Kaitlyn Morison

Blautha versatile and contemporary sans serif typefacecomes in 8 weights, ranging from Thin to Black, with matching italics and contains a set of alternate characters.

Its small x-height gives it an elegant feel that reminds us of classic typefaces.

Blauth is well-suited to continuous text and its uppercase set is ideal for high-impact headlines while its softened corners give your designs a warm and contemporary look.

Lu Nolasco, also known as Lunol, is a fresh representative of a new generation of Souther American lettering artists.

She was born in Lima, Peru. After learning from some of the regions best teachers and exploring the pointed nib on her own, she became a prolific lettering workshop instructor herself.

More Miraflores is one of Limas main tourist attractions. An upscale district with a great window on the Pacific ocean, it is the place where Lu looks for inspiration.

It particularly inspired this Looking flowers (Miranda las flores), Lunols first typeface, designed in collaboration with Ale Paul.

It is a comprehensive informal script that comes with many alternates, swashes and ligatures, along with small cap and quite a few ornaments.

The fonts cover an expansive range of Latin languages, and are intended for use in stationery, menus, packaging, and general design where the main objective is to relay a sense of fun, playfulness and sensibility.

Terrance Weinzierls Terry Junior typeface is a perfectly imperfect design one that retains the marks of the brush used to create it and harks back to the craft required to hand make letterforms.

Originally drawn during a Monotype Font Marathon, Weinzierl later refined the typeface digitally adding an Inline version and designing alternates that replicate the irregularity of real-life brush scripts.

It has a natural, cheery and bold appearance, says designer Terrance Weinzierl.

Its young, but not wild. Painted, but not sloppy. A sign painters apprentice, perhaps. More Terry Junior is an obvious choice for designers and brands communicating with younger audiences, but would also work well on book covers, packaging, and in digital environments that need a little bit of extra playfulness.

The family includes five fonts, including an Inline version.

Hope Sans takes the jaunty style of 1950s and 60s lettering and melds it with the jubilant 1970s swashes of Bookman.

The result is a sans serif family that is lively, inviting and deeply customizable.

Its basic sans serif forms create engaging text, while a roaring collection of swash designs, alternate characters and ligatures make it a natural for attention-grabbing display typography.

More The middle weights of the family are easy on the eyes and shine at smaller sizes and in blocks of text copy.

Their friendly vibe also translates well to web and interactive design projects.

Spacing is open, counters are large and Hope Sans range of six weights can provide just the right design for virtually any need.

Headlines, subheads, banners and navigational links are naturals for its lightest and boldest weights either with, or without, the swash letters.

Hope Sans is a paint box, says its designer, Charles Nix. In its basic form, its a sturdy grotesque, capable of setting text in a cool and relaxed way.

But a bit of accenting with the alternate forms easily creates an entirely different mood and meaning.

And for those that are willing to really mix with it, the variety of alternate characters can build truly unique typographic statements.

VAG Rounded Next brings a classic 1970s typeface up to date, keeping all of its easy going, approachable personality but adding some much-needed versatility and language support.

Originally commissioned by Volkswagen, VAG Rounded remained in use by the company until the early 90s and has also been used by Apple, Skype and Myspace.

Its enduring appeal lies in its appealingly rounded terminals, and its immediate, informal tone of voice.

More When you look at the Volkswagen Beetle it has these curves that are timeless and legendary, says Steve Matteson, who led the creation of VAG Rounded Next.

I think thats what stands out in this design that friendly aesthetic, and the simple line and circle.

This new version offers 700 glyphs with pan European language support (including Greek and Cyrllic), as well as 10 weights of upright and italic styles.

New display weights Shine and Rough which create chocolate popsicle and rust effects are begging to be used in branding, packaging and editorial projects, while the lighter weights are well suited for text.

The original Lawabo was started many years ago by Rainer Scheichelbauer. Its ­minimalistic and rounded shapes are reminiscent of bathroom ceramics, hence the name. Schriftlabor designer Miriam Surányi added bold and italic shapes, and produced the family.

NCT Torin is a friendly sans-serif font in 16 styles. It supports all major European languages, as well as Vietnamese, Greek, and Russian with additional Cyrillic support.

Includes many OpenType features for alternate numbers and letters, as shown in the poster images.