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Hungry much? Let’s dig right in to the tasty kibble that is this week’s new type, some of which is sure to make you drool.

Starting off this week’s fresh faces, Schizotype delivers a scoop of deliciously smooth Gelato Script. This familiar and friendly mid-century script is decked out with a variety of alternates, tasty swashes, swoopy ligatures, and enough language support for any Central European menu.

How about a little Vanilla Shake on top of your frozen Italian dessert? Veer’s Jukebox foundry serves up the first of a pair of new fonts in the form of a bouncy, upright script based on the work of American showcard artist, Mike Stevens.

Have room for a second helping of Jukebox? The whimsical, semi-unicase serifs of Lady Fair were inspired by the hand-lettered posters for the film of a similar name.

Peckish for something more calligraphic? Take a peek at Michael Clark’s Lucilee, a flowing italic script with finesse. It features subtly modulated stokes and a light sprinkling of swashes.

Alex Sheldon’s Match & Kerosene has released the headline eating Volcano. This four style display face is split between two distinct flavours: a simplified gothic “gaspipe”; and a jagged “island” style. Each comes with its own inline variation.

“If a sans serif roman and an uncial got together and had a type baby …” You have to appreciate a typeface whose bio starts off like that. You can also appreciate the work that designer Steven Skaggs and technician Delve Withrington have stuffed into the revamped Rieven Uncial Pro. This elegant titling face — originally released in 2009 — has undergone a serious OpenType transformation with a expanded glyph set, broader language support, seven sets of numerals, new ligatures, plus all the symbols and ornaments you can eat.

Whenever Rian Hughes cooks up a new typeface, people sit up and pay attention. Ember is no exception. A lively, informal script that could be “channeling the spirit of Roger Excoffon” is pure Hughes. Plenty of graphic chutzpah, including clever (but totally appropriate) ligatures and stylistic alternates.

Dynamic and drawn by hand. Those are qualities found in most of the typefaces produced by Brazil’s PintassilgoPrints. Their latest is certainly true to the rule. Populaire is a lighthearted, low-fat sans with an abundance of glyphs and some deliciously random OpenType-powered “magic”.

How about we wash all that good stuff down with some refreshing news:

• You have 3 days to support the Endangered Alphabets Project on Kickstarter.
• Wayzgoose 2011 is happening November 4–6, at the Hamilton Wood Type and Printing Museum in Two Rivers, Wisconsin. Early bird pricing ends October 1.
• Do you work with Arabic text on the web? Be sure to check out Nadine Chahine’s recent tweets about Arabic webfonts.
• Tim Brown interviews Nicole Dotin of Process Type Foundry.
• Billy Whited discusses typography and readability.
• Elliot Jay Stocks explores how the baseline grid impacts design.
• Related, but for the web: Roger Johansson discusses how line-height does (or rather, doesn’t) work on input fields.
• House Industries wants to know how you’re using Photo-Lettering.
• Swashtastic! The Eye blog covers cookbook flourishes.
• Make your own elemental typeface using Tabletto.
• Are you looking for some type-related iPad apps? Reed Reibstein has six for you.
• Pentagram created a splashy trailer for Simon Garfield’s Just My Type.
• William Channer interviews Erik Spiekermann on “Exploring Type in a Business Context.”
• Doug Stewart’s Regausser project looks interesting.
• Head to New York and learn calligraphy.
• There’s more infinite scrolling madness and some beautiful type specimens at Out of the Dark.
• Get yourself some lovely “art for transportation enthusiasts” from Fadeout Design’s Trnsprtnation.
• Now we know why Comic Sans is so hilarious. To science!
• “… And that, my child, is how ligatures are made.” … “Yuck.”

And that’s it for this week. Thanks for reading; see you next time!

Thanks to Grant Hutchinson for fetching us this week’s new type. Who’s a good boy!

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