ÁccentiaType is a type foundry established by Linh Nguyễn in Saigon, Vietnam. The initial release is Gieo Text, a serif typeface in six upright weights with matching italics, originating from coursework for the MA of Typeface Design at the University of Reading, UK in 2021–2022. Drawing inspiration from the late 15th–16th century Humanist types, Gieo’s letters boast prominent calligraphic features, echoing the rhythmic and continuous gesture of a confident writing hand. [accentiatype.com]

Dolino is a single-style, informal script typeface designed by Brahim Boucheikha and Gia Tran. [babelfont.com]

Mabrok is a single-style, heavy sans serif typeface designed by Brahim Boucheikha, Gia Tran, Jean-Baptiste Pernette, Étienne Guégano, and Léo Rosina. [babelfont.com]

Manoya is a single-style, informal brush script typeface designed by Brahim Boucheikha and Gia Tran. [babelfont.com]

Munline is a square-jawed display typeface pairing angular inside forms and a rounded exterior, designed by Brahim Boucheikha, Gia Tran, Jean-Baptiste Pernette, Étienne Guégano, and Léo Rosina. Available in five upright weights. [babelfont.com]

Renai Sans and Renai Serif are a pair of metrically-harmonized typefaces designed by Brahim Boucheikha, Gia Tran, and Jean-Baptiste Pernette. The neo-grotesque sans serif comes in eight upright weights, and the high-contrast, editorially-minded serif in seven. [babelfont.com, babelfont.com].

Safarel is a humanist sans serif typeface designed by Brahim Boucheikha, Gia Tran, Jean-Baptiste Pernette, Étienne Guégano, and Léo Rosina. Designed for legibility, making it a powerful choice for signage, public information and wayfinding systems, it appears to be influenced by the work of Adrian Frutiger, such as Roissy (1970–1972) and the eponymous Frutiger (Linotype, 1976). Available in six upright weights. [babelfont.com]

Sameo is a reverse-contrast, unicase display typeface designed by Brahim Boucheikha, Gia Tran, Jean-Baptiste Pernette, Étienne Guégano, and Léo Rosina. Available in three upright weights. [babelfont.com]

Suhana is a high-contrast sans serif typeface with hairline terminals, designed by Brahim Boucheikha, Gia Tran, Jean-Baptiste Pernette, Étienne Guégano, and Léo Rosina. Available in seven upright weights. [babelfont.com]

BM Bless, designed by Cecilia Del Castillo and Felix Bamforth, is is a modern interpretation of a mid-19th century decorative typeface trope. With a combination of procedurally drawn, interpolatable ornaments, embedded in variable font formats, it offers you a radically modern approach to a classic design genre, with a quasi infinite choice of ornament styles, ranging from friendly, floral shape to evil alien-like growths. Isolated ornaments layerable on top of a solid style complement the precomposed version of the typeface. [beamtype.com]

BM Lithe is a dynamic, condensed sans serif with a large x-height and capital letters that descend below the baseline, designed by Felix Bamforth during his TypeMedia studies. Initially named Aerograf and drawn in four optical sizes, BM Lithe narrows down and refines on the titling size, and is now available in six upright weights with matching rotalic styles. [beamtype.com]

BM Neon is an experimental type system designed by Cecilia Del Castillo and Felix Bamforth. Using a tailored production pipeline that combines parametric drawing, variable font technology and the Opentype COLRv1 table, this system provides users with a total of three variable COLR font files: LINR, RADL and SWEP, corresponding to the three types of gradients available to this technology. Each font comes with a weight axis plus three axes to control the color pattern. The design process benefits from meticulous documentation. [beamtype.com]

Best Bits is a monospaced dot-matrix typeface inspired by retro computing and pixel art. Built on a modular grid, each pixel is an interpolated shape that can be scaled and customized in both size and dimension, unlocking endless possibilities for crafting retro‑inspired, pixelated designs with a modern twist. The design space is packed into a single, five-axis variable font. [typefaces.best]

Best Grotesk is a geometric sans serif typeface that combines clean, modern shapes, grotesk influences, the right amount of contrast, classic proportions, and unique round cuts on the ascenders. Available in ten upright weights with matching italics, or as a two-axis variable font. [typefaces.best]

Best Single is a uniwidth, monospaced typeface inspired by the expressive spirit of early grotesques, available in nine upright weights with matching italics, or as a two-axis variable font. The shape of dots (square, round, pentagon, or diamond) can be controlled via OpenType features. [typefaces.best]

Anders, designed by Paula Mastrangelo, is inspired by an arrestingly modular, curve-free alphabet created by English designer and architect Edward Wright (1912–1988) for the 1960 Milan publication Nuovi disegni per il mobile italiano. [brutaltypes.com]

Antonius, designed by Ramiro Espinoza, is inspired by the lettering of Dutch graphic designer Anton Kurvers (1889–1940). Active in the 1920s and ’30s, Kurvers created a number of striking book covers featuring bold, geometric letterforms that reflect both the decorative richness and expressive eloquence of the period. [brutaltypes.com]

Banket, designed by Ramiro Espinoza, is a refined Deco-style display typeface inspired by the elegant lettering featured in a 1936 Dutch advertisement for the confectionery firm G. Daneels. [brutaltypes.com]

Baruch, designed by Ramiro Espinoza, is a geometric sans serif inspired by the modular, somewhat inconsistent lettering found on the cover of the Dutch technical handbook Gereedschappen en gereedschapswerktuigen voor metaalbewerking, written by B. van Rees and published in Haarlem in 1938. [brutaltypes.com]

Bioskoop, designed by Ramiro Espinoza, is inspired by the distinctive lettering found on the façade of the long-abandoned Cinema Palace, located at Lage Barakken 12 in Maastricht. [brutaltypes.com]

Bolk, designed by Ramiro Espinoza, is inspired by the striking Amsterdamse Fietsenstalling sign located on an apartment complex on De Lairessestraat in Amsterdam. The original lettering, with its solid construction and geometric flair, is a powerful example of the Amsterdamse School’s influence on vernacular typography—where architecture and graphic form meet in bold, sculptural harmony. [brutaltypes.com]

Brinkhuis, designed by Paula Mastrangelo and originally released by Retype in 2016, is inspired by the geometric, modular lettering found on several facades in Betondorp — Amsterdam’s iconic ‘Concrete Village’ located in Watergraafsmeer. [brutaltypes.com, re-type.com]

Brouwer, designed by Ramiro Espinoza, is loosely inspired by the lettering on an architectural plan: While studying the original blueprints of the Heineken brewery’s façade, Ramiro Espinoza discovered an unused alphabet in a style related to the Amsterdam School. The almost certain author of this blueprint alphabet was architect Bert J. Ouëndag, who designed the building. [brutaltypes.com]

Emmahuis, designed by Ramiro Espinoza, is inspired by the distinctive lettering found at the entrance of the Emmahuis building at Schiekade 47, Rotterdam. […] Its lettering, probably designed by the same architects, exemplifies the sober, functional style of Dutch modernism, combining clarity with technical precision. [brutaltypes.com]

Evy, designed by Paula Mastrangelo, is inspired by the bold, unconventional charm of 19th-century wood type—particularly the exaggerated styles developed in the United States for posters, show bills, and advertising. Evy embraces the striking horizontal stress and playful proportions that made these typefaces stand out in crowded visual landscapes. [brutaltypes.com]

Gebroken, designed by Ramiro Espinoza, is inspired by a style of lettering found in some Dutch elementary schools and public buildings constructed in the 1920 […] in Voorburg, Leiden, Wassenaar, and Haarlem. [brutaltypes.com]

Gedenk, designed by Paula Mastrangelo, is inspired by the carved inscription on the black stone plaque at Rozengracht 229–231 in Amsterdam. The building, designed by architect Dick Greiner, features striking letterforms that echo the ruler-based lettering systems of J.L.M. Lauweriks and H. Wijdeveld — two key figures in the Dutch modernist movement. [brutaltypes.com]

Genootschap, designed by Ramiro Espinoza, is strongly inspired by the lettering on the façade of the Apostolic Genootschap Watergraafsmeer building, located in the Galileiplantsoen district of Amsterdam. [brutaltypes.com]

Hoek, designed by Ramiro Espinoza, is inspired by the highly expressionist letterforms carved on the tombstone of Johanna Cornelia and Jakob Hoek in the historic Oud Eik en Duinen cemetery of The Hague. [brutaltypes.com]

Houtvaart, designed by Ramiro Espinoza, is strongly inspired by the distinctive lettering found on the façade of the historic De Houtvaart swimming pool in Haarlem, Netherlands. [brutaltypes.com]

Huize, designed by Ramiro Espinoza, is based on the lettering found on the façade of the Huize Tesselschade housing complex at Stadionweg 61–63 in Amsterdam. [brutaltypes.com]

Joop, designed by Ramiro Espinoza, is inspired by the expressive lettering carved by sculptor Theo Vos (1887–1948) into the tombstone of Josephine van den Nieuwenhuijsen (1909–1927), located in the serene St. Petrus Banden Cemetery in The Hague. [brutaltypes.com]

Kanela, designed by Ramiro Espinoza, is inspired by a lettering style found on the tomb of the Canela family in the historic Poblenou Cemetery in Barcelona. [brutaltypes.com]

Kantoor, designed by Ramiro Espinoza, is inspired by a handsome vintage sign for the Thalia pharmacy in Vienna. The design caught Espinoza’s eye in Ghostletters Vienna: Traces of Urban Identity, the book by Tom Koch documenting the fading typographic heritage of the city. [brutaltypes.com]

Karmix, designed by Ramiro Espinoza, is based on the distinctive lettering carved on the tomb of the Bordewijk family at the Oud Eik en Duinen cemetery in The Hague. [brutaltypes.com]

Kasimir, designed by Ramiro Espinoza, is inspired by the unique architectural lettering found at the entrance of the Professor Casimir School, located at Oosteinde 261, 2272AE, Voorburg, Netherlands. [brutaltypes.com]

Keuken, designed by Paula Mastrangelo, is inspired by the modular lettering found on iconic Dutch enamel kitchen canisters from the 1920s. Often labeled koffie, thee, or suiker, these jars once stood in countless Dutch households, their bold, geometric letters becoming a quiet staple of everyday life. [brutaltypes.com]

Klinker, designed by Paula Mastrangelo, is inspired by the handsome tile lettering found on the facade of a butcher shop at Obrechtstraat 177 in The Hague. [brutaltypes.com]

Kongres, designed by Ramiro Espinoza, is inspired by the lettering of Belgian artist Jozef Peeters (1895–1960). A pioneering abstract painter and designer, Peeters created striking geometric compositions that bridged art and typography, and among his graphic works is a remarkable poster promoting a student conference held in Antwerp in 1922. [brutaltypes.com]

Kraai, designed by Ramiro Espinoza, is inspired by the carved lettering on the Oetewalerbrug, a bridge located in Amsterdam’s Watergraafsmeer district. [brutaltypes.com]

Kristiana, designed by Ramiro Espinoza, is inspired by the lettering that identifies the Pro Regeschool entrance, located at Floris Versterstraat 11, 1058 JL, Amsterdam. [brutaltypes.com]

Kunsthandel, designed by Ramiro Espinoza, is inspired by the distinctive letterforms found in a well-known woodcut created by Dutch artist and activist Chris Lebeau (1878–1945) to advertise the Willem Brok art supply store in Hilversum, Netherlands. [brutaltypes.com]

Kursus, designed by Ramiro Espinoza, is inspired by the geometric and curve-free lettering of Dutch designer and architect Mathieu Lauweriks (1864–1932). Drawing from letterforms found on business cards and an invitation to an exhibition of the Staatliche Handfertigkeitskursus in Hagen, Kursus channels the modular, rational spirit of Lauweriks’ typographic experiments. [brutaltypes.com]

Kurversbrug, designed by Ramiro Espinoza in 2001 and originally released by Retype in 2007 is a typographic revival of one of Amsterdam’s most iconic visual features: the iron bridge nameplates that grace the city’s waterways. Available in six weights, plus a rough style of the regular weight. [brutaltypes.com, re-type.com]

Kuryakin, designed by Ramiro Espinoza, is inspired by the geometric lettering models developed by Dutch architect and theorist J. L. Mathieu Lauweriks. [brutaltypes.com]

Lachappelle, designed by Ramiro Espinoza, is inspired by the striking lettering found in a vintage Dutch advertisement for a flooring company. [brutaltypes.com]

Lasagna, designed by Yomar Augusto and originally released by Retype in 2008, is a geometric display typeface that reflects Augusto’s background in street art, printmaking, and graphic experimentation. [brutaltypes.com]

Locrian, designed by Ramiro Espinoza, is inspired by a set of alphabets designed by Theo van Doesburg and used in works for the Amsterdam Tetterode foundry and the firm Hagemeijer & Co. [brutaltypes.com]

Midwestern, designed by Ramiro Espinoza, is based on the distinctive lettering created by Jochem Ruijgrok in 2018 for the façade of the community center Midwest in Amsterdam, located at Cabralstraat 1. [brutaltypes.com]

Misiva, designed by Ramiro Espinoza, is inspired by the elegant lettering found on the mailboxes designed in 1926 by Anton Kurvers (1889–1940) for the Amsterdam Municipal Public Works Office. [brutaltypes.com]

Mossel, designed by Fabian Kolar, is inspired by vintage lettering found above the entrance of Café Steijn, located at Nieuwe Binnenweg 345B in Rotterdam. [brutaltypes.com]

Neurus, designed by Ramiro Espinoza, is inspired by the expanded, reverse-contrast lettering styles popular in 1970s signage — particularly those found across the streets of Paris and Barcelona, cf. Jackson (Mecanorma, 1971). [brutaltypes.com]

Olaf, designed by David Quay and Ramiro Espinoza, is inspired by the beautiful three-dimensional lettering on the façade of St Olaf House in London’s Borough of Southwark. Available in a monochrome solid style and as a color font. [brutaltypes.com]

Oldenhove, designed by Sabina Kipară, is an interpretation of the lettering found on the facades of two buildings located in The Hague and Amsterdam, designed by architect F. A. Warners (1888–1952) in a style reminiscent of the Amsterdam School. [brutaltypes.com]

Omslag, designed by Ramiro Espinoza, is based on lettering designed by Anton (Antonius) Kurvers (1889–1940) for several books published by the progressive Dutch publishing house N.V. Uitgevers-Maatschappij. [brutaltypes.com]

Ooievaar, designed by Ramiro Espinoza, is based on the distinctive street name signage found throughout The Hague. [brutaltypes.com]

Openbaar, designed by Paula Mastrangelo, is inspired by the modular lettering found on the facade of the Public Elementary School Professor Casimir in Voorburg, Netherlands. [brutaltypes.com]

Perpleja, designed by Ramiro Espinoza, is based on a striking and anonymous Dutch logo from 1930 discovered in Dutch Moderne, the book by Steven Heller and Louise Fili. [brutaltypes.com]

Physica, designed by Ramiro Espinoza, is inspired by the lettering on the façade of the Laboratorium voor Technische Physica der Technische Hoogeschool, located at Mijnbouwplein 11 in Delft. [brutaltypes.com]

Piet, designed by Ramiro Espinoza, is based on an alphabet model drawn by Piet Zwart (1885–1977) and used in several of his designs. [brutaltypes.com]

Pugliese, designed by Ramiro Espinoza, is inspired by striking examples of Futurist lettering photographed during a trip through Italy’s Puglia region. Among the key references was a 1935 fabric label for the brand Dekros, whose dynamic, angular letterforms echoed the energy and experimentation of early 20th-century Italian graphic design. [brutaltypes.com]

Rebus, designed by Daniel Calders, is inspired by the lettering found on the façade of the building at Lange Koepoortstraat 59 in Antwerp, Belgium. Available in five widths. [brutaltypes.com]

Revolutie. designed by Ramiro Espinoza, is a constructivist-inspired display typeface whose origins lie in a chance encounter with a 1930 Dutch edition of History of the French Revolution by Jean Jaurès. [brutaltypes.com]

Sontag, designed by Ramiro Espinoza, is based on the lettering found on the Roomcentrale H. Adriaensen building located at Cuperusstraat 7 in Antwerp, Belgium. [brutaltypes.com]

Stencilex, designed by Ramiro Espinoza, is inspired by the eye-catching stencil lettering featured in a vintage advertisement for the Dutch firm Filip Bosch en Zo. [brutaltypes.com]

Summerian, designed by Mathis Payet, is born from a personal exploration of cuneiform-inspired letterforms and bears a resemblance to alphabet designs produced by artists associated with 20th-century German Expressionism. [brutaltypes.com]

Tikte, designed by Paula Mastrangelo, is inspired by the radically modular lettering featured on the cover of the November 1931 edition of Grafische Revue, a Dutch trade magazine for the printing and graphic industry. [brutaltypes.com]

Vilmos, designed by Ramiro Espinoza, is inspired by the alphabet used by Vilmos Huszár (1884–1960) on an envelope for the Dutch door factory C. Bruynzeel. [brutaltypes.com]

Wallraff, designed by Ramiro Espinoza, is inspired by the lettering on a German airline advertisement from the 1930s. [brutaltypes.com]

Weng, designed by Jolana Sýkorová, is inspired by the a lettering on the cover of the September 1920 edition of Wendingen, the influential Dutch architecture and art magazine associated with the Amsterdam School. [brutaltypes.com]

Wilhelmina, designed by Ramiro Espinoza, is inspired by the lettering used on the façade of the Billardfabriek Wilhelmina (Billiard Factory) in Amsterdam. [brutaltypes.com]

Winkel, designed by Ramiro Espinoza, is inspired by the distinctive lettering found on the black stone plaques that commemorate the 1929 expansion of the Passage, The Hague’s historic commercial gallery. [brutaltypes.com]

Wrightex, designed by Ramiro Espinoza, is inspired by the striking lettering created by English designer and architect Edward Wright (1912–1988) for the cover of a 1960 issue of the Architectural Association Journal. [brutaltypes.com]

Zuidholl, designed by Ramiro Espinoza, is inspired by the expressive Deco-style lettering on the façade of the former Garage der Zuidholl Bierbrouwerij, located at Spaarnwouderstraat 15 in Haarlem. [brutaltypes.com]

Kohl is a condensed, sharp serif typeface designed by José Solé and Sahar Afshar, available in seven weights across three optical sizes. In the smallest optical size, capital letters influenced by Antique No. 8 (Miller & Richard, 1870s) are paired with an entirely new lowercase design. The display size intensifies the features: the angles are more extreme, and the horizontal serifs absolutely clash on purpose. [dograytype.com]

Mazhik is a single-style, marker-inspired typeface designed by Sahar Afshar, drawing its core spirit from the vernacular of handwritten signs and the dynamic energy of Egyptian movie posters. Each connecting letter is available in nine alternate forms. [dograytype.com]

Sets Grotesk, designed by José Solé with Sahar Afshar, is a Grotesk of two minds; a utilitarian heart with a quirky beat. Available in four optical sizes labeled XS to L, the larger the intended use, the taller the x‑height, the shorter the ascenders and descenders, the larger the dots, and the wider the characters get. Each optical size comes in nine upright weights, with a two-axis variable font also available. [dograytype.com]

Setar, designed by Sahar Afshar with José Solé, is the Arabic response to Sets Grotesk: when you ask your foundry partner to design a not‑too‑quirky Grotesk Latin font, you have to be ready for them to then turn around and ask for a kooky simplified Naskh Arabic in return. It matches the scope of its Latin counterpart and employs similar tactics for its optical sizes: the skeletons of the characters widen while the connections become shorter, and the counters expand. Big counters, long teeth, bigger dots⁠—⁠all the workings of a design that stands out and catches the eye. [dograytype.com]

Bourgeon is a single-style, uniwidth, modular display typeface originally conceived for the corporate identity of Toulouse-based vertical farm operator Grow Deal. [doublebtype.xyz]

Fibre is a single-style modular display typeface constructed from a set of 18 elements arranged in a 3×3 grid. [doublebtype.xyz]

Pépère is a single-style heavy display typeface originally developed for the identity of Parisian restaurant Rond. [doublebtype.xyz]

Transpal is a single-style octagonal display typeface originally conceived for the French logistics company Aktuel. [doublebtype.xyz]

Varlope is a single-weight, unicase, geometric sans serif typeface originally developed for French textile company Losanje. A separate variant features hairline accents and punctuation marks. [doublebtype.xyz]

Dreamtype is the type design imprint of the Magic as a Service design studio in Nuremberg, Germany. Its initial release is Mirage, a contemporary sans serif designed by Andreas Faust and Stefan Endress, available as a variable font with weight, optical size, and slant axes. [dreamtype.xyz]

Andys is an interpretation of Arc en ciel (Hollenstein, ~1972) that expands the gamut of this condensed, rounded, lowercase-only display typeface to five uniwidth styles that can be layered for chromatic effects. [edito-type.com]

Arch is a condensed grotesque display typeface that interprets Walter Käch’s Velos alphabet from Schriften / Lettering / Écritures (1949), expanding it to four widths. The width, height, and spacing of letterforms is quantized to a unit grid across the four styles, echoing the technical constraints in the early phototypesetting systems for which typefaces such as Helvetica Compressed (Linotype, 1966) were conceived. [edito-type.com]

Katalog is an wide, geometric typeface that reexamines the mid-century Swiss display tradition through a more compact, expressive lens. Modeled after Zürich, an alphabet designed by Alex Stocker and Hans Gruber and shown in Lettera 1 (Teufen/Niggli, 1954), it recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow, and expands the design to four upright weights. [edito-type.com]

Moca is a wide-set, heavy display sans serif that revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main historical source is a sans serif typeface known as Série G (~1920, Jacoby & Fils). [edito-type.com]

Sirca is a typeface that distills Walter Käch’s serif display experiments into a contemporary display system. Rooted in a critical re-reading of his mid-century letterforms, what began as a single study evolved into a concise family of three essential weights, each balancing typographic clarity with subtle warmth. Available in three upright weights. [edito-type.com]

Golt is a geometric sans serif rooted in the visual culture of Berlin’s metro and street signage, designed by Daniel Perraudin and Alexander Roth. Available in nine upright weights, and as a variable font with a weight axis. [gallerytype.com]

Maurizio is a condensed, high-contrast, display serif typeface designed by Daniel Perraudin, with italic styles contributed by Nina Botthof. Exploring the limits of interpolation in this genre, the only weights drawn manually are the two extremes of the weight axis, Hairline and Black. [gallerytype.com]

Se Macro is a humanist sans serif that combines a monolinear structure with a high-contrast model, visible in the junctions where straight and round shapes meet, designed by Daniel Perraudin. Available in ten weights across three widths in upright and italic styles, it’s part of an upcoming type system that will include Se Micro, Se Mono, Se Soft, and Se Rounded. Two-axis variable fonts are also available. [gallerytype.com]

Stellar is a single-style serif typeface that arose from the desire to respond to the change in language through design and to promote the use of gender-equitable formulations, designed by Pia Schröer and originally released in 2024. Stellar contains various gender characters such as the asterisk, which can be seamlessly varied in size and position thanks to variable font technology. [moontype.de]

Onigiri is a display typeface designed by Julia Flomm so that each letter fits into a triangular shape reminiscent of the eponymous Japanese snack. The Mono style (pictured here) is formed with upright triangles, while the Black style comprises interlocking, alternating shapes. [moontype.de]

The foundry also released a first style of Hela, an upcoming sans serif typeface designed by Julia Flomm. The design is grounded in geometrical shapes, complemented by rounded corners that provide a contrasting organic touch to its grid-based origins. [moontype.de]

Aform is a single-style, geometric sans serif typeface inspired by the form-based aesthetics of post-war artistic movements, rooted in geometric abstraction. A set of alternate, decorative forms are available via OpenType features. [obrysy.xyz]

Maskul is a humanist sans-serif family that explores interpolation between sensuous high contrast and firm low contrast extremes. Available as a variable font with a weight axis, plus a contrast axis running from Low to Extreme. [obrysy.xyz]

Plastic, designed in collaboration with Ivana Palečková and originally released circa 2018–2019, is a display typeface inspired by ‘céčka fever’, the phenomenon of collecting C-shaped plastic hooks in the communist Czechoslovakia. Originally manufactured to be hanged as decorative chains in windows and doors (as they can be linked up in chains), the C’s spontaneously became a popular toy among the kids growing up in the 1980’s. Available as a variable font a weight axis, plus a ‘gaps’ axis that closes down the letterforms for a more striking effect. [obrysy.xyz]

Troppau is a sans serif typeface that draws its proportions from geometric sans and engages them with sharp blackletter insets. Available as a variable font with a weight axis, plus a slant axis that maintains a constant width. [obrysy.xyz]

Last is a clean, highly technical grotesk designed for clarity and precision by Tim Vanhille, available in ten upright weights complemented by italic styles. [overtypefoundry.com]

Miro is a serif typeface designed by Inès Davodeau, influenced by Nicholas Jenson’s Renaissance types and their interpretations, such as Jenson Old Style (ATF, 1893). Available in eight upright and italic weights. [overtypefoundry.com]

The foundry’s initial release is Tiphares, a semi-serif shaped by the latest research on long-distance reading and speed perception, designed by Octavio Pardo for interface and wayfinding applications. The typeface is produced in Light, Negative, and Soft grades optimized for different conditions, with each grade available in seven upright weights and matching italics, supplemented by a set of icons. The design process (dating back to 2018) and the legibility claims are presented in a series of five articles on the foundry’s blog. [pathfinders.rocks]

PD Americano is an elastic variable script font inspired by Czech calligraphy and sign painting tradition. Originally explored in 2016 for the designer’s Master’s thesis at UMPRUM in Prague, the single-weight typeface is based on a Czech cursive script named Pentlovka and features a variation axis that controls the letter spacing. An OpenType feature switches all-capitals text to narrower, unconnected letters. [petra-d.com]

PD Donut is a heavy display script typeface originally designed in 2022 for a mural in Warsaw, Poland. Donut's dark ductus is enhanced by the tight spacing, where the letters bump into each other or overlaps, leaving only tiny gaps between them. The small triangles that act as false ink traps are a striking detail to aid the complicated legibility. [petra-d.com]

PD Everyday is a single-style, graffiti-inspired typeface originally created as lettering for Czech streetwear brand Rap Rap and later digitized so that the typeface is well-drawn but still has believable messiness in some details, such as the roughness of dry strokes with a used felt tip marker that occasionally. [petra-d.com]

PD Kakabus is a single-style, semi-connected script typeface based on lettering conceived in 2017 for Kamila Kučerová’s design studio of the same name. The key characteristic oval stroke is defined by the round Centropen marker, whose tip is sharply terminated. Writing at a slight slant forms an oval with one sharp point. [petra-d.com]

PD Monolina is a monolinear connected script typeface modeled on the designer’s own handwriting, originally designed circa 2014 at UMPRUM in Prague, now renovated as a variable font with a weight axis, complemented by a Stencil style that creates subtle shadows where strokes overlap. [petra-d.com]

PD Monolina Brush is a single-style, brush-inspired complement to PD Monolina. The aim was to further develop the linear skeleton's potential by applying different writing tool strokes, with forthcoming styles based on the dry marker, pointed pen, and graphite. [petra-d.com]

PD Writer is an unconnected script typeface written with a flat felt tip marker based, like with PD Americano, on lettering developed during the Master’s studies at UMPRUM. The digitized script has strongly stylized strokes compared to the handwritten model. The primary stroke consists of a flat ellipsis (the impression of the felt tip marker), which makes a higher contrast. [petra-d.com]

The foundry’s most recent release is Fulcrum, a flavourful sans serif typeface with French roots and a Scandinavian execution, with an initial version featuring four upright weights. [futurefonts.com]

Banto, a Latin-style, triangle-seriffed typeface initially released in 2018 on Future Fonts received an additional weight and some final refinements before graduating to a retail release. It is now available in seven upright weights with italic complements. [spoketype.com]

Also graduating from Future Fonts this year is Ompu, a condensed sans serif typeface with industrial influences initially released in 2020. For its retail release, Ompu is available in eight upright weights, and as a variable font with a weight axis. [spoketype.com]

Initially released as Cure Mono at the beginning of the year, Cure Sans has now been expanded to include a proportional sans with italics that share the same design principles as the original. Each variant is available in six weights, in upright and italic styles. [futurefonts.com]

Initially released as Luna in 2019 and now known as Luna Display, the high-contrast serif typeface has been expanded in 2025 to a family of four upright weights with matching italics across three widths. [futurefonts.com]

Originally released with TypeTogether in 2017, the narrow slab serif typeface Trevor is now also available from Spoke. [spoketype.com, type-together.com]

Gorp is a low-contrast serif typeface designed for readability, available in six upright weights. [trashtype.com]

Progorp is a geometric display typeface positioned as the opposite of Gorp in the sci-fi-flavored promotional material, available as a variable font with weight and width variation axes. [trashtype.com]

Silvermane is a revival based on the typography found in the western novel The Heritage of the Desert (1910) by Zane Grey, started during the designer’s studies at the Type@Cooper program and available as an early-access release in one weight with limited kerning. [trashtype.com]

The label’s inaugural release is Big Sauce, a reverse-contrast sans serif typeface with a tall x-height and boxy demeanor, designed by Nikola Kostić and Baptiste Guesnon. With an eye out for animated applications, the typeface is available as a variable font with weight and slant axes that produce almost uniwidth instances across the design space. [typecollider.com, bloomtype.com]

UT Atypic is a neo-grotesque sans serif typeface. Rooted in mid-century European design, it balances mechanical structure with subtle humanist details, resulting in a typeface that’s clear, versatile and quietly expressive. Available in seven upright weights, and as a variable font with a weight axis. [unit-type.com]

UT Atypic Mono is the monospaced counterpart to UT Atypic that match the proportional variant in its seven upright weights, and is similarly available as a variable font. [unit-type.com]

UT Block is a single-style, compressed sans-serif influenced by midcentury models (see, as an entry point, Schmalfette Grotesk), with starker, contemporary details, some of which can be controlled via OpenType features, which also enable the choice of hairline accents and punctuation. [unit-type.com]

UT Clarke is a grotesque typeface that balances functional clarity with subtle warmth. It references the dependable backbone of early 20th-century sans-serifs, with a particular nod to Franklin Gothic, but pares them back and rebalances familiar forms for contemporary use. Available in eight upright weights with matching italics. [unit-type.com]

Hoodzpah’s latest release is Cambridge, an elevated, timeless serif typeface inspired by the history and academic vibes around Boston and Cambridge, Massachusetts, designed by Jen Hood. Available in five upright weights with matching italics, in regular and condensed variants. [hoodzpahdesign.com, fortfoundry.com]

Sace is a sans serif typeface with prominent inktraps, available in five upright weights, paired with matching ‘tiltalics’ inclined at 45 degrees. [rellence.com]

Aderon is a condensed sans serif typeface available in seven weights in upright and oblique styles. [ultra-kuhl.com]