March Font News
The AscenderFonts Newsletter showcases new fonts, helpful font tips, news and special promotions. Subscribe Now!
We have just completed a major update to AscenderFonts and are pleased to offer you the prestigious ITC®, Linotype® and Monotype® typeface collections! These amazing fonts include best-selling script, text and display fonts in both TrueType® and OpenType® font formats. We invite you to explore these new additions to AscenderFonts.com:
The Wedding Singer™ font designed by George Ryan was initially designed for his stepdaughters wedding invitations. After a few years, George revisited the initial set and developed it into a full typeface. Suitable for both text and display, Wedding Singer is a great, elegant and versatile script.
Ryan drew the character strokes of Wedding Singer virtually monotone in weight, with no thicks or thins to speak of. However, the distinctive character shapes, generous counters, and ample x-height ensure that Wedding Singer ranks high on the legibility scale. To give his design verve and versatility, Ryan created a suite of swash and alternate characters that is available in OpenType® format. The two-weight family is available as Pro fonts, allowing graphic communicators to use these designs while benefiting from OpenType’s capabilities.
Designed by Tom Grace, the Aeris™ font contains a wide variety of OpenType features and a range of different glyphs. Aeris combines the proportions of a sans serif font with the flexed strokes of a script typeface. An excellent choice for print work such as books, advertisements and corporate documents.
The Aeris family was created with subtle variations in two distinct versions. It's best to use the A variant for larger sizes and the B variant for smaller type sizes.
Aeris is available in the OpenType Pro format and thus includes a wide range of different glyphs. The font family can be used in various environments, such as books, magazines, advertisements and promotional materials, but it is also the perfect choice for printed corporate documentation.
The Carter Sans font family, designed by Mathew Carter, is the first out of many where Mathew finally put his actual name to the typeface. His years of experience bring us this humanist sans typeface with flared strokes and terminals. This pro font family is filled with OpenType features and an abundance of glyphs.
Dan Reynolds, an award winning type designer, collaborated with Matthew on Carter Sans and they reached an end result giving the world a typeface that looks stunning in print and lends itself well to any special letterpress project you may have in mind.
The Klint™ font family contains a whopping 30 fonts! Klint fills the ever growing need for technical typefaces that work well in both text and display settings. Offering a wide array of OpenType features. On offer are small caps (including small cap currency symbols, brackets, parentheses, etc.), fractions, ligatures, and nine figure styles: tabular and proportional lining figures, tabular and proportional oldstyle figures, proportional small cap figures, numerators, denominators, superiors, and inferiors. Each font in the Klint family includes 654 glyphs.
Designed by Berlin-based type designer Hannes von Döhren, this amazing type family includes five weights; each weight ships in three widths: condensed, regular, and extended. All of the 15 Klint variants have a companion Italic, rounding out family at 30 fonts.
The WilliamLucas™ font is filled with numerous alternates, glyphs, swashes and more! With so many variations of its characters, William Lucas is a great font to experiment with.
Designed by Martin Wait, the WilliamLucas™ typeface has a slight retro feel to it yet remains extremely versatile with an added charm. William Lucas was created and crafted from a hand lettering style he had created and refined over a number of years giving us a free-flowing script that is expressive and easy on the eye.