has long been a favorite among Typekit users. It renders impeccably on screen, as it was designed to do: designer Tim Ahrens optimized the letter forms and proportions to work at small sizes, and manually hinted each font style to make sure the typeface performs well in Windows environments.

These optimizations were made specifically for the web, but Facit is also a workhorse for print and graphic design. And unlike with most typefaces, the design differs between web and desktop versions. Tim describes the changes made when redesigning Facit for the web:

Compared to the original design, the x-height was increased and the descenders shortened. The bold version in particular is somewhat lighter and wider – the increased counters aid legibility particularly on screen.


Facit in green, Facit Web in gray.

Typekit serves the appropriate versions of Facit to their respective intended media: Facit to desktop, and Facit Web to web. Keep these design differences in mind when mocking up web designs in Photoshop.

JAF Bernini Sans Condensed


Bernino Sans Condensed above; Bernina Sans Condensed below.

Released last year at Typekit for the web, Bernini Sans is made up of two sibling typefaces: Bernino Sans and Bernina Sans. The two are distinguishable by a set of lowercase alternates: the a, g, i, k, and y. The Condensed width of both alternate sets are available for desktop sync for Creative Cloud members. The alternate glyphs are also available as OpenType features in both sets, allowing you to mix and match Bernino and Bernina without having to switch fonts.


Bernina Sans Condensed is accessible as Stylistic Alternates of Bernino Sans Condensed, and vice versa.

Below is a complete list of the font families from Just Another Foundry that are available for desktop sync. If you haven’t already, sign up for the pre-release today!

This is the eighth post in a series highlighting foundry partners who will offer fonts for desktop sync, including Dalton Maag, FontFont, Mark Simonson Studio, TypeTogether, ParaType, exljbris, and URW++.

Adobe’s first retail product, back in 1985, was type. Building its business around its PostScript page description language, Adobe depended on the Type 1 font format to give PostScript its powerful typographic capabilities. Soon after, the Adobe Originals program was conceived to make new typefaces specifically for desktop publishing. Adobe’s primary goal was to create full-featured, timeless typefaces with a high degree of technical care—combining thoughtful type design with an awareness of how best to engineer those fonts to perform well in any conditions. Now, with over 60 typeface families available for desktop sync from Typekit, there is a wide range of Adobe type available for work spanning print, digital documents, and the web. Let’s look at a few of them.

Adobe Garamond, designed by Robert Slimbach, was one of the first Adobe Originals released (in 1989). At the time, it sought to revive an historic and well-known design and adapt it for contemporary desktop publishing. By including an “expert collection” of old style figures, small caps, ligatures, and other typographic alternates, it also expanded the meaning of the word “revival” by re-introducing these advanced typographic features to a new generation of designers. Despite its elegant forms, the font outlines were carefully constructed for the best performance on the hardware of its day—which, conveniently, has also made it excellent for screen rendering.


Adobe Garamond Pro

Minion, also designed by Robert Slimbach and first released in 1990, was in some ways a sequel to Adobe Garamond. For Slimbach, it emerged as an idea during the extensive research and development of Adobe Garamond, and became a distinctive, original typeface inspired by the old style type forms of the late Renaissance but carefully modernized for digital use. It eventually expanded into Cyrillic and Greek scripts, and is now considered one of the high watermarks of the first “golden age” of digital type. Although ideal for book typography, it is more economical in its proportions than the typical old styles, making it useful for magazines and other formats where space can be limited. Like almost every other Adobe Originals text face, today’s OpenType version of Minion has a complete range of old style figures, small caps, fractions, ligatures, and other alternates—all easily accessed in desktop applications like Adobe InDesign.


Minion Pro

Another great revival for the Adobe Originals program, Adobe Caslon was carefully adapted by Carol Twombly from the time-honored types of William Caslon. Also released in 1990, Adobe Caslon is an amalgamation of what Twombly found in examining various specimens of Caslon’s original metal type from the 18th century. Through the design process, she worked to preserve its characteristic idiosyncracies while blending different examples into a single text design suitable for modern use.

One particularly appealing aspect of the Adobe Caslon typeface family is the ornamental quality available through its swash capitals and ornaments, based on those found in Caslon’s original specimens and other contemporary sources. They can be used to emphasize Caslon’s true personality through initial caps, energetic italic settings, and borders.

Distinctive and sturdy, Caslon long ago proved itself as a workhorse, and Adobe Caslon has already proven popular in new media like the web—a testament to Twombly’s skill and the universal appeal of Caslon’s original types.


Adobe Caslon Pro

Kepler, first released in 1996, was conceived as a typeface family to cover an expansive range of text and display typography. A modern typeface with humanist, transitional elements, Kepler has a distinctive personality at large sizes in display settings, but gracefully serves at text sizes as well, avoiding the tedium that can come with reading long text passages set in more severe modern faces like Bodoni. Its vertical stress, a feature of all modern style typefaces, can often be the perfect choice for screen rendering.

Typekit offers sixteen variations of Kepler for desktop syncing, covering text and display designs in regular and semicondensed widths, and in roman and italic styles—making it a particularly flexible and powerful choice for a wide range of projects.


Kepler Std

Below is a complete list of the families from Adobe that we’ll be making available for desktop sync. Add them to your favorites so you can find them quickly when we launch the desktop sync feature, and use them on the web today. If you’ve never given Typekit a try, sign up (it’s free!), and upgrade to a paid plan when you’re ready.

This is our seventh post in a series highlighting foundry partners who will offer fonts for desktop sync, including Dalton Maag, FontFont, Mark Simonson Studio, TypeTogether, ParaType, and exljbris.

URW Nimbus

Founded in 1972 as URW (Unternehmensberatung Rubow Weber—from the founders’ names) in Hamburg, Germany, then re-imagined as URW++ in 1995, this foundry has been a pioneer in the digitization of type. In addition to crafting many popular original typefaces, URW also develops software for professional font production.

The Typekit library includes several classic fonts from URW++ for web use; Nimbus Sans is frequently featured in the list of your favorite fonts. We are excited to make them available for use in desktop applications as well.

Franklin Gothic Spec Sheet
Franklin Gothic spec sheet

Designed by Morris Fuller Benton for the American Type Founders in 1902, Franklin Gothic was created to be a workhorse. An early geometric sans, the font was designed to work within the grid-based layout system used by newspapers, and for other high-content print material such as train tables.

The simple, unadorned face is highly legible, and in its legibility lies its flexibility. Franklin Gothic pairs well with other types, and is highly tolerant to variations in line and letter spacing. At its heavier weights, it can be read from across the room; at its lightest, it presents content with refreshing clarity.

Typekit is offering URW’s version of the font with a full eight variants—as well as Condensed and Extended versions, each with 2 variants.

Alternate Gothic Sample Alternate Gothic No. 2 D

Alongside Franklin Gothic, we’re also offering URW’s version of Alternate Gothic.

Designed in 1903, also by Morris Fuller Benton, Alternate Gothic is a condensed variation of Franklin Gothic that is distinguished for its height versus width dynamic. The M height is greater than its width, making it a great font for copy-fitting. Also, its height-to-width ratio makes every character read like an exclamation point—the words almost shout from the page.

The three traditional widths of Alternate Gothic are available: No. 1 D (the narrowest option), No. 2 D, and No. 3 D (the widest of the three).

Additionally, the Alternate Gothic OpenType Features include Numerators and Denominators for mathematical notation. Pretty swank.


Below is a complete list of the families from URW++ that we’ll be making available for desktop sync. Add them to your favorites so you can find them quickly when we launch the desktop sync feature, and use them on the web today. If you’ve never given Typekit a try, sign up (it’s free!), and upgrade to a paid plan when you’re ready.