We’ve just finished the unboxing for José, Azza, and Veronika’s newest family newest family, Catalpa, and it’s a knockout! This targeted family only has four thin and four heavy weights — yep, no regular weights on purpose. And that purpose is for headlines, callouts, enormous sizes, stark contrast, strong impressions, and a lot of fun. Even better, if you purchase the full bundle, we’ve included Catalpa in the variable font format, which means it’s a great option for websites and apps. Check it out on our website type tester.

Our multi-award winning superfamily has received another massive update for Latin-based languages. The new Adelle Sans Extended family contains Vietnamese, Latin, and Pan-African languages. For the African extension we partnered with African language specialist Dr Don Osborn. This family extension was years in the making and is a significant step forward in multilingual type families, especially families intended to carry the same tone across cultures and dialects.

Expanding Eskapades: Alisa Nowak Interview

Alisa Nowak’s Eskapade family was recently updated and significantly expanded to the delight of font aficionados everywhere. We took the opportunity to talk with Alisa Nowak about her early experiences and the research behind the dual-personality family. Pull up a chair and flip through the sketches on our blog.

From July 29–August 10, Veronika Burian will join Rainer Erich Scheichelbauer (Glyphs App) for a ten-day workshop in Bulgaria. Veronika will lead the first five days and Rainer will lead the final five days. Veronika will discuss basic methods for starting a font design and take participants through sketching and into digitising their designs. Sign up on the website if you’re interested in the workshop.

TypeTogether fonts in Européens magazine

The magazine Européens tells stories of European innovators, entrepreneurs, and creators — a clear and optimistic vision of Europe. It dives into everything from entrepreneurship and innovation to culture, arts, and education. To reinforce the varied subjects and maintain their high standards for an artistic and professional editorial, Quentin Schmerber’s Temeraire and Louisa Fröhlich’s Lisbeth typefaces were chosen to offset the more static font choices.