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Katana is 21st-century script typeface that thrives with energy. Its stylised letterforms feature a strong slant: about 40°, or more than twice the amount of slant found in a typical italic font.

Katanas angularity expresses an aura that combines the small refined details of calligraphy with the vibrancy of large-format graffiti lettering.

Unusual for a script typeface, Katana has multiple weights available; there are five in the family, and they range from Light through Bold.

As one shuffles from each weight to the next, the level of stroke contrast increases.

While Katanas Light weight is monolinear, the Bold weight has extremely hight contrast between its thick and thin strokes, which dials up the fonts dynamic-feeling even more.

The heavier weights clearly look like their letterforms have been written with broad pens or brushes, and the heaviest font looks like a techno-style design crossed with the work of a traditional sign-painter.

Each member of the Katana family has lining figures as its fonts default numeral style, but there are also oldstyle figures available through an OpenType feature.

Plus, each font includes about 26 alternate glyphs, substituted into the text whenever the contextual alternates feature is active.

Katana is a great addition to an editorial designers toolkit. It comes from Parimal Parmar, a designer in Ahmedabad/India.

Bonny is a family of decorative serif fonts, designed for display typography. The letterforms are very condensed. They also contain a lot of stroke-contrast. Bonnys thin strokes often terminate in flourishes; these flourishes pair well with the typefaces serifs, which are both thin and short.

Bonnys uppercase letters are very top-heavy; the upper halves of B, E, F, H, K, M, R, S, and X are so large that they look almost like caricatures.

This feature is carried over the some of the lowercase letters, too. For example, Bonnys a, c, f, g, k, r, s, t, y, and z are all extravagant and lovely.

The v and w have calligraphic flourishes on their right-hand sides; similar expressions appear throughout rest of the the typeface, too.

Each font includes 13 f-ligatures. An alternate j may be automatically substituted into text, via the Contextual Alternates feature, preventing collisions with glyphs coming before it.

The fonts numerals are oldstyle figures, which match the rhythm of the lowercase letters.

From the Polish type designer Barbara Bigosinska, Bonny is an excellent choice for use on greeting cards and in packaging design.

Its fonts should be set in large point sizes, so that its details have enough space to really shine.

Neptune is a large family of geometric sans serif fonts. Its designer Gaetan Baehr has created 12 styles: six different weights, ranging from Extralight to Extrabold.

Each has an upright and an oblique font on offer. Letters in all of Neptunes weights are drawn with virtually mono-linear strokes. Its lowercase letters have a tall x-height, but still leave enough room for the fonts diacritical marks.

These are actually quite large; theyll always be noticed, even in small sizes.

Neptunes a and g both have single-storey forms. The dots on the i, j, and diacritics are round, as are the punctuation marks, too. Despite being a geometric sans, Neptune features letters that break away somewhat from what previous fonts in that style have offered.

The Qs tail has been simplified into a short, vertical stroke. The strokes on both the S and the s terminate in vertical cuts, instead of having horizontal or diagonal terminals.

The lowercase k and t each have traits that come from our alphabets handwritten origins.

These details give text set in Neptune a different feeling from other geometric sans serifs.

Neptune is an excellent choice for both corporate design and editorial design projects, both because of its range of weights as well as its legibility in text.