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LUC DEVROYE


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Best typefaces of 2019



[The best typefaces of 2019, selected by Luc. The illustration above is by Serbian graph designer and cartoonist Vladan Nikolic. Entitled Freedom of Speech, it serves as a warning in 2019.]








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The best commercial typefaces of 2019: Luc's selection

This is my own selection of the best commercial typefaces published in 2019, grouped by category.
Text typefaces:
Sans typefaces:
  • Gaultier (Mateusz Machalski). An exploratory modern hybrid of a serifless Garamond and Gill Sans.
  • Oldschool Grotesk (William Montrose at Kilotype).
  • Söhne (KLIM: Kris Sowersby). A multigenerational descendant of of Akzidenz Grotesk, close to perfection. Absolutely awesome.
  • Ahimsa (Luis Bandovas). A humanist sans family.
  • Hype (Neil Summerour). A total of 396 typefaces from ultra-condensed to wide, and hairlane to ultra-black.
  • F37 Moon. A 14-style geometric sans with no concessions.
  • Hurme FIN (Hurme Design).
  • Niko (Ludwig Uebele).
  • Marsden (Jason Vandenberg).
  • Passenger Sans (Diana Ovezea and Samo Acko).
  • Mazzard (Oleh Lishchuk, Pepper Type). A geometric grotesque in three x-heights and 54 styles. Mazzard L, the small x-height subfamily, is especially striking. See also Mazzard Soft.
  • Montreux Grotesk (Roch Modrzejewski). A modern slightly geometric take on Helvetica, in 132 styles.
  • Marlin Geo (Michael Hagemann). A 63-style geometric take on Helvetica, enhanced by many opentype features, and a direct competitor of Helvetica Now.
  • Corsa Grotesk (Alexander Nedelev). Inspired by Avenir.
  • Klein (Francesco Canovaro and Andrea Tartarelli).
  • Sigmund (Mateusz Machalski). Very loosely based on the 1975 Polish traffic sign font Drogowskaz by Marek Sigmund.
  • Graphit (2019). By Livius Dietzel and Tom Hossfeld at Lit Design Studio, a Bauhaus geometric.
  • Noah (2019). By Svet Simov, Radomir Tinkov and Stan Partalev.
  • Sole Sans. An extensive newspaper sans by Luciano Perondi and Riccardo Olocco, published by CAST.
Rounded sans typefaces:
  • Promo (Mateusz Machalski).
  • Hatchway (Romulo Gobira). Monospaced, with delightful interlocking glyphs.
Type systems:
  • Role (Slab, Serif, Sans, Soft). By Matthew Carter, Shotaro Nakano and Kunihiko Okano at Morisawa.
  • Monterchi (Cosimo Lorenzo Pancini, Andrea Tartarelli and Maria Chiara Fantini at Zetafonts).
Art deco typefaces:
  • Replete Sans (Alejandro Paul, Sudtipos). A seven-style typeface inspired by early 20th century lettering on metropolitan buildings all over the world.
  • Molitor (Mathieu Cortat). A joyful sans typeface family with art deco roots.
  • Disalina (Maciej Wloczewski).
  • KD Pempo (Zhalgas Kassymkulov).
Hipster typefaces:
    Script typefaces:
    Calligraphic typefaces:
    Brush typefaces:
    • Grafema LC (Todor Georgiev and Jacklina Jekova at Letter Collective). A calligraphic flatbrush font family in 16 styles.
    Sketched, Layered or Poster typefaces:
    • Rono (Jan-Christian Bruun).
    Blackletter typefaces:
    Dingbats and ornaments:
    • Heneczek Pro (Damian and Dominika Langosz). The arrows and fists in this didone family!
    Programming fonts:
    Garalde typefaces:
    • Galien (Black Foundry). More than just a garalde, a major gallic enhancement.
    • JJannon (François Rappo, Optimo).
    Display typefaces:
    • Blacker Pro (Cosimo Lorenzo Pancini and Andrea Tartarelli). In the evil serif genre. A substantial update of Blacker.
    • Brucker (Jeremy Tankard).
    • Ayer Poster Angular (Miguel Reyes). Part of his larger Ayer typeface family at Commercial Type.
    • FM Bolyar Sans Pro (Jordan Jelev and Vassil Kateliev).
    • Naoko (Emilie Rigaud).
    • Plaax (Damien Gautier).
    • Hyper (Anita Jürgeleit).
    • Gigantic (Dave Rowland).
    • Neue Machina (Vasjen Katro / Baugasm and mathieu Desjardins).
    • PVC (Hélène Marian for Production Type).
    • Valent (Jimbo Bernaus and Tea Sokac).
    • PF Mellon (Panos Vassiliou).
    Slab serif typefaces:
    • Söhne Mono (KLIM: Kris Sowersby). Part of Söhne, a descendant of of Akzidenz Grotesk.
    • Fragen (Lucas Descroix).
    • Galeria (Bruno Jara for Latinotype).
    • Breton (Daniel Hernandez and Rodrigo Fuenzalida).
    Copperplate:
    Wood type revivals:
    • Catalpa (José Scaglione, Veronika Burian, Azza Alameddine). This hairline-to-ultra black typeface family has its roots in wood type, and blossoms as headline type.
    • F37 Judge (Rick Banks).
    • Podium Sharp (Mateusz Machalski). Not exactly a revival, but a monstrous 234-style family with genetic origins in several old Polish wood types.
    Letterpress emulation:
    Didone typefaces:
    • Palio (Olcar Alcaide).
    • Schorel (2019). A 54-style Scotch roman. Not a didone, but a useful addition to the Scotch roman genre.
    • Saltaire (2019). By Nick Cooke.
    • Freight Big Compressed Pro (2019, a sturdy rational newspaper masthead and book cover typeface by Robby Woodard and Phil's Fonts).
    • Tectonic (Rodrigo Lopez Fuentes).
    • London Fatface (Paul Harpin).
    • CAL Bodoni Casale (Dave Lawrence, California Type Foundry).
    • ATC Anais (Christian Dexter for Avondale Type Co). Anorganic and orgasmic pleasures with nyctophobic fat didones.
    • Couturier Poster (Diego Maldonado).
    Fashion mag typefaces:
    Revivals:
    • Caslon Ionic (Paul Barnes and Greg Gazdowicz at Commercial Type).
    • Dejanire (Ramiro Espinoza at Re-Type). A revival and improvement of a typeface by Claude Lamesle, 1742.
    • Acier (Jean-Baptiste Levée). A bi-colored revival of Cassandre's Acier (1930). Levée had earlier revived this in 2010.
    • Schneidler Latein (Lena Schmidt). After F.H. Ernst Schneidler's Schneidler Latein (1916-1921).
    • ATF Franklin Gothic (Mark van Bronkhorst, Igino Marini, Ben Kiel). Based on Morris Fuller Benton's Franklin Gothic (1905), with lighter styles inspired by Benton's Monotone Gothic.
    • Pagnol (Jean-Renaud Cuaz). After A.M. Cassandre's famous Peignot from 1937.
    • Radar (Marta Sanchez Marco at Type-o-Tones). A revival of the 1930s font Grotesca Radio (Carl Winkow).
    • Hellen (Genilson Lima Santos). A revival of Koch Antiqua (1922).
    • Orplid Pro (Ralph M. Unger). A revival and layerable extension of Hans Bohn's Bauhaus typeface Orplid (1929).
    • Bremer Presse (Dorothée Schraudner). This revives Willy Wiegand's antiqua that he made for his Bremer Presse ca. 1912.
    • Skope (Jose Manuel Uros).
    Stencil typefaces:
    • Rekall (2019, Bold Monday).
    • Styro (2019, Aarya Purohit).
    • Sväng (Claes Nordenstam for Letters of Sweden). Based on his 1976 original, Quickstep.
    • Majora Stencil (Luis Bandovas).
    • Buum (Ondrej Chory).
    Variable fonts:
    • TT Interfaces (TypeType). Later renamed TT Interphases.
    • TT Frantz (Vika Usmanova). Experimental, refreshing, with a variable waistline height.
    • ETC Imbue (Etcetera Type Company). With variation in optical sizes.
    • PF Grand Gothik (Parachute). A large grotesque typeface family with three subfamilies and a variable font option.
    • Antonia (Typejockeys).
    • Denso (Dino dos Santos and Pedro Leal).
    • TT Trailers (Vika Usmanova).
    • Grafier (Alex Slobzheninov).
    Multilingual typefaces:
    • Tuqbal Pro (2015-2019) by Andreu Balius and Juan Luis Blanco at Type Republic. This family covers Latin, Arabic and Tifinagh in a consistent manner.
    • Inscribing Song (Archer Zuo).
    • Chikki (Kimya Gandhi at Mota italic). For Latin and Devanagari.
    • Dunkel Sans (Minjoo Ham). An obese poster typeface for Latin and Hangul, carefully balanced across both scripts.
    • Vocal (Ani Dimitrova).
    Wonderful, adorable, refreshing typefaces:
    • Arkit Bomb (Erasmo Ciufo, CAST).
    • Moranga (Sofia Mohr). Inspired by Cooper.
    • Nero Alto (Mateo Broillet).
    • Hatton (Mathieu Desjardins and Two Times Elliott). Eclectic and with the signature hipster t.
    • Hagrid (Cosimo Lorenzo Pancini). In the crypto-typographic genre.
    • Akut (Pedro Leal, DS Type). Pure angular joy.
    • Sneakers Max (Neil Summerour).
    • Pieches (Erica Jung and Ricardo Marcin). Based on Paul Peter Piech's political and social posters.
    • Roba (Franziska Weitgruber).
    • Pamplemousse (DC Scarpelli).
    • Zentral (Robbie de Villiers).
    • P22 Schneeberger (Tracy Sabin).
    • Harpagan (Mateusz Machalski).
    [Google] [More]  ⦿

    The best free typefaces of 2019: Luc's selection

    This is my own selection of the best free typefaces published in 2019, grouped by category.
    Text typefaces:
    • Editorial New (Mathieu Desjardins). Well, this is only partly free, under conditions.
    Sans typefaces:
    • Ysabeau (Christian Thalmann). Originally named Eau de Garamond, this is a beautifully designed sans version of Garamond.
    • Inter UI (Rasmus Andersson). A 12-style sans family for screen use, covering Latin, Greek and Cyrillic.
    • FFS Pelion (Freefonts Space).
    • Konstant Grotesk Neue (Stephen French).
    Rounded sans typefaces:
    Type systems:
      Art deco typefaces:
        Hipster typefaces:
          Script typefaces:
          Calligraphic typefaces:
            Brush typefaces:
            Sketched, Layered or Poster typefaces:
            Blackletter typefaces:
            Dingbats and ornaments:
            • Plovdiv Pictograms (Alexander Nedelev, Pavel Pavlov and Georgi Vasilev). Part of the larger informal Latin & Cyrillic typeface family Plovdiv.
            • Abantu (Vladimir Nikolic).
            Programming fonts:
            Garalde typefaces:
              Display typefaces:
              Slab serif typefaces:
              Copperplate:
                Variable Fonts:
                Wood type revivals:
                  Letterpress emulation:
                    Didone typefaces:
                    • Emberly (Rajesh Rajput). A 54-style interpretation of Didot.
                    • Kornilow. A didone-Baskerville hybrid for Latin and Cyrillic by Maryth Salychow.
                    • Herbert Regular (Danilo De Marco).
                    Fashion mag typefaces:
                      Revivals:
                      • Vaderlands (2019, Graphic Goods). An engraved money and vintage map font based upon an original in a Dutch book dated 1781.
                      • Chistoso (Chuck Mountain). Based on Julius E.F. Gipkens's Majestic (1914).
                      Stencil typefaces:
                      Multilingual typefaces:
                      Wonderful, adorable, refreshing typefaces:
                      [Google] [More]  ⦿