font of the week

Font of the week: Estander by Luciano Vergara


Today’s font of choice, Estandar, was created by graphic and type designer Luciano Vergara. Available from HypeForType, the Estandar is described as being ‘a retro and vintage wayfinding sans serif font, inspired by old signage in central park and Europe’.

Estandar Regular is available as a free download fromHypeForType, where other weights of the font family can also be purchased.


Font of the week: Scratch by Luis Palencia


Today’s font of choice is Scratch, by US-based graphic designer Luis Palencia. He comments on Behance: “Inspired by classic Gotham and sans serif fonts, Scratch is an uppercase display typeface, suitable for titles and headlines.”

Font of the week: Fabrica by Alvin Kwan


Fabrica is a deceptively simple sans serif typeface optimized for screen display on handheld devices. With its optimal quality and legibility, Fabrica proves to be highly efficient for small screens. Its details are drawn from the more systematic constructed Neo-Grotesques, giving it a neutral tone of voice. Above all, Fabrica’s beauty is found in its functionality.

Font of the week: Pakenham


Founder of Typodermic Fonts and type designer Ray Larabie is behind today’s font of choice Pakenham Regular. Available fromHypeForType, and inspired by Paul Renner’s 1950s creation, Steile Futura, Pakenham is described as having ‘an upright, modern look with gently turned corners and generously proportioned loops’.

Part of larger font family, Pakenham Regular is available as a free download for both personal and commercial use over onHypeForType.

Font of the week: Alek by Emil Bertell


Alek is a classy and elegant yet playful upright script family of two weights and an ornament set Alek is equipped with plenty of OpenType features: To activate the alternates click on Swash, Contextual, Stylistic or Titling Alternates or Discretionary Ligatures, Tabular or OldStyle Lining in any OpenType savvy program or manually select the characters from Glyph Palette. Always enable Standard Ligatures for the best outcome.

Font of the week: Hurme Geometric

Toni Hurme’s long history in branding and packaging work often led him in search of typefaces that were yet to exist. Five years ago, that search led him to discover type design. He’s been running his type foundry, Hurme Design, ever since. Toni’s first commercial release, Hurme Geometric, is based on a practice he’d used frequently in his graphic work: expanding a single concept into a wide range of possibilities.


Font for the week: Typography special

A New Year, a New Font. Take your pick, there’s plenty to go around

Chapitre is based on the principle of the endless knot, a symbol used in Hinduism and Buddhism. The letters of Chapitre are not strictly endless knots though. They’re made up of two or three layered lines to convey intertwining, unity, and inseparability.


The Vtg Stencil series are based on real-world stencils, with the Germany No.1 design derived from authentic antique German stencil-plates. Surprisingly these stencil-plates offer a high contrast Didonedesign very similar to the French stencils produced and sold till today. For informal use the styles Paint and Sketch offer additional variations; an extensive random function will mix the glyphs as you type in proper OpenType-savvy apps.


The breezy Al Fresco is light yet expressive. It’s a brush script that’s perfect for packaging and titling work when the job calls for a youthful, delectable flair. Its elegance carries a subtle earthiness; its beauty is unconventional, stylish, and exuberant. Use the OpenType feature Titling for even more versatility. It serves up swash forms, contextual alternates, and ornaments to sweeten this tasty typeface.


Brooklyn Samuels was recently extended to a five-weight family. Rounded inner and outer corners give the geometrical character shapes a friendly feel. Although it is primarily intended for headline use, stylistic sets offer text-friendly alternatives for some letters, yielding excellent legibility in small sizes.


Oskar is inspired by Dutch architectural and advertising lettering from the early 20th century. It was initially designed for the lettering of a monumental school in The Hague by architect Jan Duiker in 1929. Six meticulously drawn “split inline” styles enhance Oskar’s unique quality.


Created for Rodeo magazine under the direction of Stefania Malmsten, Göran Söderström’s Line sets its expressive headlines apart from its pages’ more traditional typography by means of delicate, linear, sometimes sans, sometimes script letterforms. The set comes in a variety of stroke weights, allowing for ultra fine lines even at the most daring of display sizes.


Font of the week, make that fonts of the year!


It’s been a great year. We’ve made some new friends, welcomed a number of foundries to FontShop, put on two great TYPO conferences, and seen some of the best type of our careers surface after years of careful work by their creators behind the scenes. Which leads us to this point, where we very gladly present our picks for best releases of the year in true red-carpet fashion. Anybody know how to tie a bowtie?

Font of the week: Port Words by Onrepeat Types


Port is an experimental Didone typeface with a modern twist, inspired in the well known forms of typography masters such as Bodoni and Didot and the exuberance and elegance of calligraphy typefaces.

Port melts the straight lines and strong contrasts of the Didone typefaces with the elegant lines of calligraphy in a geometric way, resulting in exuberant characters with geometric swashes that can be combined in countless ways.

The result of this experiment is Port, an unique and rich display typeface meant to be used on big sizes and it’s main perk is the amount of alternative characters it features. Port is Open-Type programmed and includes hundreds of alternates, from swashes to titling alternates, ligatures and stylistic sets with each character having a thin version of itself, giving complete freedom to all your creative needs.