Amelie Briggs

Speakeasy is a 5-font combo thematically built as a toolset for designing menus and liquor labels as well as coffees, restaurants and signs when the desire is to communicate with style.

Originally put together to be used by the most famous speakeasy in Buenos Aires, this set contains a script, a minor (almost flat) wedge serif, a flare serif, a sans serif, and a bold Didone.

The seed for the script was found in a German lettering book, and the other fonts reflect the familiar advertising and announcement styles of the early 20th century.

The Speakeasy script comes with two different ways to connect the letterforms.

Also included are many alternates, swashes, endings and flourishes all accessible via OpenType features or glyph palettes.

More Speakeasy Modern and Speakeasy Flare are small cap fonts, and come with a few alternates.

Speakeasy Sans and Speakeasy Gothic come with full sets of majuscules and minuscules, but contain small caps and a few alternates as well.

A few rules and ornaments are also sprinkled throughout the set. This combination of fonts worked wonderfully for the project that called for it. Hopefully it will work just as well for your project.

Chairdrobe is minimalistic typeface with a contemporary, urban style. It feels pure, raw and a bit dirty. You can use it as display type as well as in longer text. Try to space it up. It looks super tight with a lot of spacing! Chairdrobe is a sans-serif, condensed typeface.

Available in 3 different variations Normal, Rounded and Grunge. It features upper and lowercase letters and up to 7 Weights and Italics.

Interlink is a single-weight, all-caps stencil typeface designed by the French designer Julie Soudanne.

Its forms are monolinear, and they have the feeling of a contemporary-style sans serif.

Interlinks letters are nice and geometric, but they are not mono-width. Nevertheless, Soudanne constructed many of the characters so that they feel like they might be equally wide, even though they are not.

Aside from the stencil-optic, Interlinks best feature is its unique series of 68 ligatures.

This large set includes both two-letter and three-letter ligatures. The OpenType Ligatures feature is so important to this design that the letters ability to link-up to each other is referenced in the typefaces very name: Interlink is, basically, a palette of inter-linking letters for designers to use in display sizes.

Interlink may be used very well in headlines, or for logo design. The typeface may be paired with virtually any kind of body text fonts, be these serif or sans.

Tara is a family of serif fonts designed for immersive reading. Its design considers a tall x-height, balanced with high contrast letter-forms and wedge-shaped serifs that propose an elegant character functional at reading sizes.

The axis of stress running through the letters is almost vertical; however, Tara is inspired by oldstyle typefaces, characterized by their use of diagonal axes.

The family includes four weights that range from Regular through Bold with matching italics.

Many of Taras lowercase letters retain calligraphic traces in their details, such as the terminal on the upright lowercase a and the ear of the g.

The italics contain a few dozen swash alternates, for use in headlines, titles as well as logo designs.

All of the fonts include small caps, 14 f-ligatures, and case-sensitive punctuation.

The default numeral style is set at proportional oldstyle figures with tabular and lining figures available as OpenType alternates.

A full-range of numerators and denominators for fraction-typesetting has been included for its compatibility with a widespread range of contents.

With letter-forms quite comfortable to read, Taras language support covers an extended Latin character-set and is an excellent choice for editorial projects across print media.

Tara was designed by Tania Alvarez Zaldivar, a type and graphic designer from Mexico, and a graduate of the Type & Media program at the Royal Academy of Arts (KABK) in The Hague.

Rion is a high-contrast modern, or Didone-style font family, with a calligraphic flourish. It is intended for typesetting headlines in editorial design settings, as well as signage, the larger texts in exhibition graphics, or any other place where you need big, elegant-looking type.

Rion takes inspiration both from straight-axis nineteenth century typefaces and pointed-pen calligraphy.

Its letterforms contain a high degree of stroke-contrast; this gives them a look of sophistication.

The family includes six weights, ranging in style from Light through Black. Each weight has both an upright font and an italic on offer. The fonts default numerals are proportionally-spaced oldstyle figures. Lining figures are also available, via an OpenType feature. Rions characters are all a bit condensed; this narrow feeling is especially present in the fonts uppercase letters.

The ascenders of the lowercase letters rise slightly above the tops of the capitals.

In the upright fonts, the a and the g are double-storied. In the italics, they are single-storied. Each font includes small caps, and 13 f-ligatures, too. Special characters in the fonts such as the hashtag and the @-symbol, as well several punctuation marks and mathematical glyphs are drawn with thin, monolinear hairline strokes, allowing them to disappear into the background somewhat, and let the real alphabetic characters shine more prominently.

Rion is the work of Barbara Bigosinska, a Polish type designer living in the Netherlands, who is a graduate of the MA Type & Media programme at the Royal Academy of Art (KABK) in The Hague.

The Cannon family is the result of combining the clean aesthetics from a classic sans neo-grotesque with a touch of a geometric design.

The result is a simple but dynamic typeface with retro and technological airs.

Cannon is ideal for robust advertising, bold brand identities and packaging, also suitable for high impact headlines and short texts.

This type family consists of 36 variants and 9 weights (thin, extra light, light, regular, book, medium, bold, extra bold, black), matching italics for all weights and widths, matching small caps for all weights and widths, alternate characters and extended language support.

We are proud to introduce: Cannon.

Despite being drawn digitally, Angeletta is a typeface in the hand-lettering tradition. It draws on designer Rob Leuschkes three decades of experience with pen and ink, including his time creating scripts for Hallmark Cards.

Spontaneous and energetic, Angeletta is satisfyingly inky with strokes almost spilling into one another.

Its quirky personality and titling version makes it a good choice for packaging and social expression, while its distinctive character could work well in branding, perhaps paired with a more sedate sans serif.

More The Angeletta typeface is a calligraphic script designed by Robert E. Leuschke exclusively for Monotype. It is available in OpenType OTF and TTF fonts formats. Angeletta has 900 glyphs with OpenType typographic features like contextual and stylistic alternatives, swashes, ligatures and fractions.