Laura Worthington is known for her elaborate and charming script fonts, but with Charcuterie she is trying a whole new course. It’s a suite of 22 hand-drawn display fonts in very different styles that nevertheless combine well together. The styles are vaguely based on historical letterforms you might find in European magazines or shop lettering from the early twentieth century; there’s a distinct Parisian feeling to some of them. As the designer says, “Charcuterie is a Smörgåsbord of delightful type inspired by our sense of a happy time at a splendid table,” and what can we add to that? Select your own favorite ingredients to create tasty headlines, logos, display, packaging, signage, or advertising.

Debi Sementelli is an experienced lettering artist who ventured into type design two years ago when she embarked on a joint venture with type designer Brian J. Bonislawsky. Their Belluccia, drawn by Debi and digitized by Brian, became a huge success. Encouraged, Sementelli decided to take digital matters into her own hands (with a little help from some friends) and recently presented her first self-produced font. It’s called Cantoni, it’s a beauty and it has become an immediate hit. Based on the designer’s fluid upright style of brush lettering, Cantoni comes with 1265 glyphs including hundreds of swash letters, ligatures, pre-designed letter combinations, and more. The Pro version has all of that, plus a limited set of ornaments. The Basic version comes without alternates and is ideal for simple web use and for office software like MS Word. There are separate fonts containing more ornaments and pictures, flourishes, and wedding invitation key words. Lovely and useful.

Zulia Pro is named after Zulia, the part of Venezuela where its designer Joluvian grew up — a region of sunshine, high temperatures, oil and cheerful people. Based on Joluvian’s favorite calligraphic styles, italic and brush pen, Zulia oozes Latino energy and charm. The typeface was developed from simple, contrasted lettering on paper with brush and marker. Various options were then developed for each character, based on a set of handmade shapes that could be connected in different ways according to the user’s needs. With the help of Sudtipos’ Alejandro Paul the handmade letterforms were digitized and made into a well-programmed font chock full of alternates, best used with OpenType-aware applications.

Kiddy Kitty is the latest font family from Alexandra Korolkova’s foundry — one of the few internationally operating microfoundries in Russia, run by the determined young woman we interviewed together with two of her colleagues in 2009. The foundry has published several typefaces by the talented Vasily Biryukov, and Kiddy Kitty is his latest. A soft and friendly sans-serif type family, it is as much a font for setting medium-sized texts as it is for appealing display designs. Consisting of six upright italic and five conventional italic weights, the family comes with a set of ligatures and swashes and 16 carefully drawn cat dingbats in each font. Great for greeting cards, children’s books and packaging design.

Metro from 1929 was one of the great innovative sans-serifs of the last century. The lettering artist and designer W.A.Dwiggins drew the face in response to a challenge from Chauncey Griffith at Mergenthaler Linotype, who wanted an American competitor for Futura. With its humanist warmth and unorthodox solutions, the result was more human than the European geometric sans-serifs and became a modern classic. Now, Metro Nova by Monotype-Linotype staff designer Toshi Omagari finally introduces Metro to the 21st century. Seven weights with italics and small caps, a condensed version, and a wonderful set of alternate shapes make Metro Nova a serious contender for editorial projects that require a readable sans with personality. Great introductory offer: the complete Metro Nova family is only $99 until September 28, 2013!