Spring Into Action with Fresh Fonts
Rejuvenate your work with 1,075 fresh fonts in your Adobe Creative Cloud subscription.
by Yves Peters
posted on 05-28-2020
Spring is in full swing. It seems like the typographic world has also awakened, because typefaces are popping up on Adobe Fonts like a gazillion blossoms on a cherry tree. Well, not exactly a gazillion, but you’ll have to agree over 1,000 is pretty impressive. Strap in and get ready to rejuvenate your typographic toolbox with the offerings from no fewer than seven foundries new to Adobe Fonts (including two from Type Network), and a total of 122 new type families and six expanded families — all already licensed and included with your Creative Cloud subscription.
Start your week with Bold Monday
Inspired by New Order’s iconic 1983 hit — the best-selling 12-inch single of all time — Dutch type designers Paul van der Laan and Pieter van Rosmalen banded together as Bold Monday. While they release both their own work and fonts from a select group of collaborators, the independent foundry’s initial offerings on Adobe Fonts are two type families from its founders.
Wait until you discover the cute dog icons Dirk Uhlenbrock added to Bilo’s character set! Illustration guest starring Oskar in the black sticker.
The happy-go-lucky Bilo is Pieter’s answer to the sanitized, “neutral” sans serifs flooding the market. Incorporating subtle hints of vintage grotesque types, the typeface has bite and expresses a hint of quirk in its robust letterforms. Personable in large sizes and serviceable when used small, its more showy characters can be toned down by activating stylistic variants.
Pieter mined early 20th century Dutch architectural and commercial lettering for inspiration during the development of Oskar. Cameo by a Bilo dog illustration.
Oskar is an all-caps titling face in plain and inline finish and two variants. Oskar One’s sharp apexes and expressive letterforms reveal its Art Deco roots; Oskar Two is more reserved and versatile. The stately capitals lend confidence and class to headlines, titles, and logos, in print and on screen as well as on brick and mortar.
Learn more about Bold Monday at Type Network.
Retype revisits classics and rethinks modern types
Retype founder Ramiro Espinoza dons two hats—one of a type historian researching Dutch vernacular lettering and historical faces and updating them for today, and one of a type designer examining the current state of graphic design and creating original typefaces for contemporary users. Retype launches on Adobe Fonts with six type families.
Lavigne has both text and display cuts with letterforms optimized for small and large type, respectively. It combines well with Winco and Tasman, also featured in the illustration above.
Try Lavigne if you are looking for a serif typeface that is warm and approachable. Its graceful calligraphic letterforms infuse editorial design, advertising, and more with a supple elegance. Built according to humanist principles, Winco offers excellent reading comfort in long-form text, while striking design details reveal themselves in larger sizes.
Tasman’s original purpose as a newspaper type influenced its proportions and look considerably — the goal was to keep the personality as warm and playful as possible while preserving a credible, trustworthy tone.
Kade is the Dutch word for “quay,” a reference to the ports of Amsterdam and Rotterdam where David Quay found the inspiration for his design and the name of its designer. Laski Slab and Laski Sans pair up as a complete typographic solution for complex design projects.
The Laski Slab and Laski Sans siblings are a comprehensive suite of fonts conceived for editorial purposes and corporate communication. Their humanistic construction and subtle calligraphic details lend it a friendly appearance, with round, open letterforms and generous horizontal proportions that make them easy to read.
From the mind of ’90s type design icon David Quay, the display family Kade references industrial letters cut from large steel plates found on the side of ships. Its constructed character is ideal for contemporary editorial works, architecture magazines, museum communication, and posters.
Learn more about Retype at Type Network.
MVB Fonts introduces its comprehensive collection
MVB Fonts, the brainchild of Mark van Bronkhorst, was founded almost 30 years ago in 1991. The custom fonts Mark and his team develop for magazines and corporations inform the commercial typefaces they create for designers, and vice versa.
MVB offers a series of eminently legible text faces. Steeped in tradition, MVB Verdigris Pro is an exquisite serif face delivering outstanding typographic color to text for immersive reading. The sans serif MVB Solitaire Pro captures 21st century neutrality without becoming banal, and lives to serve one thing first: the text, the content. MVB Dovetail’s tone is crisp and straightforward, with classic letterforms set off with a touch of playfulness, giving the design both a practical and spontaneous personality. The slab serif MVB Fantabular and sans serif MVB Fantabular Sans siblings are a playful duo inspired by the letterforms of older typewriters, proving that monospaced faces needn’t be formal nor bland.
If you are more inclined toward pure functionality and versatility, try these sans serif families. Inspired by the all-caps type once used widely on bank statements and utility bills, MVB Margin is a utilitarian typeface with a fashionable tech style for modern, forward-thinking typography. MVB Embarcadero Pro and MVB Embarcadero Pro Condensed convey credibility and forthrightness without pretense, making for a versatile family capable of delivering any kind of message while staying out of the way. Simple and legible, MVB Pedestria is full of life, thanks to its loose, casual forms. The companion icon font MVB Pedestria Pict takes characters from ubiquitous public restroom door symbology to a new level, providing playful pictograms for invitations, advertising, and infographics.
These economic typefaces can be of help when space is scarce. MVB Solano Gothic Pro is a simple, strong, condensed sans serif that offers flexibility of style by providing both retro and more contemporary forms. If you can’t choose between technical and soft, MVB Diazo Condensed is the one: its straight lines, simple curves, and rounded details look like they were rendered with a blunt pen using a plastic template. Highly condensed with extra short descenders, the slab serif MVB Peccadillo makes a big impact in a narrow space. Narrow-waisted verticals, subtly curved serifs, and a low waist give the all-caps display serif MVB Magnolia an elegant appearance.
MVB’s display faces allow you to strike a variety of different tones. With thick-thin strokes and angled terminals, MVB Magnesium is a warmer, less common alternative whenever one might use a sans serif in all-caps. Taking advantage of its comic sway and slightly exaggerated forms, the art deco-inspired MVB Bovine delivers bold headlines with a wink and a smile. Based on vintage signage lettering commonly appearing on trail signs and park restrooms in United States national parks, MVB Pinecone evokes memories of camping trips and hiking in the great outdoors. Exaggerating the triangular serifs and tapering strokes of “Latin” typefaces, MVB Hotsy Totsy just wants to party and have fun. MVB Grenadine’s letterforms bounce along the baseline in a jolly dance, yet remain clear and legible, whatever the reader’s age.
MVB has a nice, eclectic selection of script faces. Despite its curlicues and free-flowing forms, great care was taken to keep MVB Cafe Mimi balanced and feel as natural and spontaneous as hand-painted lettering. MVB Greymantle’s particular rough character was achieved by building up the letterforms with dots drawn with a felt pen.
For a true handwritten effect, MVB Sacre Bleu avoids letterform repetition with ligatures to keep the script as authentic as possible. MVB Emmascript’s natural scrawl adds a lighthearted, human touch to everything from fiction paperbacks to potato chip packaging. MVB Calliope captures the essence of a simple handwritten with a felt tip pen — genuine, quick, and clean, and with perfect rhythm. Drawn with a fine felt-tip pen, MVB Aunt Mildred has the vintage charm of hand-lettered postcards or advertising, and it is a popular choice for children’s books and other child-oriented products. Unlike many scripts based on a vintage source, MVB Bossa Nova — the digitization of mid-20th century hand lettering — feels fresh and dynamic, with letterforms exhibiting a contemporary vigor despite their age. Naive and uneven yet jaunty and legible, MVB Mascot evokes script varsity lettering from years past, conjuring simpler times and lending it a nostalgic appeal.
If you prefer your type a little worn and weathered, MVB has you covered too. MVB Sirenne adopts the distinctive quirks of the roman letterforms and the eccentric stress of the italic found in the lettering used for the descriptive captions in an early 18th century natural history book. The serif faces MVB Gryphius and MVB Celestia Antiqua wear their old-world character on their sleeves. The former is the digitization of an uncommon type from the early 16th century; the latter recalls the roughness and irregularity of pre-digital printing as a response to the cold crispness of digital typography. The rustic script MVB Chanson d’Amour conveys a soulful elegance that is lovely and sweet, but never saccharine.
MVB’s Sweet label is a collection of typefaces inspired by engraved lettering styles from the first half of the 20th century. Besides lending a classical, distinguished look to letterheads and business cards, they play very well in editorial design — specifically for headlines, titles, and short bursts of text — and packaging and branding environments.
The most popular member of the Sweet family, Sweet Sans Pro is a slightly wider sans serif resembling drafting alphabets of the early 1900s, whose open, simple letterforms offer legibility at very small sizes. Sweet Gothic has small caps instead of lowercase letters and subtle contrast between thick and thin for a smart look; Sweet Gothic Serif incorporates tiny serifs that accentuate its engraved aspect. The angular, faceted letterforms in Sweet Square Pro make it look surprisingly modern, and evoke a serious, established feel.
Sweet Upright Script, the first release of the Sweet collection, is an interpretation of a vintage, social engraving lettering style that was popular during the 20th century. Sweet Fancy Script has been used for many years by stationers and engravers for wedding invitations, calling cards, etc. Sweet Titling comes in three art deco-inspired styles that create attention-grabbing headlines and titles, and lend a sophisticated, retro look to labels, packaging, and advertising.
Looking ahead toward the past with American Type Founders
Another foundry that puts vintage authenticity to the fore is the American Type Founders Collection. Building on its legacy of originality, creativity, and innovation, the foundry develops new interpretations of classic ATF typefaces.
ATF Garamond was one of the first revivals of the classic typeface, bringing a distinctive elegance and liveliness to text type for books and display type for advertising. There is an optical size for every occasion: Subhead for display purposes, Text for body copy, and Micro for the smallest text sizes.
ATF Franklin Gothic has been the quintessential American sans for more than a century. This digital version maintains the warmth and the spirit of this classic while offering a suite of fonts tuned precisely for contemporary appeal and utility, in small to large sizes, on paper and on screen.
With letterforms that are instantly familiar, ATF Alternate Gothic has impact at any size. It brings readability to the world of advertising typefaces. Condensed, Extra Condensed, and Compressed widths make the space-saving design even narrower, taking the concept of economy to the next level.
ATF Poster Gothic’s generally rectangular shapes reference the lettering used on athletic team jerseys, television crime dramas, action and adventure movie titles, and engraved stationery. The two additional Condensed and Extra Condensed widths allow you to accommodate any amount of space. ATF Poster Gothic Round has its corners subtly rounded for a softer, more “printed” feel, and it also comes in Round Condensed and Round Extra Condensed widths.
Bold and brash in tone, and a little rough around the edges, ATF Railroad Gothic is the quintessential typographic expression of the industrial spirit, made for the plain speak of big headlines. ATF Headline Gothic was created with newspapers in mind, and cries out to advertise sensational front-page news. It comes with two additional rough versions and a variant with blunt corners, reminiscent of print on typical newspaper stock.
Sporting broad, unadorned caps and just a dash of flair, ATF Wedding Gothic’s wide range of weights shifts its tone from airy elegance to the confident voice of wooden poster type. The Wide variant occupies generous space, adding impact.
Once the beloved script emblem of plumbers, mechanics, bodegas, lunch counters, and other low-rent concerns, the new digital ATF Brush is one step classier than the rest, with four new weights, swash alternates, lively ligatures, and sporty underlines.
ATF Livermore Script’s consistent, insouciant rhythm is neither awkward nor amateur-looking, yet retro in a hipsterish sort of way. It is the type of choice for gastropub logos, microbrew labeling, and T-shirts that have words on them.
Signal Type Foundry signals new type
Drawing on such disparate sources as 20th century jobbing sans serifs like Morris Fuller Benton’s News Gothic, and Candia, a typewriter face Josef Müller-Brockmann designed for Olivetti in the ’70s, Ballinger is a plain, hardworking grotesque: a simple tool for clear communication. While the Condensed and X-Condensed styles are designed for impact, they are balanced for continuous reading, making them ideal for situations where space is at a premium. Ballinger Mono returns the family (somewhat) to its typewriter roots.
Mortise, a solidly constructed slab serif, and the grotesk-geometric hybrid sans serif Tenon were designed to shine as standalone faces, but they play very well together as a coordinated typographic suite. Their open counters, generous x-height, and wide proportions suit small sizes and small screens. Used larger, their brisk, optimistic air makes them a prime choice for projects ranging from editorial design to signage.
Pressio’s four widths come in handy when space is limited.
Pressio is a comprehensive headline suite in regular, Condensed, Compressed, and X-Compressed widths. Designed in a strict and modular framework, the contrast between the subtly super-elliptical outside curves and the crisp, square inside shapes creates an appealing tension. This dramatic display face leaves an indelible mark on book covers and album sleeves, magazine spreads, flyers and posters, and websites.
Vibro includes an extended set of groovy ligatures.
Harkening back to the days of disco and dry transfer lettering, Vibro exploits the principles of chromatic vibration to send streams of high voltage through the viewer’s visual cortex. Apply judiciously but with abandon to any design that favors maximum dazzle over plain old readability.
Fontador challenges the norm
Founded by freelance typographic and graphic designer Arne Freytag, Fontador is a small type foundry based in Hamburg. Arne aims to break the mold and create unique typefaces that stand out on their own or when paired with others.
Quador is an expressive text face with surprising letterforms.
Quador Display takes the novel design to new heights.
Quador is a contemporary serif typeface for logotypes, brands, magazines, and editorial design. Its squarish structure — constructed for contemporary typography and perfectly adapted to the pixel grid on screens — is tempered by rounded serifs that soften its appearance, making it more friendly. Quador Display accentuates its super-elliptical curves and decisive cuts for creating memorable display typography.
Curve’s extra-bold styles offer new, contemporary interpretations of 19th century “fat face” models.
A modern interpretation of the Didone genre, Curve is intended for setting trends in fashion, luxury goods, and glossy magazines. Its large x-height gives the neoclassical serif face an open and generous character, and creates room for the dramatic contrast between thick and thin strokes in the extra-bold styles.
Minimizing its counters made Manometer’s letterforms become impressively dark.
Turning its counters and ink traps into simple lines make the eye-catching Manometer and Manometer Sans achieve maximum density. Rounded corners ease up the massive, geometric letterforms that put their stamp on posters and packaging, and impress the reader in advertising and editorial settings.
Aerotype brings a breath of fresh air
Aerotype is the home to a small but diverse library of unique display type. It has something for everyone and every occasion.
Fave’s casual style lends itself to engaging magazine display typography.
Gothicus is an authentic-looking blackletter based on original samples of Rudolf Koch’s Maximilian. Its weathered character will give sportswear, energy drinks, and computer games that extra edge. Turbinado, Fave, and Zooja are handwritten brush scripts with subtly different flavors. They add carefree energy to designs that require a human touch. And when words fail, Zooja comes to the rescue with its picture font full of fun, useful icons, symbols, and emojis.
Zooja brims with positive vibes, and includes an Elements & Borders font with over 90 fun decorative emoticons, icons, and ornaments.
For users who feel that digital type is too polished and precise, Aerotype provides a selection of worn and weather display types for an outdoorsy look in advertising, packaging, and posters. Thunderhouse is a tasty jambalaya of two weights of woodblock display caps. When the same character is keyed in twice, OpenType features switches out the second one with an alternate letterform to achieve a rugged, irregular quality. With its wobbly outlines and blunt corners, the narrow all-caps sans serif Coldsmith looks like it was digitized from enamel letters on an old metal sign or the side of a vintage truck.
Thunderhouse mixes up letters of different widths to create lively display typography.
Pitchfork’s gritty serif caps look perfect on covers for horror novels and posters for scary movies. Slightly distressed and confidently squarish, Despina’s blocky capitals recall Cuban posters and revolutionary slogans painted on walls. It comes with a shaded variant that can be used to create a multi-color effect. With its chunky slab serifs and distressed look, you’d expect to see Buckboard on placards, signboards, and wanted posters in the Wild West.
OH no Type Co. introduces three more gems
OH no Type Co. keeps surprising us with delightfully exuberant, superbly conceived display type.
Chee’s good-humored nature spruces up T-shirts, posters and flyers, album covers, and magazine spreads.
Variations in contrast, weight, and center of gravity see Cheee morph from a bell-bottom disco face to chubby bubble type, and everything in between. Surrender to its soft curviness.
Ohno Fatface’s striking features give apparel and editorial design a stylish, slightly nostalgic look.
Ohno Fatface is a ’70s inspired display serif in no fewer than nine size-specific cuts and five widths. What do you call the width narrower than Compressed? Squished.
Thanks to its seven weights with matching italics in three optical sizes for a total of 42 fonts, Degular is a complete solution for editorial design and more.
With Degular, a hardworking sans serif with open letterforms and balanced proportions, James Edmondson proves once again his range and versatility. The extensive family is subtly different from the norm and offers a wide range of weights from thin to black in three optical sizes. A text and a display version complement the core typeface.
Capitalics adds new faces from Poland’s capital
Warsaw-based Capitalics adds three multipurpose typefaces to their offerings on Adobe Fonts.
Characteristics of serif types were used to create Gaultier, giving the sans serif a unique look.
Inspired by the oeuvre of three icons of European typography—Claude Garamond, Robert Granjon, and Eric Gill—Gaultier is a humanist sans serif incorporating features normally reserved for serif faces. The delicate contrast in the upright styles combined with the expressive italics emphasize modernity without ignoring tradition. Its crisp character works well in longer texts, visual communication, and branding.
Maecenas is inspired by Nicholas Jenson’s seminal work, which became the prototype for serif typefaces for centuries.
Maecenas is a serif text face marked by timeless class and versatility. Soft, personable, and supremely legible, it will add smartness to text for immersive reading. Thanks to its distinct character and reliability, Maecenas won’t get lost in the crowd — and neither will your message.
Crisp and lively, Nocturne Serif is a head-turner.
Nocturne Serif is very expressive — triangular serifs, razor-sharp features, and steep, energetic italics carve words into the page or screen as if it were the finest marble. The typeface looks great on book and magazine covers and in editorial design, and lends itself well to packaging and advertising.
Type-Ø-Tones brings stone letters to paper and screen
Stylistic alternates allow users to fine-tune Harri’s appearance to their exact requirements.
The origins of Type-Ø-Tones’ Harri are literally carved in stone. Juan Luis Blanco researched the particular engraved letterforms typical for the Basque Country and turned them into an idiosyncratic all-caps display face. Its origins shine through in its inventive alternate letterforms, making it an arresting titling face for packaging, branding, advertising, and editorial design. Learn more about Harri at Type Network.
Versatile, robust type families from Kontour and Floodfonts
Its modulated stroke widths and crisp design make Utile so much more than just another sans serif.
Kontour’s Sibylle Hagmann treats us to an expanded family of stylish sans serif fonts. Utile Display and its companion text Utile are steeped in European class, with faint serif-like features and a refined contrast between thick and thin parts that are reminiscent of French iconic sans serifs from the ’60s through the ’80s. The duo provides a complete typographic solution for corporate and editorial design, as well as branding and advertising. Learn more about Utile at Type Network.
Together, Arpona and Arpona Sans form an editorial and branding powerhouse.
Floodfonts offers a coordinated pair of type families that also function perfectly as standalone faces. Arpona’s small wedge serifs are partly inspired by letters carved in stone, giving the typeface a strong, memorable character in corporate design and projects that need to convey a sense of individualism, be it art, fashion, food, or lifestyle topics. Arpona Sans takes cues from the work of Edward Johnston and Eric Gill for the London Underground. Combining the aesthetics of a geometric sans, the usefulness of a humanist design, and the balance of modernist proportions, it is a reliable workhorse editorial design, branding, app design, and web design.
Jamie Clarke and NDISCOVER switch gears
Designed primarily for luxurious headlines and titles, Span flaunts its engraved heritage with sweeping serifs and sculptural forms.
After dazzling us with impressive layered dimensional display types, Jamie Clarke radically changes direction and drops his first all-round family on Adobe Fonts. Span’s pronounced serifs aid legibility in medium to small sizes and lend pizzazz to titles and headlines, making it an excellent choice for editorial design.
Whether you use all eight layers together or just add one single effect for a little depth, Worker 3D’s dimensionality enhances the original design’s vintage feel.
NDISCOVER’s Natanael Gama goes the opposite direction, releasing their first dimensional display type, a companion to their angular display face Worker. Eight layer variants including inlines and outlines, highlight and shadows, and dimensional styles turn Worker 3D into a true typographic playground fit for posters and flyers, labels and packaging, and magazines.
Scripts from psType and Debi Sementelli
More than being merely functional, Pika Ultra Script’s ink traps become a formal feature of the striking script.
On the subject of opposites, ps Type and Debi Sementelli show how script fonts can convey a wide variety of moods. Mark Caneso’s Pika Ultra Script is constructed rather than written, sporting dark, expressive character shapes. This is a script that commands attention, and looks great in any display situation where a little more oomph is required.
Hello My Love comes with a bonus font with over 90 ornaments and borders.
At the opposite side of the spectrum, Hello My Love’s gently swelling pen strokes seem to flow organically from lettering artist Debi Sementelli’s expert hand. Delicate and refined, the script font will write the sweetest words and sentences on invitations and greeting cards, and lends a personal touch to branding and packaging.
Dharma Type’s and Phil’s Fonts’ faces for tight spaces
Bebas Neue Pro’s SemiExpanded and Expanded widths make it possible to use the typeface in smaller sizes too.
Bebas Neue Pro expands on Dharma Type’s original Bebas. Despite being an all-caps typeface, it became very popular in the 10 years since its release. In response to many requests, Ryoichi Tsunekawa extended Dharma Type’s range with thin to regular weights and two additional widths, and drew lowercase characters plus italics for all styles. Bebas Neue Pro’s narrow letters with straight sides add a modern tech flavor to editorial design, packaging, and branding.
The hairlines provide a striking contrast with the thick strokes when Freight Big Compressed Pro is set at large sizes.
Freight is arguably Phil’s Fonts’ flagship type system, with serif and sans serif variants built to excel in complex editorial, corporate, and design projects. The different sub-families all acquired new narrower styles to accommodate for situations where the user needs to save space. For the largest sizes, Freight Big Pro and Freight Display Pro now have Compressed styles, as does Freight Text Pro for tight body copy. And Freight Neo Pro now also has condensed options.
Expanded type families from CJ Type and EuropaType
Dunbar now offers italics for users that like to look at life at an angle.
More foundries expanded existing typefaces to improve their usability. CJ Type’s Dunbar now has italics for all weights in the three variants. Choose Dunbar Low for an elegant vintage look, Dunbar Tall for a punchy eighties vibe, and Dunbar Text for your body copy needs.
Besides the standard Latin Extended character set, Mono45 also supports Cyrillic and Greek.
Fun icons, patterns, and illustrations from Emigre and The Ivy Foundry
Swing King brings fun and cheer to the page and the screen.
There’s more to fonts than just letters and numbers. The Ivy Foundry added the bubbly Swing King to Adobe Fonts. Jan Maack collaborated with Danish illustrator Erik Sørensen to produce a cheerful but also useful illustrated sans serif that is not too cartoonish. Add joy to your designs with Swing King, and enhance your words with Swing King Icons, a selection of emojis, icons, and illustrations that harmonize perfectly with the font. Learn more about Swing King at Type Network.
Iconic type foundry Emigre brings its fabulous collection of picture fonts to your Adobe Creative Cloud subscription. What sets them apart is the artistry, inventiveness, and sheer originality of the patterns, symbols, icons, and illustrations.
The user can decide how simple or complex the patterns made with Crackly need to be.
Crackly and Tangly are intricate pattern fonts that allow the user to create patterns, borders, and frames in a near limitless amount of combinations, with clever layering options. How tiles seamlessly connect in each font is mind-boggling. Now you can enhance your documents in even the most basic text editors, simply by typing.
The clear, simplified style of Poppi’s icons makes them universally recognizable.
Before emojis, there were icon fonts. Poppi is still as relevant as when it was originally released 17 years ago. The font family holds a comprehensive collection of useful icons and illustrations. It will help you visualize very diverse concepts with easy-to-understand, beautifully stylized drawings.
ZeitGuys’ collection of fun pictures brings joy to your text or design.
ZeitGuys and Big Cheese are collaborations by Bob Aufuldish and Eric Donelan who bring their humorous illustrations to your keyboard. Both typefaces have two fonts with over 126 quirky characters each to populate your pages, liven up your designs, with a guarantee to make the reader smile.
Combining Blockhead Illustrations’ four variants in different colors allows the user to create chromatic pictures.
Thingbat is equally merry and surprising. Each keystroke conjures up one of 111 fun little characters or illustrations by John Hersey. Blockhead Illustrations complements Hershey’s hand-drawn three-dimensional sans serif Blockhead, and offers the possibility to layer the drawings and create multi-colored drawings too.
Chowdown’s sketched look is made for these times.
Finally, Chowdown is the most recent picture font, released just last year. Tucker Nichols’ 62 drawings have an “unfinished” finish, making them perfectly in tune with the current trend of hand-made design and typography — see also Handmade Humanism in our article “4 Design Trends That Will Define 2020.”
Roll up your sleeves, take a deep breath, and dive into this abundance of new type that is available to you, completely free of charge, as part of your Adobe Creative Cloud subscription. Explore, activate, create!
Products: Creative Cloud