(Atlas of Type) Recent releases #13

A look at the type releases of the past week.

• DDOTT released Aether, the proportionally-spaced counterpart to Aether Mono designed by Dominik Thieme.
• Dinamo released Pelikan, an an unpolished sans with a special unicase feature baked inside, designed by Fabian Harb and Fabiola Mejía.
• DSType released Miura Slab, a slab serif counterpart to the Miura collection designed by Pedro Leal and Dino dos Santos.
• ECAL Typefaces released Arkbro, a variable typeface based on strict geometric principles and proportions designed by Noam Benatar (via Typecache).
• Kontour has a new website, and has released Datei Grotesk, a sans that contextualizes the defining design features of legacy grotesque typefaces like Akzidenz, DIN 1451, Breite, Folio, Gerstner Programm, Haas Unica, Record Gothic, and Recta, among others, designed by Sibylle Hagmann.
• Kostas Bartsokas published an update on Future Fonts for Canicule Display, with support for Greek.
• LettError released LTR Very Bauble, a display typeface increasing in ornamentation along a variable ‘serif’ axis, designed by Erik van Blokland.
• Out of the Dark released Play Extra, an extra-wide sans designed by Philipp Herrmann which began as a revival of Breite Fette Information (1956) (via Typecache).
• Signal published the in-progress Łucja, a typeface extrapolated by Max Phillips from a few letters of what was later identified as a Polish cast of Hermes-Grotesk (1911).
• Source Type released UN-11, Laurenz Brunner’s interpretation of the Selectric version of Univers, designed by Adrian Frutiger in 1966.
• Zetafonts expanded Swanstone by Mario de Libero to multiple weights, with matching italics and a Cyrillic character set.
• Also from Zetafonts, Milligram, a homage to Akzidenz-Grotesk (1898) designed by Cosimo Lorenzo Pancini, was updated to a range of five widths, support for Greek, and the tight-and-touching Milligram Macro version.

Radek Łukasiewicz launched the RadLuka type foundry, offering:

• RL Aqva, a display typeface inspired by iconic humanist typefaces and the golden era of phototypesetting, taking cues from the likes of Revue (1968), Marvin (1969), or ITC Busorama (1970).
• RL Limo, a typeface that borrows influences from Art Nouveau typography and draws inspiration from iconic typefaces like ITC Benguiat.
• RL Sezon, a Grotesk type family inspired by early examples of the genre.

On to the obligatory catch-up section.

Back in September, Tekio released three prototypes by Jan Estrada-Osmycki:

• Komuna, a fixed-width dot matrix typeface produced as a variable font.
• Dioda, a typeface based on the Radio Shack logo.
• Tekio Grotesk, an idiosyncratic sans drawn on an eight point grid which makes its rhythm, vertical and horizontal dimensions highly organised.

Other earlier releases:

• Workhorse released Workhorse Saboneta, a calligraphic Blackletter with a weight axis, designed by Kevin Cantrell and Adrian Kimball.
• En Travaux released Hardanger, a pixel typeface imitates the Norwegian embroidery of the same name by Agathe Millet.
• Abstract Office released Rascal Script, an exuberant broad-brush connected script with wild calligraphic strokes and reckless speed designed by Benjamin Woodlock.

In other news:

• Lettercarving for type designers, a book by Françoise Berserik to be presented on November 15 at KABK in The Hague, is available for purchase (via EvB).
• The Jenson Roman, an upcoming book by Riccardo Olocco about the roman type used in Venice by Nicolas Jenson, can be preordered from Lazy Dog Press (via DR).
• Launched at the beginning of the year, Adrian Kimball’s Script Directory is a collection of the world’s best script typefaces, inspired by Matthew Smith’s typefoundry.directory.
• Steven Heller looks at the many fun tools made by Studio Schultzschultz in the article Experimental, Playful and Practical Lettering.

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