Atlas of Type: News

2025/FW in review: new foundries and services

2026-01-11T00:00:00Z

This is the second installment of the 2025/FW series, gradually picking up from where we left off in July. Last week’s post covered pubications, articles, and other news of the past six months or so. Today we look at new foundries announced in this period which, in addition to the foundries covered throughout the year, should form the complete list of foundries established in 2025.

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]

Babelfont is a type design studio founded by Brahim Boucheikha and Gia Tran in 2015 and operating between Paris, France and Casablanca, Morocco. In 2025 the studio released its first collection of retail fonts, with varying coverage of Arabic, Cyrillic, Greek, Hangul, Latin, Thai, and Tifinagh scripts.

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

Kefrany is a sans serif typeface designed by Brahim Boucheikha, Gia Tran, Jean-Baptiste Pernette, and Étienne Guégano, available in seven upright weights. [babelfont.com]

Jabaya is a variant of Kefrany that uses exaggerated inktraps as a design motif while Madika, for which credits also include Léo Rosina, is a version with softened features. [babelfont.com, 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]

Beam Type is a foundry based in Berlin, Germany, established in 2024 by Cecilia Del Castillo and Felix Bamforth, both recent graduates of the TypeMedia Master’s degree at the Royal Academy of Art in The Hague. The foundry’s initial retail catalog has been released throughout the latter half of 2025.

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 Typefaces is a foundry established by Ignacio Casco Guijarro in London, United Kingdom.

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]

Brutal Types was established by Paula Mastrangelo and Ramiro Espinoza, co-founders of Retype, to develop a collection of display fonts inspired by the lettering works created by designers and architects associated with the avant-garde movements of the interwar period, now counting almost sixty typefaces, previewed below. (The article then continues with Dogray.)

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]

Dogray is a type foundry established by Sahar Afshar and José Solé in London, United Kingdom.

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]

Double B Type is the new type foundry arm of Brand Brothers, a studio founded by Johan Debit and Jean-Rémi Massery in 2010, operating between Paris and Toulouse, France. The five typefaces that comprise the initial catalog are credited to Johan Debit and Tanguy Dortu.

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]

Edito is a type foundry established by Alan Madić in Paris, France.

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]

Gallery Type is a type foundry established by Daniel Perraudin in Berlin, Germany.

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]

Martha Sue Coursey established the creative practice That’s Weirdo Stuff in San Francisco, California. An update to Curiously (2022) and a new typeface named Excelsior are planned for 2026.

Moontype is a type foundry established by Pia Schröer and Julia Flomm, operating between Stockholm, Sweden and Hamburg, Germany.

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]

Obrysy is a type foundry established by Jitka Schneider in Brno, Czechia.

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]

Overtype is a type foundry established by Inès Davodeau and Tim Vanhille in Marseille, France.

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]

Pathfinders is a type foundry established by Octavio Pardo and Elena Ramírez as an imprint of Ashler Studio in Navarra, Spain.

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]

Petra-D is the new type foundry of Petra Dočekalová in Prague, Czechia dedicated to pushing the boundaries of handwriting and simply exploring the endless possibilities of hand lettering.

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]

Spoke is the type foundry and design studio of Teo Tuominen in Helsinki, Finland.

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]

TrashType is a type foundry established by Mark Johnson in Brooklyn, New York.

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]

Type Collider is a collaboration between Kostić Type Foundry and Bloom Type launched in 2025 and operated by the latter out of Stockholm, Sweden.

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]

UnitType is a type foundry established by James Smith in the United Kingdom.

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]

In other news:

Alanna Munro’s eponymous type foundry in Vancouver, Canada is now known as Arcane Type.

Typefaces from California-based Hoodzpah can now be also licensed from Fort Foundry. The two type foundries have recently made their respective catalogs available through a new subscription service named Fort Fonts, currently priced at $9/month. At the moment the app is available for macOS, with a Windows version in the works.

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]

Juanjo López, who previously released typefaces as Huy!Fonts, has folded the foundry’s catalog into Manufacturas Tipográficas Madrileñas, a project launched in 2024 to develop type inspired by the rich heritage of urban lettering in Madrid, Spain.

Ultra Kuhl, a type foundry established in 2018 by Jan Weidemüller in Berlin, Germany is now known as Rellence. Since last reviewed, the foundry has released a couple of new typefaces, both designed by Weidemüller.

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]

The Type Founders launched a new font subscription service named Typographer, featuring the catalogs of foundries in the company’s roster at a price of $9/month. I’ve now added Typographer to the Atlas as a distributor.

The Type Founders also acquired the retail catalog of Black[Foundry], and the Paris-based foundry will wind down its operations after a transition period. Co-founder Jérémie Hornus has now established U+ Type, a studio focused on custom type design.

The retail catalog of Adotbelow, an offshoot of DSType operating in Caminha, Portugal, appears to have been retired.

That’s it for today, thanks for reading.

2025/FW in review: books, articles, and other news

2026-01-02T00:00:00Z

Chipping away at the 2025 backlog, one post at a time.

Publications:

Published by Niggli, The quick classification guide for typography is the printed companion to the typ/o project led by Eva Kubinyi at FH Aachen. The authors present a selection of more than one hundred relevant typefaces, supplemented by historical background, user-relevant information and explanations of their special formal characteristics to make it easier to recognize the underlying formal principles. Also available in German.

Alphabetical playground by Nigel Cottier, with a foreword by Hamish Muir: beginning as a series of ongoing variable type experiments, unused project concepts and playful takes on existing letterform typologies, the book is an attempt to consolidate these varying ideas into a playful collection of Alphabets, a showcase of how far we can push the medium of type design and structure. The project is a follow-up to Letterform Variations (Slanted, 2021).

Edited by Elliot Jay Stocks and expected in March 2026 on Quarto’s Rockport imprint, Fine specimens collects together some of the best examples of contemporary type design from around the world, showcasing the promotional graphics created by type foundries to promote their fonts. The book, featuring essays by John Boardley, Ellen Lupton, Erik Spiekermann, Laura Meseguer, Min-Young Kim, and Veronika Burian, is available for pre-orders.

From Lazy Dog and CAST, Alfabeti modernisti italiani (EN/IT) collects over one hundred specimens, systematically organized into categories and subcategories: functional, cyclopean, triennial, synthetic, modulated, decorative, and modular. The book provides a historical contextualization of their origins, offering a clear mapping of typefaces produced in Italy between the 1920s and 1940s. Luca Lattuga’s research, realized in this volume, serves as an essential tool for studying a little-known phenomenon, shedding new light on a coherent and recurring style largely overlooked by traditional typographic historiography, emerging from small workshops and minor foundries, the so-called ‘basso’.

The volume is complemented by Alfabeti modernisti type specimens, a documentation of CAST’s eponymous collection of historical revivals based on the same material. Ricardo Olocco, Valentina Casali, and Giulio Galli presented the project in a Letterform Archive lecture in March 2025.

Coming later this month from Letterform Archive, Lettres décoratives: a century of French sign painters’ alphabets includes more than 150 plates from grand lithographic albums printed at the height of the sign painter’s craft. Originally made to demonstrate styles and inspire artists to decorate cities with increasingly colorful, adventurous, and refined forms, these portfolios preserve a rich visual history of urban alphabets. With an introduction by Morgane Côme.

Also upcoming from the Archive, Hotel retro: vintage luggage labels from Tokyo to Buenos Aires features hundreds of vibrant steamer trunk labels from the Golden Age of Travel, faithfully reproduced as 330 charming full-color stickers.

Speaking of urban signmaking, India street lettering by Pooja Saxena is the printed evolution of the author’s decade-in-the-making eponymous online archive. Take a short walk in any Indian neighbourhood and you’ll find signboards in a profusion of languages, styles, materials, and colours. So far, this living typographic archive has existed on the fringes of mainstream design discourse. India Street Lettering brings it to the fore, celebrating the artistic expression, linguistic diversity, and historical intrigue found in the vibrant letterforms around the country. The result of a successful Kickstarter run, the book is now available for pre-ordering from the publisher. More on the project in BLAG magazine, Indian sign painting, a typeface designer’s take on the craft.

Also the result of successful crowdfunding, Rian Hughes: Typeractive marks thirty years of Device Fonts and collects the foundry’s output in one sumptuous, 600-page hardback, showcasing complete glyphs sets, specially-designed type specimens, notes on process and background research, and hundreds of examples of type in use. Copies can still be ordered through the project’s Kickstarter page.

Six centuries of type & printing by Glenn Fleishman, originally letterpressed in 2019 and sold out by 2024, is back in revised print and ebook editions. This short book tells the story of the evolution of type and printing. It starts in Asia, before Johann Gutenberg, then takes you generation by generation through increasing sophistication in metal and relief printing and type manufacture.

Covering similar ground from an academic standpoint, Type. Buchdruck in Europa und Asien (DE) by Cornelia Schneider and Volker Benad-Wagenhoff offers a well-founded yet vivid look at the development of printing in two cultural spheres that operated independently of each other for a long time, and yet reveal striking parallels. With detailed technological knowledge, historical drawings, and cultural-historical perspectives, the work demonstrates that the invention of printing was not a solitary achievement, but rather a culturally diverse response to the challenges of knowledge, power, and media [intro translated from German]. The book is published jointly by the Gutenberg Foundation and the Gutenberg International Society in Mainz.

Edited by NYC-based designer Anežka Minaříková and published by Inventory Press, Clara Istlerová, a life among letters is the first publication in the United States to delve into the design landscape of the former Czechoslovakia through the lens of Czech designer Clara Istlerová (born 1944). Minaříková presented the project at the Herb Lubalin lecture series in July 2025.

From Triest Verlag, the upcoming two-volume The roots and impact of Jan Tschichold’s “Die neue Typographie” / The sources and characters of Jan Tschichold’s “Die neue Typographie”, edited by Davide Fornari, Chiara Barbieri, Jonas Berthod, and Matthieu Cortat-Roller, crystalizes into book form the Sources of Jan Tschichold’s The New Typography research project conducted at ECAL in Lausanne between 2019 and 2022. Design scholars have explored the international impact of TNT by looking at issues of mediation and dissemination, as well as by addressing the ways in which Tschichold’s ideas were incorporated into everyday practice. While TNT has been acclaimed as the curtain raiser of modern graphic design, the sources cited by Tschichold in it have been understudied also because of their difficult identification.

Also from Triest, Das Medium Bilderbuch (DE) by Hans ten Doornkaat is an upcoming publication dedicated to the picture book phenomenon. However, it does not focus on specific books or content, but rather takes a look at the medium itself: from the technical and formal requirements of printing to the format, paper and binding and ultimately, to special versions of the medium picture book such as pop-up books or hidden-picture books.

Tratex, a road sign alphabet in the making by Rikard Heberling and Jonas Williamsson traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it. The book is published by Lineto, whose Munken Sans (2020), commissioned by Artic Paper for the identity of its Munken product line, takes inspiration from Tratex. An abridged essay is available online.

From Pyramyd, La création typographique. Concevoir des polices de caractères (FR) by Matthieu Salvaggio is a revised edition of Blaze Type’s type design guide, How to design fonts? (2023). The foundry’s blog provides more details on the new edition.

Edited by Matter Of, New new typography seeks to unsettle established paradigms by opening typography to an expanded, more inclusive vocabulary. ‘New New’ means not innovation and progress, but rather a reorientation, a new relational standpoint between past and present, to bring forward practices that have been neglected, marginalized, or excluded.

The first TDC annual designed and published by Slanted: The world’s best typography. Typography 46 documents the winning entries in the Type Directors Club 71 competition.

First published with Onomatopee in 2021, How many female type designers do you know? I know many and talked to some!, a pioneering appraisal of female typographers, with historical research and interviews with contemporary practitioners edited by Yulia Popova, returns to print in the Set Margins' catalogue. Interviewees include Gayaneh Bagdasaryan, Veronika Burian, Maria Doreuli, Louise Fili, Martina Flor, Loraine Furter, Jenna Gesse, Golnar Kat Rahmani, Indra Kupferschmid, Briar Levit, Zuzana Licko, Ana Regidor, Fiona Ross, and Carol Wahler.

Alphabettes Soup: Feminist Approaches to Type features over 55 articles, essays, and interviews exploring intersections between culture, language, business practices, technology, and type. It also includes interviews with Alphabettes members, visual histories, and reflections on past and ongoing initiatives. More than an anthology, the book is conceived as a type specimen, showcasing over 120 typefaces designed by women and non-binary individuals. The book, planned for March 2026, can be pre-ordered from the publisher.

Ten Thousand Angels Press is a publishing imprint founded in 2025 by John Morgan, primarily to publish the second edition of his project Usylessly, which explores the non-literary aspects of the 1922 edition of James Joyce’s Ulysses. Art Data distributes the updated Usylessly, as well as Baskerville’s teardrop explodes: a selection of books as muses, a project comprising 31 books that have touched Morgan and his work as a book designer, completed shortly before his death. The publisher also announced another upcoming project: a “long-researched study of the Gallimard Blanche series of books”.

French studio Recto Verso have been crowdfunding the production of typographic swatch books organized by country of origin. Their latest nouancier, dedicated to typefaces by German foundries, had a successful Kickstarter run in 2025. The whole set of four — covering Germany, France, Switzerland, and the UK — is available from the studio’s shop.

Stencilled music books in France: techniques, inventories, ateliers, 1669–1841 is the theme of the 10th issue of Typography papers. The articles in this volume of Typography papers document stencilled music books made in France and those stencillers and stencilmakers involved directly or indirectly in their production. The books and individuals are located, in time, between the second half of seventeenth century and the first half of the nineteenth, mostly in Paris and the surrounding region. It was here, during this period, that such work became inventive, sophisticated, and often highly refined. All articles are available as PDF downloads, along with the contents of all the other issues except #8 (which still pops up occasionally at affordable prices on online marketplaces).

Published by Brill since 1971, Quærendo is a leading peer-reviewed journal on the history of books and manuscripts in Europe. A few of the journal’s articles, such as Mathieu Lommen’s Theosophy and lettering and Standards for lettering, are available as open-access PDF downloads.

Cyrillic printing in Romanian lands, from 16 to 19 century is Anna Vasina’s dissertation for the degree of MA Communication Design / Typeface Design at the University of Reading, UK: This dissertation examines the development of Cyrillic printing in the Romanian lands, focusing on the most culturally significant and widely circulated books within a defined period from the beginning of printing to the era of cultural transition and modernity. The narrative of Slavonism in Romanian culture is characterised by its ambiguous nature, presenting a compelling subject for investigation.

Back issues of The American Typecasting Fellowship newsletter are available online (via Jackson Showalter-Cavanaugh).

Beyond Bézier is a research project conducted between 2023 and 2025 at ECAL in Lausanne and HEIA-FR in Fribourg. In the age of early digital type, several methods were explored to draw letterforms. One of them, the Bézier spline, an algorithm that generates curves with a small quantity of data, has the crucial advantage of sparing computer memory and processing resources. As a result, drawing type with Bézier curves became the industry standard, and remains so today. This project aims to question and reevaluate this standard, to move beyond established trends, and to develop innovative, liberating ideas by exploring alternative methods of drawing curves and letterforms. Essays by Matthieu Cortat-Roller, Alice Savoie, Kai Bernau, Radim Peško, Micha Wasem, and Florence Yerly are supplemented by an Appendix featuring artifacts from the research process, such as the Stroke Scribbler RoboFont extension.

(Another ongoing research project to keep an eye on: WYSIWYG, an investigation in the uptake of graphic design software in Switzerland and France, 1980–today conducted at HEAD in Geneva, aims at documenting, from a historical and theoretical perspective, the digital turn of graphic design practice. How and when did the computer become the main working device for graphic designers? And what are the long-term unexpected effects of these technologies on the practice of graphic design today?)

Nicholas Rougeux prepared a digital edition of Daniel Berkeley Updike’s Printing types: their history, forms & use (1922, 1937). While facsimiles are valuable, they can’t compare to the original material from which they were generated. This project is a reproduction of Updike’s original work enhanced by the inclusion of scans of the original materials in place of the facsimiles. Thanks to publicly available digital collections, original scans of nearly every facsimile have been carefully sought out and included to allow readers to explore the many traits Updike described in their original form. The process notes are as informative as always, and there’s a poster specimen of types from the book.

Articles:

In 2021, Monotype bought Hoefler & Co, and with it several families that I designed. As these families are now further removed from their origin, I want to ensure that their stories are accurately recorded. I invited Doug Wilson to write these stories, to help tease out the threads of each typeface’s history. After eight days of interviews, he patiently arranged my overlapping thoughts into linear accounts of eight families, says Tobias Frere-Jones of the Design Accounts series. In the latest installment, Doug looks at how Gotham was designed.

Robin Kinross dissects the design of Fitzcarraldo Editions: Over many years there have been intermittent attempts by the larger, mainstream British publishers to emulate the French seriousness of content and design, but they have been feeble and short-lived. Sometimes the imitation has amounted to not publishing first in hardback, and publishing only in paperback with ‘French flaps’ on the covers. As if conscious of this history of failure and of the obstacles presented by an obdurate, sometimes philistine UK literary and bookselling culture, Fitzcarraldo’s founder Jacques Testard took the name of his firm from Werner Herzog’s film about the task of transporting a steamship over a mountain in Peru.

Each summer, Typotheque takes time to recharge. Before our break, we share seven books from our studio shelves that continue to inspire our work, says Peter Biľak.

On the Fontstand blog, Dan Reynolds examines the historical sources for Pascal Zoghbi’s 29LT Idris (2024), a typeface inspired H. Berthold AG’s Arabisch halbfett Nr. 49, drawn by Salim al Habschi. I have great hopes that Pascal’s typeface will not only find great use itself but also serve as a model for other designers, illustrating how archival materials like those available for Berthold’s Arabisch halbfett Nr. 49 can be interpreted as source material for new typefaces today and tomorrow. Dozens of folders from Berthold’s type-cutting department were digitized in 2024 and published online in 2025. Few type designers have seen those materials since the early 1990s. Who knows what other designers in the 2020s might draw from them? 29LT Idris is an excellent example of their potential.

For the same blog series, Katerina Grushka reviews David Jonathan Ross’s Club Lithographer (2020).

For the ECAL Typefaces blog, Switzerland-based designer Nell May in conversation with New Zealand physicist Crispin W. Gardiner, who also happens to be their dad: A thing I have always felt is that support for the concepts of maths, mathematical thinking and mathematical typesetting in virtually all places is woefully inadequate. A journal like the NZ Listener can discuss Shakespeare in some depth, but be unable to typeset some of the simplest equations, such as would be taught in high school at the same time as Shakespeare. — A quantum physicist’s views on type.

Dan Reynolds on The Akzidenz-Grotesk you’ve never seen: In the 1920s, a unique variant of the Akzidenz-Grotesk typeface was created for Germany’s emerging system of industrial standards. Few people have ever seen it.

In a revised version of his talk at Automatic Type Design 3, David Březina asks: What is a (universal) script grammar?. The assemblage of topics discussed attempts to map the relationship among the font technologies (such as font formats and font editors), the manual and educational origins of writing (in the sense of mark making), and human perception (namely character recognition). Would it be theoretically possible to derive basic morphological principles of scripts based on the human condition? And if so, why would we want to do that?

Okay Type’s favorite typefaces of 2025: Did I make this up or did designers used to write blog posts with end of the year lists about their favorite font releases? Maybe they still do and it’s all hidden in the rotting guts of the social media walled gardens. Anyway, in a renewed effort to manifest a better, more personal internet I decided to write about mine.

Nick Sherman explains why Fonts in Use is not active on Instagram: We’ve abandoned problematic platforms, embraced ethical alternatives, and survived to talk about it.

The evolution and adaptation of the Arabic script by Amir Mahdi Moslehi examines the origins and the development of various calligraphic styles, with a focus on how regional influences have shaped these forms.

The Letterform Archive showcases Sylvie Vodáková’s book covers for Květy Poezie.

Erik van Blokland recounts a forgery case involving alleged correspondence between two departments of the KGB, incongruously typewritten in FF Trixie (1991).

For the 13th issue of Flat File, a semi-regular publication that practices the ‘close-reading’ of graphic design by the Herb Lubalin Study Center, Jess Kuronen looks at the work of Roy Lagrone for Avon: Roy LaGrone used the back cover to exercise creative freedom during his time as an art director at pulp publisher Avon Books. His job was to oversee the design of books, jackets, interior illustrations, and layouts. Since the back was the same size as the front and faced less contentious approvals, it was the ideal experimental laboratory.

Cheryl D. Holmes-Miller reports that for its 7th edition, Meggs’ history of graphic design co-editors Sandra Maxa and Mark Sanders “sought parallel, converging, and divergent designers and works that bolster the spine of graphic design history presented over the previous editions”, in an effort to reform the textbook’s perceived white, Eurocentric narrative.

As Proxima Nova turns 20, Mark Simonson reflects on a quarter-century of type design in Mark Simonson Studio at 25.

An in-depth interview by François Chevret with Alice Savoie, Une femme de caractères (FR), touches on the lack of visibility of women within typography and type design, and the efforts to reveal their contributions in projects such as Women in Type and Alphabettes.

A chat with Elizabeth Goodspeed, Casual Archivist by Jessamyn West for the Flick Foundation blog: The internet gives this illusion of permanence, when in reality it’s more like a series of short overlapping windows. So I worry about loss, but also about flattening. When images get detached from their original context, they start functioning as purely aesthetic material—or worse, as false history. That risk feels especially relevant in the age of AI, when the difference between real and fabricated often comes down to what context survives.

Type is magic, an interview with Anne-Dauphine Borione, whose fantasy-inspired typeface Dargon won her the Gerard Unger Scholarship in 2024, on the TypeTogether blog.

From Google Arts & Culture, 800 years of English handwriting from the collections of the Derbyshire Record Office.

Resources, archives, and tools:

Typefoundry Directory was revised, expanded in scope, and re-engineered this year. Matthew Smith outlines the updates in v3, among which is the ability for foundries to sponsor custom nameplates. Having faced similar challenges with demarcation, I also appreciate the thorough documentation of the methodology Matthew employs when having to shoehorn nuanced, human realities into tabulated facts.

TimeLure, une chronologie des Rencontres de Lure documents seventy years of meetings in the alpine village of Lurs, kicked off in 1952 by Maximilien Vox and friends.

The KABK TypeMedia class of 2023–2024 student showcase is now online.

Communication Arts have announced the winners of their 2026 competition for the Typography discipline.

Fontbob by Carl Enlund is a web-based font editor that works on desktop and mobile devices. The app is free for public fonts, and a paid version priced at $7/month enables users to keep their creations private.

three-text by Jeremy Tribby is a high-fidelity 3D mesh font geometry and text layout engine for the web that packs several interesting algorithms under the hood: three-text relies on HarfBuzz for text shaping, Knuth-Plass line breaking, Liang hyphenation, libtess.js for removing overlaps and triangulation, curve polygonization from Maxim Shemanarev’s Anti-Grain Geometry, and Visvalingam-Whyatt line simplification. There’s a live demo available.

Type-X, a Google Chrome extension that makes it easy and efficient to test local fonts on any website, has been renovated through the efforts of Simon Cozens and Roel Nieskens.

Also from Roel Nieskens, FontJit is a small library for controlling webfonts: load fonts when they enter the viewport, or when they almost enter the viewport, or immediately.

fPDK by Connor Davenport is an open-source development kit that uses DrawBot to automate the production of font proofing PDFs, as exemplified here.

From HAL Typefaces in collaboration with Christoph Seibel, TypePad is a free tool which offers a more playful, intuitive and accessible way to work with variable fonts in InDesign with an interface inspired by interface is inspired by drum machines and MIDI controllers.

Anchor Dropper by Ryan Bugden is a RoboFont extension that automates the placement of achors for accents in Latin chacters. More details in Ryan’s video presentation.

The World Wide Web Consortium has published a candidate recommendation draft, and is inviting implementations for Incremental Font Transfer. The spec presents outlines a mechanism for the efficient use of large, multi-script fonts on the web that addresses the shortcomings of unicode-range-based subsetting.

Adobe After Effects has recently gained the ability to animate variable fonts.

Videos:

James Mosley’s History of Letterforms: James Mosley’s lectures on the history of letterforms were delivered in the Department of Typography & Graphic Communication over many years. They represent the sequence of lectures given by Prof. Mosley to students over the course of one academic year. In 2020–21, they were recorded as still images with voice-over. Following Prof. Mosley’s death in August 2025, the Department is pleased to make the recordings generally available in agreement with the Mosley estate.

Essential RoboFont with Colin Ford: RoboFont is our font editor of choice here at OH no Type Co, and for many professional type foundries around the world. Getting to know it would be a good foundation for all of our OH no Type School design courses. All you need to get started is a Mac, and a free trial download of RoboFont!

Talks from Typographics 2025 have been published on the conference website.

A couple of lectures related to the Small Performances research project (2024, ongoing): Caroline Archer-Parré talked about The making of Baskerville’s typeface at the Herb Lubalin Lecture Series, while Riccardo Olocco & Michele Patanè presented Investigating John Baskerville’s type design at Ensad in Nancy.

Also from the Herb Lubalin Lecture Series:

Romain du roi: 330 years later: According to various accounts, the first trial cuts of what became the first of the Romain du Roi (King’s Roman) fonts were made 330 years ago in 1695. To acknowledge this date we are taking a closer look at the history and legacy of this ambitious royal type project which took some 65 years to complete. The event pairs The inception of the Romain du roi by Riccardo Olocco to “The art that conserves all others”: the monumentality of the Romain du roi by Dr. Sarah Grandin.
Dear Amelia with Tomáš Hlava: Since 2018, Hlava has been encountering and uncovering the mystery Amelia is wrapped in. ‘Dear Amelia’ is an attempt to (re)connect these personal and typographic histories through the epistolary form. In these letters he describes how people got to see Amelia for the first time, the plagiarism the type foundries committed, his first encounters with Amelia in the Czech Mountains, and the moment he got to know her name. Later, he writes about the moment he decided to go to the place where Stanley Davis lived, Saugerties in upstate New York. There, through a series of coincidences, Amelia the typeface and Amelia the person begin to blur.
TypeTourist, city signs with David Quay of The Foundry Types explores the rich heritage of urban and vernacular signs and lettering in our cities and towns.

From St Bride Foundation:

Reading Type Specimens: from Cicero to Spoonie Highdiddel Ladies’ Cicerone, is a recording from June 2024 of a lecture by Paul Shaw on the texts that typefounders used to display and promote their typefaces.
Adventures in episodic type design with David Jonathan Ross: Seven years ago, David Jonathan Ross decided to stop releasing fonts the old fashioned way, and started emailing a new font out to his friends and colleagues each and every month. He is the first to admit that a Font of the Month Club is a goofy and impractical idea, but it is one that he takes very seriously. In this talk, David will share how this chunkification of his process into monthly missives has streamlined his workflow, redefined his business, and created opportunities to make the kinds of fonts he wants to make (even if that doesn’t happen to align with what the market is demanding).
Chemical colour: evidence for ‘coal-tar’ pigments in British printing ink, 1860–1914 with Ian Dooley: This talk explores the introduction and continued use of synthetic organic pigments for printing ink during the late nineteenth century. Synthetic pigments introduced brilliant never-before-seen colours for printing that could not be produced by naturally derived pigments. They are derived from synthetic dyes which began commercial production in the late 1850s. But we don’t know when they were introduced as pigments, for how long they were used, or for what kind of printed material they may or may not have been used for.
Writing with type with Ellen Lupton: Across history, writers have used typography and layout to shape their messages from the inside out. Countless cultural producers amplified their voices with typography, from Martin Luther and Florence Nightingale to Làszlò Moholy-Nagy and Gretel Adorno. This talk explores writing as design and design as writing—and the people who make it happen.
I love your work: a celebration of book cover design, a lecture series hosted by Join Nico Taylor, Jack Smyth, and Ceara Elliot with appearances from Jon Gray, Moesha Parirenyatwa, Ellie Game, Rose Blake, Dan Jackson, Beci Kelly, Steve Leard, and Josie Stavey Taylor.

From the Letterform Archive Lecture Series:

Holy comic lettering Batman!: a brief retrospective of comic lettering and fonts with Kirk Visola: The history of comics is often defined as a unique marriage between type and imagery, telling a complex story—a story could be told in four images, or four hundred. Each comics’ style heavily influenced its lettering or type. The storytelling aspects and production of comics have changed tremendously since they were first introduced in the late 19th century. Comics are continually evolving and changing with the times. And with those changes, the lettering that was created needed to follow suit.
The past is always present: Chosmos—time travel in heavyweight type with Cristian Vargas on the design of Chosmos: Beginning with graffiti explorations in the ’90s, this talk traces a path through carved stone signage in The Hague, painted elevator letters in a Mexico City art deco building, house numbers in San Francisco, and sketchbooks filled with forms sparked by a 2024 trip to Japan.

The story of Skin & Bones, a talk by Mark Simonson on the revival of the 1972 typeface designed by Douglas F. Jones, presented at Type Tuesday in Minneapolis.

Filiation: nurturing a pedagogy of type design in France, a talk by Alice Savoie and Thomas Huot-Marchand presented at ATypI 2023 in Paris. Taking the year 1982 as a starting point, this talk will revisit the historical events that led to the construction of a pedagogy of typeface design in France over the last four decades. The presentation will be an opportunity to pay tribute to some of the key contributors of that period, and connect the dots between some of the topics addressed by other speakers during this ATypI conference.

Multilingual and multiscript book design, a talk by John D. Berry from the Face/Interface 2025 conference at Stanford University.

On the Jectives YouTube channel, Curtis Simpson is streaming Typography News each week.

Farewells:

Andy Altmann (1962–2025); a tribute by Jim K. Davies;
Franck Jalleau (1962–2025); obituary, a tribute by Jean-Baptiste Levée;
Richard Kindersley (1939–2025); obituary by Tanya Harrod;
Volker Küster (1941–2025); obituary by Natascha Dell (DE), via Florian Hardwig;
John Morgan (1973–2025); obituaries by Oliver Basciano, Edwin Heathcote, Jonathan Bell, Jack Murphy;
James Mosley (1935–2025); tributes by Riccardo Olocco, Catherine Dixon;
Jim Parkinson (1941–2025); a tribute by Stephen Coles, a profile by Sean Elder (2016);
Ieuan Rees (1941–2025); obituary;
Chris Simpkins (1974–2025); obituary;
Michael Twyman (1934–2025); obituaries by Ben Weiner, Sue Walker.

Finally, Ramiro Espinoza’s recent tribute to Piet Jacobs (1944–2024), Farewell to a printer.

Recent releases #35, catch-up edition

2025-07-04T00:00:00Z

Still on the monthly schedule at the moment with a look at the typeface releases, updates, and expansions published since the last edition and up to around June 12nd.

Adobe Originals released as a standalone typeface the sans serif Chidori, originally designed by Frank Grießhammer to provide Latin coverage for Momochidori, released earlier this year with a Japanese script designed by Ryoko Nishizuka and Taisei Yoshida. Unconstrained by the visual coordination required of the bi-scriptual setup, Chidori’s weight and width variation axes are able to reach further designspace extremes. [fonts.adobe.com].

ALT.tf released ALT Picaro, a single-style rounded sans serif designed by Ellen Jonsson. [alt-tf.com]

bb-bureau released Timtam, a uniwidth, modular display typeface designed by Benoît Bodhuin based on a concept related to Tacmitac. Here, the construction consists of (tim tam) straights and diagonals, varying along 2 axes: weight and width = style (A, B and AB). [bb-bureau.fr]

Beasts of England and Typeverything released Talu, a single-style, condensed calligraphic typeface inspired by the folk myths and legends of Old England, designed by Simon Walker. [beastsofengland.co, typeverything.com]

Blast Foundry released Vanilla Mono and Vanilla X, a pair of monospaced and semi-monospaced typefaces designed by Barbara Bigosińska to complement the geometric Vanilla Sans, co-designed with Rafał Buchner and originally released in 2024. [blast-foundry.com, blast-foundry.com]

Bold Decisions released Reklame, a display typeface cooked from a myriad of references widely available through foundries operating in Europe in the 1970s, designed by Mads Wildgaard. Available in six upright weights. [bold-decisions.biz]

Brandon Nickerson Studio released BN Alaskan, a single-style, condensed display typeface with flared serifs, designed by Brandon Nickerson. [bnicks.com]

Brownfox released Maket, a geometric sans serif designed by Vyacheslav Kirilenko and Gayaneh Bagdasaryan, available in three upright weights. On the one hand, it recalls the era of drafting tables, blueprints, and compasses. Its technical feel evokes German DIN-standard typefaces. On the other hand, it clearly carries traits of Art Nouveau and the Decadent movement. [brownfox.org]

Caterina Santullo published the initial version of Lei Sola, a quirky, rich text typeface that takes delight in the restless and dramatic play of contradictory forms, designed by Caterina Santullo. Started in 2021 as a revival of a typeface from a 17th-century book found in a Turinese flea market, during the designer’s TypeMedia studies at the KABK, The Hague. [futurefonts.com]

Contrast Foundry released CoFo Raffiné, a high-contrast display serif designed by Olga Kovalenko, inspired by the title cards from the silent film Wagon Tracks (1919). It also appears influenced by the lettering of William Hugh Gordon and Ross F. George and their late-sixties interpretations. The typeface features a weight variation axis. [contrastfoundry.com]

Dalton Maag released Pranzo, a comic book typeface with variation axes for weight, width, and slant, designed by Samar Zureik and Hanna Donker. The typeface is supplemented by a set of expressive symbols, as well as speech bubbles and frames. [daltonmaag.com]

For the May 2025 installment of the foundry’s Font of the Month Club, DJR released Megavolt Narrow, the condensed version of the trapezoidal display typeface Megavolt, designed by David Jonathan Ross and originally released in 2021. [djr.com]

Delve Fonts released Astra Nova, a revival of the dry-transfer typeface Astra (Letraset, 1969) designed by François Robert. This is the second revival, after Baudot (2023), that the foundry produces with the designer’s involvement. [delvefonts.com]

Device Fonts published a set of new typefaces designed by Rian Hughes.

Advocate is an all-caps display serif typeface available in solid, incised, and shaded styles. Though of traditional proportions, the short serifs and almost monolinear weight stress lend it a robust presence, balancing the more delicate aspects with a clarity that works across large and small point sizes. [devicefonts.co.uk]

Bagatelle is a single-weight rounded serif typeface available in three widths. Bagatelle began as an attempt to add a lower case to Freehouse, but swifty developed into a design all its own. It owes something to Oz Cooper and his eponymous Cooper Black and the Cooper-inspired Goudy Heavy, Frederic Goudy’s 1925 riposte for Lanston Monotype. The rounded bracketed serifs are a feature of both Freehouse and ITC’s American Typewriter, which was designed in 1974 when the friendly Cooper styles were undergoing a huge resurgence. [devicefonts.co.uk]

Charlton is an all-caps informal script typeface loosely inspired by Jon D’Agostino’s lettering style for the Derby, Connecticut-based Charlton Comics (1945–1986). The typeface is available in two upright and italic weights and is supplemented by a matching set of icons. [devicefonts.co.uk]

Dolomite is a single-weight heavy obround sans with angular incoming and outgoing strokes that act like angled serifs, available in upright and italic styles. [devicefonts.co.uk]

Processor is a single-style, all-caps display typeface seemingly inspired by the aesthetics of printed circuit boards, originally released in 2022. [devicefonts.co.uk]

DizajnDesign released Komu New, a set of four reinterpretations of condensed socialist grotesques designed by Ján Filípek, following two styles released in 2010 as Komu. [dizajndesign.sk]

Domicile Foundry released Rondeau, a serif typeface influenced by 19th century French Elzevirs, designed by Joona Louhi. In addition to acknowledging the work of Louis Perrin and his peers at the time, Rondeau takes cues from type that was clearly influenced by French Elzevirs closer to the 20th century. Typefaces like the Post/Canton Series and French Old Style (Barnhart Brothers & Spindler), Römische Antiqua (Genzsch & Heyse 1888) and Romanisch Antiqua (Schelter & Giesecke 1895) informed its development. [domicilefoundry.com]

DSType published a preliminary version of Imenso, a compressed display typeface designed by Pedro Leal and Dino dos Santos in serif, sans, and flared variants, with either solid or stencilled letterforms. [dstype.com]

DualType published on Future Fonts the initial version of Dual Grafika, a geometric typeface designed by Zrinka Buljubašić with Gen Ramírez. Dual Grafika sits somewhere between Bauhaus rationality and the expressive lettering styles of the mid to late 20th century. One of its defining gestures is the horizontal line that moves across the type, from baseline to x-height, stitching the letters together and anchoring the design. [futurefonts.com]

Erkin Karamemet released EK Ultimo, a display typeface that combines angular exterior shapes and rounded counterforms. Available in three upright weights. [erkinkaramemet.com]

Extraset expanded the original ES Rebond Grotesque, a sans serif designed by Roger Gaillard and originally released in 2020, across the contrast axis to a collection of four related typefaces that express a desire to introduce a caligraphic aspect to grotesque designs, taken to the extreme with ES Rebond Revista, whose generous thick strokes and razor-thin thins create dynamic, sculptural forms that sit somewhere between the linearity of sans-serifs and the elegance of serifs. [extraset.ch]

F37 Foundry released F37 Mancunio, a sans serif typeface inspired by one of the last original wooden street signs in Manchester, found at St Michael’s Place, designed by Rick Banks and Rodrigo Fuenzalida. [f37foundry.com]

Famira Fonts released Jupette Grotesk, a streamlined version of Jupette, a cheeky slightly soft sans serif with the spirit of the Côte d'Azur in the late fifties designed by Hannes Famira and released in 2024. Its shapes are simplified and some of Jupette’s pazzazz is reduced here. This is evident in more unified proportions, less dynamic counters, terminals that cut off horizontally and corners that in contrast to Jupette are not rounded. [store.typenetwork.com]

Font Club Belgica released FC Crimp, a typeface that combines monospaced font but with better ragging by using half widths for narrow and wide characters, designed by Dries Wiewauters. It revives W.A. Dwiggins’ ingenious idea of using variable-width characters to enhance fixed-width type, blending historical innovation with modern design. [fontclubbelgica.com]

Fontfabric released Combina, a geometric sans serif with monolinear script alternates designed by Ani Dimitrova, Viktoria Usmanova, and Stefan Yatanski. The cursive letterforms are inspired by the American Script type presented in Pettingill & Co.’s Copper alloy type book (1901). [fontfabric.com]

Giulia Boggio released Ufficio Display, the display counterpart to Ufficio Sans (2023), designed using some of the scrapped stylistic alternates (especially S) and some geometric elements. Available in seven upright weights. [giuliaboggio.xyz]

Hoodzpah released Bowery Lane, a serif typeface influenced by the Modern/Scotch tradition, featuring swash sets that nod to the 1960s, designed by Amy Hood. Available in six upright weights with matching italic styles. [hoodzpahdesign.com]

HvD Fonts released Officer Sans, an utilitarian sans serif typeface designed by Hannes von Döhren with support from Bernd Volmer and Moritz Kleinsorge. Drawn in proportions compatible with Helvetica and Arial for straightforward substitution, the typeface was developed around the functional requirements of office software. Also available in the narrower Officer Sans Condensed variant. A basic package (regular, bold, and their italic counterparts) is offered free of charge for personal use. [hvdfonts.com, hvdfonts.com]

Also from HvD Fonts, Mikado Condensed is a narrower version of Mikado (2013), a playful sans designed by Hannes von Döhren with support from Christoph Koeberlin and Bernd Volmer. [hvdfonts.com]

Kilotype released a preliminary version of Oldschool Graphic, a typeface that spiraled sideways out of Oldschool Grotesk as a deliberate accident, if you will, designed by William Montrose. The two styles, representing extremes in the original’s designspace, share flat sides, narrow counterforms, and small holes punctuating the angular joints. [kilotype.de]

Jakob Fangmeier launched on Future Fonts the sharp, ‘Garamondesque’ serif typeface Kante, which in a month’s time has been expanded to a set of four upright weights and a first italic style. [futurefonts.com]

Luzi Type released Yetson, a typeface that strives to capture the very essence of what makes a sans different from its serif cousin, developed by Luzi Gantenbein into the metrically-compatible Yetson Serif and Yetson Sans subfamilies. The Serif version highlights the essentials: a slight tilt to the axis, minimal yet decisive serifs. Yetson Sans has subtle calligraphic touches, especially in the design of the lowercase ‘a’ and the italics. Available in upright and italic styles, and supplemented by the upright Yetson Mono. [luzi-type.ch]

Monkey Type released Caesar, a humanist sans designed by Mitch Paone and Sebastian Carewe, available as a variable font with weight and slant axes. [mnkytype.com]

Naipe Foundry released Uai UI, a humanist sans designed by Felipe Casaprima and Álvaro Franca. The typeface is designed for user interfaces, featuring a uniwidth weight axis, a separate grade to accomodate dark mode use, and vertical metrics that facilitate centered text inside buttons. [uai.naipefoundry.com]

Newglyph released a pair of typefaces that represent the culmination of Ian Party’s decades-long engagement with the early 18th-century precursor to the transitional serif. The Romain du Roi is a robust text family with weight, width, and contrast axes, while Le Grand is a high-contrast display companion with a weight axis. [newglyph.com, newglyph.com]

Occupant Fonts released Occupant Modern, an exploration of the Didone genre designed by Cyrus Highsmith and Marie Otsuka. The design is inspired by the high-contrast, Mincho-style typeface Kocho (Morisawa, 1992). The display family features variation axes for width, weight, and contrast, and is complemented by a text optical size with a weight axis. [occupant-fonts.com, occupant-fonts.com]

Ornamental & Title Type released Harker, a single-style, condensed, high-contrast typeface designed by Thomas Bizzarri and Alain Rodriguez. The design, whose primary influence is Olympic (Deberny & Peignot, 1937), features two sizes of capital letters. [ott-foundry.com]

Outline Online released Theran, a monospaced dot matrix typeface designed by Laura Csocsán, inspired by a found sample of an unidentified thermo-printed font. The design, which uses a 5×7 rectangular grid structure across its ten weights, lends itself to layering for chromatic effects. It also includes an OpenType feature for adding borders around text. [outline-online.com]

PampaType released Gorgias, an interpretation of the Schulfraktur (Schelter & Giesecke, 1886) blackletter typeface found in a copy of Platos Gorgias (Berlin, 1911), designed by José Manuel López Rocha. Available in two weights, in solid and open letterforms. [pampatype.com]

Pangram Pangram released a preliminary version of PP Kyoto, a bi-scriptual typeface designed by Caio Kondo, Mathieu Desjardins, and Francesca Bolognini that aims to bridge the aesthetic of Latin slab serifs with the calligraphic spirit of hiragana and katakana, creating a typographic voice that resonates across languages and cultures. Available as a variable font with a weight axis. [pangrampangram.com]

Plomb Type is a new type foundry established by Max Esnée and Emma Marichal in Lyon, France. The foundry’s inaugural release is Savate, a reverse-contrast humanist sans serif designed by Esnée, originally released in 2016 with Velvetyne, now completely redrawn and expanded. Savate is available under SIL Open Font License. [plombtype.com]

Process Type Foundry released Common Shapes, a sans serif that continues the exploration into implied geometry started with Colfax and further refines an approach that is geometric in tone, but not measured or automated, designed by Eric Olson. Available in six weights in upright and italic styles. [processtypefoundry.com]

PSTL released Tightle, a single-style display sans designed by Mark Caneso whose features create the feeling of letters that tuck behind, slide up close, and nestle into one another, complemented by a conventionally spaced Subhead style. [pstypelab.com]

QueerType published on Future Fonts the initial version of Antiphony, an unconnected script typeface by Betsy Schuster started during the designer’s TypeMedia studies at the KABK. Available as a pair of italic and contraitalic styles sharing a 45° slant, which enables a variety of perpendicular compositions. [futurefonts.com]

R-Typography released the display size of Tripsis, a hybrid typeface highly reminiscent of traditional serif typefaces made for books, but without the serifs, designed by Rui Abreu. [r-typography.com]

RadLuka released RL Horizon, an unconventional slab serif that explores the interplay of contrast and softness within the broad framework of transitional type, designed by Radek Łukasiewicz. It draws inspiration from a variety of sources including Cooper, Bookman, Estro, and Italian Fatface, to create a distinctive typographic voice. [radluka.com]

Razzia Type released RT Lately, a loose interpretation of Times Gothic (ATF), Franklin Gothic (ATF, 1904), and ITC Franklin Gothic (ITC, 1980), designed by Mirco Schiavone. Available in four weights, in upright and italic styles. [rt-lately.com]

Resistenza released Sidera, a high-contrast serif typeface designed by Giuseppe Salerno and Paco González. Drawing inspiration from transitional serifs and calligraphic forms, it balances elegance with impact through sharp wedge serifs, flared terminals, and dynamic contrast. [rsztype.com]

Rosetta released Softly Yours, the rounded companion to Only Yours, a generative typeface that contains thousands of unique variations, each featuring a different combination of characteristics, designed by David Březina and released earlier this year. Every variant of the Yourses, of which nine are generated each day, comes with an exclusive license. [rosettatype.com]

Schick Toikka released Edict, an interpretation of types from the French late Renaissance and early Baroque period, designed by Florian Schick and Lauri Toikka. Edict amalgamates traits and details freely, drawing on a multitude of sources. If one prototype in this anthology is to be singled out, then it’s Jean Jannon, who was active about three generations after Garamond, and whose work was the actual basis for several of the 20th-century ‘Garamonds’. Available in five display weights, in upright and italic styles, as well as a variable font with a weight axis. [schick-toikka.com]

Souvenir Typefaces released Gratitude, a typeface designed by James Griffin that deliberately merges two typographic traditions that rarely converse: the cool precision of slab serifs with the warm personality of elzevir styles. Available in four weights, in upright and italic styles. [souvenirtypefaces.xyz]

Sudtipos released Heartline, a monolinear, informal connected script typeface designed by Dafne Martinez. Available as a variable font with a weight axis. [sudtipos.com]

Suitcase Type Foundry released Yolo, a set of strictly geometric typefaces based on a fundamental circular, square, and rectangular base, designed by Tomáš Brousil. Using a monolinear stroke in character construction, it combines refracted right angles and precise curves and ends all open shapes strictly horizontal or vertical. The streamlined Yolo Text is accompanied by the more ornate Yolo Display. [suitcasetype.com, suitcasetype.com].

Studio Feixen Fonts released Mov Variable, an experimental typeface designed to move, to dance, to turn, morph and slide, designed by Felix Pfäffli and Robin Eberwein. Each letter comes in several unique designs controlled by two variation axes, with the shapes anchored to a common 9×9 grid. [fonts.studiofeixen.ch]

Threedotstype released Extract Semislab, an alternate style of the condensed sans Extract Grotesk featuring slab serif capital letters, designed by Marian Misiak and Radek Łukasiewicz. [threedotstype.com]

Tofu Type released Meiros, an all-caps, Art Deco-inspired, inline display typeface designed by Reese Lee. Available in three optical sizes. [tofutype.ca]

Tokotype released Sinar Grotesk, a refined sans-serif that blends neo-grotesque precision with the warmth of early geometric grotesques, designed by Gumpita Rahayu. Available as a variable font with weight and width axes. [tokotype.com]

Tunera released Azabache, a single-style modular handwriting typeface that’s the result of a research project conducted by Ariel Martín Pérez to look for alternative ways of designing digital letters that wouldn’t involve drawing the shapes by tracing complex vector paths. [tunera.xyz]

Tüpokompanii released Juunior, a playful sans serif that sports intentionally stretched curves moving with youthful speed, while its contrasted strokes carry the timeless charm of American Gothics like Franklin, designed by Andree Paat. Available in six weights, in upright and italic styles. [typokompanii.com]

Type-Ø-Tones released Kanat Latin, the Latin intepretation by Maria Montes of Kanat Arabic (Ama Foundry, 2023), a stencil typeface designed by Lara Captan for letterpress applications. [type-o-tones.com]

Also from Type-Ø-Tones, ZooLogic is a monolinear sans serif in three degrees of informality, originally designed by José Manuel Urós in 2007 for the Coco Books translations of books illustrated by the La Zoo collective. For the Spanish and Catalan editions, we sought to bring the rhythm of the original Japanese compositions into the Latin script, using the same finishing techniques and integration methods. [type-o-tones.com]

Typeji published on Future Fonts the initial version of Geotunda, a single-style display typeface designed by TienMin Liao that reimagines the traditional Rotunda-style blackletter through a geometric lens, resulting in a distinctive hybrid that feels both historical and contemporary. The initial inspiration came from a found sample of Morris Troy on a postal stamp. [futurefonts.com]

Typeverything released Globo, a display typeface designed by Andrei Robu based on lettering from a posthumous 1960 edition of Studio handbook by Samuel Welo (1895–1950), where it’s captioned call this Chrysler. Available in nine weights. [typeverything.com]

typographies.fr released Luciole Math, an extension of Luciole (2019) designed by Laurent Bourcellier with mathematician Daniel Flipo. Developed in collaboration with the Regional Technical Center for Visual Impairment, the project seeks to offer visually impaired students and researchers an accessible and professional tool for university studies, research and teaching, and is available under permissive licenses (SIL Open Font License for Luciole Math, and Creative Commons Attribution for Luciole). [luciole-vision.com]

Typonym released Karel, a single-style sans serif inspired by historical forms discovered on a mid-century Constructivist plaque on the outskirts of Prague featuring a peculiar uppercase K and complimentary stylized A, U and Y glyphs, designed by Evan Deterling. [typonym.xyz]

Typotheque released Terrassa, a modular display typeface inspired by the monolinear lettering found in technical drawings and architectural plans, designed by Nikola Djurek. The collection is comprised of a base family supplemented by two display variants, all implemented as multi-axis variable fonts, culminating with five axes for Terrassa Gradient (Tracking, Gradient, Distance, Hour, and Steps). The release is supported by the essay Drawing, writing, lettering: from the geometric letterform to the architectural plan by Manuel Sesma Prieto and Héctor Mangas Afonso, as well as by a printed specimen. [typotheque.com]

Yep! Type released the initial version of Unifora, a uniwidth sans serif with an industrial feel designed by Roman Shamin. Available as a variable font with weight, width, and slant axes. [yeptype.com]

Zetafonts released the initial version of Anterior, a sans serif designed by Francesco Canovaro. While Helvetica is known for its cleanliness and universality, and Futura for its geometric modernity, Anterior combines both aspects: the precise order of lines and curves typical of Helvetica with the bold, progressive shapes found in Futura. Available as a variable font with weight and slant axes. [zetafonts.com]

Setup Type added to the Lab section of the foundry’s website several new early-release typefaces designed by Ondrej Jób, as both a way of making peace with the realities of running a solo type foundry while freelancing as well as a practical move — although not 100% finished, these fonts are already highly usable and ready for the real world.

Async Sans is a neo-grotesque sans that aims to embody the essence of a tool that operates seamlessly across diverse contexts, available in nine upright weights with support for Latin and Greek. [setuptype.com]

Bauplan is an interpretation of Futura guided by Setup Type’s approach to rationality and usability, available in seven weights, in upright and italic styles. setuptype.com]

Clarinet is a serif typeface with flared terminals, an orchestration of multiple influences from various historical periods of letterform evolution into a consonance that’s classical and elegant, yet friendly and warm. The family, which debuted in 2020 with Clarinet Wide, now features four widths in display and text optical sizes. [setuptype.com]

Diform is a bare-bones, functional geometric sans-serif typeface intended for versatile use, available in eight weights, in upright and italic styles. [setuptype.com]

Doko Sans is an elegant, expressive humanist sans-serif typeface with angled terminals, designed as a companion to Doko, a playful typeface with calligraphic features inspired by cartoons, illustration and lettering released in 2011. [setuptype.com]

Hauer Display is a high-contrast serif typeface available in eight upright weights. [setuptype.com]

Kinki is a single-style, unicase handwritten typeface with an organic variation in stroke thickness. [setuptype.com]

Kue is a geometric sans serif with letterforms rounded on one side, and straight-cut on the other, available in two complementary styles, both featuring weight and optical size variation axes. [setuptype.com]

Mogul is a geometric sans described as a love letter to Universal Grotesk (Státní tiskárna, ~1934), distinguished from other interpretations of the source material by a large x-height that channels later decades of the 20th century. [setuptype.com]

Ocarina is a geometric sans with humanist touch in sharp, rounded, and rough finishes. Each of the three variants is available in eight upright and italic weights. [setuptype.com]

Perti is a classic, full-bodied, industrial, rounded slab-serif typeface with rounded terminals, available in six multiplexed, proportionally-spaced upright weights. [setuptype.com]

Setup Grotesk has a distinctly geometric construction with tightly closed counters and horizontal stroke terminals similar to Avant Garde, but thanks to pointy joints and higher width variability among the glyphs, it gets closer to Futura in its character. The typeface supports the Latin (including Vietnamese), Greek, and Cyrillic scripts and is available in eight upright weights. [setuptype.com]

Setup Serif is a robust editorial serif available as a text typeface in seven upright and italic weights paired with a high-contrast display typeface in seven upright weights. [setuptype.com]

Updates, expansions, and reissues:

Benn Zorn added an Ultra weight to Ragequit, a mildly hysteric expansion contrast typeface that balances the elegant with the obscure originally released in 2023. [futurefonts.com]

Cast Type Foundry expanded Neon NBL, an interpretation of Giulio da Milano’s unicase sans Neon (Nebiolo, 1935) designed by Alessandro Colizzi. Compared to the first 2020 release, Neon Nbl comes now in a coordinated range of weights (Thin to Bold) and proportions (UltraCondensed to Wide) that not just fully covers, but actually expands the original type family, taking its key design features full circle. [c-a-s-t.com]

Velvetyne released Letters, a display typeface that derives from a historical interest in the depiction of paper within the realm of printed matter, such as teared ribbons and ornamental backgrounds, designed by Céline Hurka and Jules Janssen. Originally made available in 2024 in a single style, the Velvetyne version features a second style called Letters Lavish. [velvetyne.fr, celine-hurka.com]

Commercial Type reissued Amplitude, a sans serif that employs the optical compensations in agates as a visual motif, designed by Christian Schwartz and originally released by Font Bureau in 2003. The renovated version, featuring contributions from Benjamin Tuttle, adds italic styles for all weights. [vault.commercialtype.com]

Dalton Maag released a variable font edition of InterFace, a unique sans typeface that combines humanist, grotesque, and industrial features designed by Bruno Maag and Naïma Ben Ayed, originally released in 2007. Credits for the update also include Carlos De Toro and Angel Kwong. [daltonmaag.com]

DSType finalized the design of Rigor Display and Rigor Headline, a pair of typefaces that embody a refined exploration of high-contrast sans serif design, merging elegance with modern precision, designed by Pedro Leal and Dino dos Santos and initially made available in 2024 as early-access releases. The typefaces now support the Latin, Cyrillic, Greek, and Arabic scripts. [dstype.com]

Emtype added a variable font version to Shentox, a sans serif with industrial details designed by Eduardo Manso and originally released in 2014. [emtype.net]

Famira Fonts reissued Augustinian, a single-weight distressed serif typeface based on a historic Dutch body text sample, designed by Hannes Famira and originally released in 1999 [identifont.com]. Available as a pair of roman and italic styles. [store.typenetwork.com]

Also from Famira Fonts, Jetsam Collection is an anthology of grunge typefaces designed by Hannes Famira and originally released throughout the 1990s and early 2000s [luc.devroye.org], whose sources range from an IBM Selectric typewriter type ball to a shipping box that contained t-shirts from Egypt. [store.typenetwork.com]

Feliciano Type reissued Merlo, a contemporary reinterpretation of eighteenth-century typefaces once distributed by Domingo Merlo in Madrid designed by Mário Feliciano and originally released in 2004, as Merlo Original. The typeface reflects a personal approach to designing type for reading—a revival layered on top of another revival: the original Merlo design, developed around 1997 as part of a series of revivals of Spanish typefaces shown in Muestras de los Punzones y Matrices que se funde en el obrador de la Imprenta Real (Madrid, 1799). [felicianotype.com]

Font Spectrum expanded the Latin script coverage for Electric Blue, a rounded pixel typeface derived from Daniël’s experimentation with melting and conjoining pixels, designed by Edgar Walthert and Daniël Maarleveld and initially made available in 2024. [futurefonts.com]

MCKL finalized Gear, a bold, high-performance typeface built to stretch, flex, and power through any layout designed by Jeremy Mickel with assistance from Graham Bradley, Sabina Kipară, and Douglas Hayes. Originally commissioned by Adidas as an all-caps display face in 2018, it was made available on request in 2023 as an early-access release. [mckltype.com]

Mota Italic published updates for Interchange Display and Interchange Text, a pair of bi-scriptual (Latin and Devanagari) uniwidth grotesque sans typefaces designed by Rob Keller and Kimya Gandhi and initially released in 2022. The new versions double the number of upright weights available. [futurefonts.com, futurefonts.com]

Nice to type added matching italics to all weights of Krasz, a display typeface designed by Gabriel Richter and Andreas Uebele, originally released in 2020. [nicetotype.jp]

Optimo reissued Material, a slab serif designed by Nicolas Eigenheer and originally released in 2003 as a single-style interpretation of Breite fette Egyptienne (Bauer). It’s now been redrawn with Niklas Herrmann and expanded to a family of five weights in upright and italic styles, also available as a variable font with a weight axis. [optimo.ch]

Production Type finalized Image Future, a tightly-spaced geometric sans designed by Guillaume Goron, originally made available in 2024 as an early-access release. It comes in nine upright and italic weights. [productiontype.com]

Public Type updated Ghostly Gothic, a refined grotesque with a quiet edge, rooted in early sans-serif traditions and gently sharpened by the formal grace of copperplate influences, designed by Michael Cina and originally released in 2020 in a single style. It’s now a family of five weights, with a Light style inspired by the precision of Max Bill’s watch numerals. [publictype.us]

Source Type added matching italic styles for the four main weights of Karl, a rounded sans inspired by a font pitched by Karl Gerstner and GGK as part of an identity for Shell, designed by Laurenz Brunner and originally released in 2022. Karl Mono, initially a separate release, has also been merged into the larger Karl family. [sourcetype.com]

The Northern Block released Werkhaus, a display typeface influenced by Bauhaus 93 (URW, 1993) and the packaging for Atari 2600 cartridges. Designed by Jonathan Hill and originally released in 2009 in five styles, it has now been expanded to seven upright weights and matching oblique styles. [thenorthernblock.co.uk]

Typeji added numeral styles to Paragraf, a serif typeface with high-waisted structures, a tall x-height, and slightly narrow proportions, designed by TienMin Liao and initially released at the beginning of the year. [futurefonts.com]

Method, a geometric sans-serif typeface inspired by Lining Gothic No.82 which also debuted earlier this year, has had its character set refined and expanded based on feedback by Future Fonts users. [futurefonts.com]

Finally, Min Sans, a high-contrast sans serif which graduated from Future Fonts in 2024, received an incremental update with the addition of precomposed fractions, superior and inferior figures, and case-sensitive punctuation. [futurefonts.com]

TypeType reissued TT Marks, an informal handwritten typeface inspired by American signage designed by Ivan Gladkikh and originally released in 2015. Credits for the new version, which is available in seven weights and as a variable font with a weight axis, include Antonina Samokhina and Alina Ipatova. [typetype.org]

TypeType also expanded the character set for TT Fors, a geometric sans of early to mid-20th century inspiration, originally released 2021. Credits include Pavel Emelyanov, Yulia Gonina, Marina Khodak, Antonina Zhulkova, Radik Tukhvatullin, Anastasia Vrublevskaya, and Nadyr Rakhimov. [typetype.org]

Weekend Type is a new foundry, established by Hamish Makgill in Lewes, United Kingdom. The foundry’s catalog features designs from Makgill and collaborators, some of which were previously released with Colophon, while others are brand new.

Apta is a contemporary sans serif that celebrates the fascinating middle ground between humanist and geometric type design, designed by Hugh Morse and originally released in 2022. "Born from a study of post-Johnston sign-makers’ alphabets", Apta comes in three families (Mix, Geometric and Humanist), each in six upright weights with corresponding italic styles. [weekendtype.xyz]

Auguste is a type family which began as a chance encounter with the lettering on an old ceramic bottle, where years of use had beautifully degraded its stenciled surface, designed by Hamish Makgill and Luke Charsley, and originally released in 2021. The design evolved into Auguste Sans and Auguste Serif, two distinct type families that honor the original’s curious blend of serif and sans-serif qualities. [weekendtype.xyz, weekendtype.xyz]

Bleep is a new dot-matrix display typeface designed by Hamish Makgill, available in two related subfamilies. Bleep Alpha adapts the unconventional proportions of such models as Venus (Bauer, 1907) and Separat (Or Type, 2013) to the dot grid, while Bleep Beta offers more recognizable letterforms. Each is available as five multiplexed upright weights with matching italic styles. [weekendtype.xyz]

Central Avenue is a single-style, industrial display sans that traces its origins to Birmingham's landmark 1886 exhibition of Local Manufacturers and Natural History, where it served as the cornerstone of the show’s graphic identity, designed by Hamish Makgill and originally released in 2011. [weekendtype.xyz]

Garton is a monospaced slab serif that emerged from a single typewritten letter, dated November 1, 1894, from the Garton Brewery in Bristol – a piece of ephemera that waited years in our archives before finding new life as a typeface, designed by Hamish Makgill and Luke Charsley, and originally released in 2021. It’s complemented by the newly-released, metrically-compatible Garton Sans. Both families are available in Ornate and Plain variants, each having five upright weights and corresponding italic styles. [weekendtype.xyz, weekendtype.xyz].

Pantograph is a monolinear sans serif which began in 2009 as a faithful recreation of a standard typeface from the British pantograph sign engraving system – a mechanical marvel that used parallel linkages to duplicate and scale letters for industrial signage, designed by Hamish Makgill and Luke Charsley and originally released in 2020. Available in five upright weights across five widths. [weekendtype.xyz]

In other news:

HyperTalks 3.0, the third in a series of events hosted by Future Fonts featuring lightning talks and special performances from type designers and graphic designers from around the world, took place on May 9th, 2025. A recording of the programme is now available.
The secret history of font piracy, a video essay by Linus Boman: The infamous anti-DVD-piracy PSA turns out to have used a ‘pirated’ font. That's deliciously ironic, but is it the most ironic case of font piracy of all time? Let's unpack a few cases from the long shared history of type design and piracy and find out.
I’ve just learned from the post announcing the Origin of type frameworks online course that Frank E. Blokland’s dissertation On the origin of patterning in movable Latin type: Renaissance standardisation, systematisation, and unitisation of textura and roman type (2016) is available as an open-access publication from Leiden University.
TypeTogether’s Primarium research project into the different models of handwriting taught in schools around the world now includes a printed publication edited by Pooja Saxena.
The Didot style: a short survey of the career of Firmin Didot, an essay by Sébastien Morlighem originally published in Production Type’s Trianon type specimen (2015).
Doug Wilson celebrates two years of research into the history of Linotype.
David Jones with a survery on the different space characters in Unicode.
The Book Cover Review now has an RSS feed.

Updated with some factual corrections on July 7, 2025.

Recent releases #34, catch-up edition

2025-05-24T00:00:00Z

In what turned out to be a second consecutive catch-up edition, here’s a look at the typeface releases of the past month, up to May 14th.

205TF released Indiana, a geometric sans with short ascenders and descenders that mirrors the engineering of modern pneumatics, blending flexibility with strength, comfort with energy, and speed with calm, designed by Malou Verlomme. Available in six weights in upright and italic styles. [205.tf]

Alexandre Créquer released Mosa, an all-caps display typeface with flared serifs that incorporates phototype-era influences. Available in five weights. [alex-creq.com]

Atipo released Gottak, a geometric sans available in six upright weights with matching italic styles. [atipofoundry.com]

Commissioned by the city of Strasbourg as part of its UNESCO World Book Capital 2024 designation, Azimut is a series of three interrelated designs by Benjamin Blaess, Julien Priez, and Mathieu Réguer. While most classical type families focus on consistency and harmony across their styles, Azimut shifts the standard structure of the modern type family to offer a typographic trio with heterogeneous forms and eclectic uses. Each variant of Azimut summons a different point of view on typography and its relationship to writing, the shape of text, the form of the book, explains Dan Reynolds in the accompanying essay. Available under the Creative Commons BY-ND 4.0 license. [azimut.strasbourg.eu] (via Caren Litherland)

Bastarda Type released Maíz, a modular display typeface designed by Jason Guzmán Munevar and Seb Castellanos de la Hoz in collaboration with Juan Pablo Fajardo and Ana Peña, based on an experimental alphabet presented by Antonio Grass at the 1973 edition of the Bienal Americana de Artes Gráficas in Cali. The typeface’s three styles feature progressively larger star-shaped counterforms. Available as a free download. [bastardatype.com]

bb-bureau released Tacmitac, a modular display typeface designed by Benoît Bodhuin. The typeface is constructed with overlapped discs and squares whose relative size is controlled with the weight and width variation axes. [bb-bureau.fr]

Bfgs.Studio released Agneta, a contemporary grotesque designed by Guido Schneider. Available in ten weights, in upright and italic styles. [bfgs.studio]

Blaze Type released Rules Serif, a serif interpretation of Rules (2022) designed by Matthieu Salvaggio and Tim Vanhille. It channels a refined, editorial spirit while maintaining the structural rigor and versatility of its grotesque roots. [blazetype.eu]

Brandon Nickerson Studio released BN Nektar, a single-style heavy display typeface inspired by ITC Serif Gothic (ITC, 1972). [bnicks.com]

Also from Brandon Nickerson, BN Mr. Miesha is a single-style, high-contrast display serif based on the earlier BN Miesha. [bnicks.com]

A third release from Nickerson, BN Gummie is a single-style rounded slab serif typeface. [bnicks.com]

Bureau Brut released Round Ultra, the narrowest member of the Round collection. As in the Round, the circular shapes are intersected by straight stems, achieving a subtle balance between fluidity and geometric structure. Only the other characters are condensed, further emphasizing the round shapes and enhancing their distinctive visual impact. [bureaubrut.com]

Capitalics released Nocturne Sans, a sans serif designed by Mateusz Machalski as a complement to Nocturne (Warszawskie Kroje, 2016). The original concept drew inspiration from the plaques commemorating Warsaw’s World War II battle and martyrdom sites, designed in 1949 by Karol Tchorek. Nocturne Sans continues this narrative, translating the historical and emotional depth of its serif predecessor into a clean, modern form. [capitalics.wtf]

CubicType released Koch Up, an all-caps, single-style display typeface designed by David Jones based on strokes and shapes from Rudolf Koch’s Book of Signs (Dover Publications, 1955) assembled into letterforms. Released into the public domain. [drj11.itch.io]

Dalton Maag released Jovie, a soft-serif typeface designed by Franziska Hubmann, with influences from genre classics such as Cooper (1919) and Windsor (~1905). Available as a variable font with a weight axis, in solid and highlight styles. [daltonmaag.com]

DJR released Job Clarendon Narrow, designed by David Jonathan Ross and Bethany Heck as a stepping stone in unifying the design spaces of Job Clarendon (2021) and Job Clarendon Text (2024). Rather than a direct interpolation midpoint between the straight sides of the former and the rounded sides of the latter, the curvature of the Narrow design has been manually adjusted for each individual weight. [djr.com]

Daytona Mess released Ancial, a single-style open source cyberuncial typeface, drawn exclusively with the trackpad and mouse by Anne-Dauphine Borione. [daytonamess.itch.io]

Dinamo released ABC Stefan, a digitization of artist Stefan Marx’s handwriting, designed by Johannes Breyer, Erkin Karamemet, and Tanja Modraković. Four variations in the letterforms are shuffled via OpenType instructions to mimic natural inconsistencies. The plain handwriting style is complemented by two styles of bubble lettering. Other features include squiggle swashes, stylistic sets for crossing out text, and a set of emoji symbols. [abcdinamo.com]

Also from Dinamo, Bubblegum is a modular geometric display typeface in proportional and monospaced variants, designed by Fabian Harb, Michelangelo Nigra, and Marc Rouault. Currently available on request as an early-access release. [abcdinamo.com]

Displaay Type Foundry released Perfektta, a sans serif of narrow proportions designed by Martin Vácha and Daniel Quisek, inspired by the Italian road signage typeface Alfabeto Stretto. We were fascinated by the rhombus shaped zero. That unusual construction became the base for our first sketch of the typeface. From there, we gradually developed the other letterforms using the same principle. Available as a variable font with weight and slant axes. [displaay.net]

DualType published on Future Fonts the initial version of Fetza, a display serif typeface designed by Gen Ramírez. It was originally inspired by English wood type from the early twentieth century and traditional signage in colonial style Mexican towns; however, it evolved into brighter, more organic, and stronger letterforms. Available as a variable font with weight and width axes. [future-fonts.com]

F37 Foundry released F37 Ginger Mono, the monospaced adaptation of F37 Ginger, a geometric sans influenced by Futura (Bauer, 1927) and ITC Avantgarde Gothic (ITC, 1970) first published in 2013. The monospaced family, designed by Rick Banks, Romain Tronchin, and Ryan Williamson, is complemented by the F37 Ginger Mono Soft and F37 Ginger Mono Rounded variants. [f37foundry.com, f37foundry.com, f37foundry.com].

Famira Fonts released Apostil, a monolinear handwriting typeface designed by Hannes Famira, available in three weights. [store.typenetwork.com]

Forgotten Shapes released Reform-Grotesk and Information, digital revivals by Pierre Pané–Farré of Reform-Grotesk (Stempel, ~1904) and its later revision Information (Klingspor, 1953), initially known as ‘Reform-Grotesk B’. The typefaces are presented along with extensive research conducted by the designer into the origins and development of the historical material. [forgotten-shapes.com, forgotten-shapes.com]

Frost Type launched FROST Numbers, a typographic project where numbers are the foundation, establishing the structure and rhythm of the typeface. The first typeface from the series is FT Goddard, a dot matrix typeface designed by Harrison Marshall on a 5×5 grid inspired by the LED matrix signage in London Underground stations. The typeface is available in a series of styles, each representing different state of light and clarity, that can be layered for chromatic effects. It also comes with a set of matching icons. [numbers.frostype.xyz]

Grilli Type released GT Standard, a contemporary response to the modernist pursuit of standardization designed by Noël Leu, Reto Moser, Katja Schimmel, and Lorenzo Poderini. The type system, showcased in detail on the dedicated minisite, is built on four variation axes (weight, width, slant, and optical size) and is available in proportional and monospaced variants. [grillitype.com]

Jen Wagner released Suffix Serif, a serif typeface available in six weights in upright and italic styles. [jenwagner.co]

July Type released JT Percy, a study of stone-carved letterforms by Edward Dżułaj. Early inspiration came from the inscriptions at the Royal Institute of British Architects, crafted by Percy John Delf Smith, a student and later assistant of the legendary Edward Johnston. Available in a pair of roman and italic styles, with support for the Latin and Cyrillic scripts, the latter designed in collaboration with Pavel Pavlov. [julytype.com]

Letters from Sweden released Grez, a single-style, all-caps display typeface designed by Ulrika Hellberg entirely from handmade shapes cut out of black paper, assembled into a digital font with four variations per letter. [lettersfromsweden.se]

Manufacturas Tipográficas Madrileñas released Cebada 17, a calligraphic display typeface inspired by vernacular lettering, designed by Juanjo López: in any self-respecting store or market, a few small signs with the price will be labeled with this kind of unbridled Carolingian calligraphy, surrounded by other more modern price holders already made by machine. [store.typenetwork.com]

Martin Majoor released Comma Sans, a humanist sans of economical proportions based on the modulated sans Comma Base (2021), adapted to low contrast and streamlined with vertically-cut terminals. The typeface matches its predecessor’s eight uniwidth weights, available in upright and italic styles. More details are available in Nadine Chahine’s interview with the designer. [martinmajoor.com]

Monokrom released R-I-B-BI, a typeface designed by Frode Helland that composes the nuclear font family – Regular, Italic, Bold, and Bold Italic – on each side of the digital divide by utilizing the mechanical limitations and digital manipulations of a bygone era. The proportional variant is a nod to automatic font synthesis: double-rendering to approximate a bold style and sheared letterforms as a faux-italic. The monospaced variant uses typewriter hacks such as underlining for emphasis and double-striking for bolder characters. [monokrom.no]

Mostardesign released Sofia Pro Compact, a new member in the Sofia Pro collection first released in 2012. Designed by Olivier Gourvat, the Compact family has slightly narrower proportions than the original. [motyfo.com]

NaN released NaN SuperX, an homage to phototyping era typefaces with a disproportiontedly big x-height, designed by a team composed of Hugues Gentile, Fanny Hamelin, Fadhl Haqq, Léon Hugues, Jean-Baptiste Morizot, Luke Prowse, Florian Runge, and Jolana Sýkorová. The collection includes NaN SuperX Serif, a high contrast old-style serif with leaf-shaped tear-drops and a dynamic italic rooted in pointed-nib calligraphy and NaN SuperX Sans, a hybrid humanist sans with grotesque detailing or the contrary. [nan.xyz]

Newlyn released New Vision, a neutral geometric neo-grotesque typeface for the demands brands face today around communicating factual information authoritatively, designed by Miles Newlyn in ten upright weights. [newlyn.com]

Nice to type released Golzheim, a pair of sans and slab serif typefaces combining the elegance of neoclassical forms, the rugged charm of typewriter aesthetics, and the playful spirit of comic influences, designed by Gabriel Richter and Jonas Schneider. Available in ten weights, in upright and italic styles, and supplemented by a set of over 300 emoji symbols. [nicetotype.jp]

OH no Type Co. released to the foundry’s Drawer section the backslanted connected script Swear Smoke, initially designed by James Edmondson as an offshoot of Swear (2020). [ohnotype.co]

Order Type Foundry released the Sita collection rooted in 19th-century Scottish typography, designed by Edouard Berard in complementary sans and serif subfamilies with a shared structure. Sita Serif is an interpretation of Double Pica Roman no. 2 (Miller & Richard, 1822), while Sita Sans layers on the skeleton of its serif counterpart influences of early British grotesques such as Grotesque No. 88 (Stephenson Blake, 1919) and Sans Serif No. 4 (Miller & Richard, 1912). [order.design]

Pangram Pangram released PP Watch, a wide-set sans serif inspired by the fine detailing of Swiss timepieces and the typography engraved on classic watch faces, designed by Niklas Herrmann, Mathieu Desjardins, and Francesca Bolognini. Available in nine upright weights. [pangrampangram.com]

Poem released Offenbach, a revival of the thin weight of Rudolf Koch’s eponymous typeface, released posthumously by the Gebr. Klingspor foundry in 1934 with additions by Hans Kühne. Stylistically, Offenbach is a hybrid, pairing wide roman capitals with narrow gothic minuscules, a mixture Koch had experienced in several of his typefaces like Jessen or Wallau. The typeface, released under the Creative Commons BY-ND 4.0 license, is the result of a weeklong workshop conducted by Jérôme Knebusch in 2022 with students from the Hochschule für Gestaltung Offenbach. [poem-editions.com]

Production Type released the initial version of Europa Prima, a sans serif that absorbs influences without pastiche, acknowledging the canon of twentieth-century utility sanses while transcending them, designed by Charly Derouault. The typeface supports the Latin, Cyrillic, and Greek scripts and is available in four upright weights. [productiontype.com]

Quintana-Font released Loica Sans, an interpretation of neo-grotesque typographic style with a subtle exuberant attitude designed by Javier Quintana Godoy. Available in nine weights, in upright and italic styles. [quintana-font.cl]

Raoul Gottschling released Plätze, a sans serif inspired by the eclectic lettering on Berlin subway signage. The typeface, which also features spurless alternates of some letters (a nod to the Nollendorfplatz sign), is available in eight weights in upright and italic styles. [raoulgottschling.de]

ReType released Lavigne Nova Sans, a companion to Lavigne Nova (2009, 2024) designed by Ramiro Espinoza. The typeface shares numerous formal characteristics with the historical designs that have defined the grotesk genre (vertical stress, balanced counters, low contrast, and a look similar to German and Swiss fonts from the first half of the 20th century), with humanistic features imparted by the relationship to its serif counterpart. [re-type.com]

Sharp Type released Cordier Script, a typeface designed by Benjamin Gomez that channels the virtuosic calligraphy of Louis Barbedor, the 17th-century French master penman, reimagined as a contemporary script typeface. [sharptype.co]

Soft Type published on Future Fonts the initial version of Soft Text, a typeface developed as the voice for instructional materials in workshops by lettering artist and type designer Kyle Letendre. Learning environments sometimes feel intimidating to newcomers, and a softer tone can make all the difference in material feeling approachable. [future-fonts.com]

Storm Type Foundry released Hercules Sans, a not exactly neutral, but playful, creative sans serif designed by František Štorm. The typeface had been shown earlier this year as part of the updates to Hercules Neo, a serif typeface of Modern/Scotch influence. [stormtype.com]

Sudtipos released Ecléctica, a genre-blending serif typeface designed by Iván Castro, whose details are the result of mashing up writing and type theories at its conception. The typeface also features an all-caps titling style with slashed stems. [sudtipos.com]

Threedotstype released Extract Grotesk, a contemporary sans-serif typeface that draws inspiration from the rigid yet expressive grotesque letterforms of the early 20th century, designed by Marian Misiak and Radek Łukasiewicz. This typeface is part of an upcoming collection which will also include a slab serif counterpart. [threedotstype.com]

TipoType released Suncoast, a condensed sans serif with a large x-height, available in grotesque and humanistic detailing. [tipotype.com]

Tour de Force released Rebuke, a serif typeface designed by Dušan Jelesijević with eclectic features: lower serifs from Didone category, upper triangular straight serifs, extended serifs that connect two neighbouring letters, calligraphic endings and vintage design spots. [tourdefonts.com]

Type Salon released Spektra Tekst, the text optical size of Spektra (2020), designed by Alja Herlah and Luka Prelog and originally released in 2024 through the foundry’s experimental branch, Dotless Type. [type-salon.com]

Typeverything released Delwe, an interpretation of Belwe (Letraset, 1976) designed by Andrei Robu. While it echoes the original’s spirit, Delwe removes the Venetian details in favor of a more streamlined, functional design, optimized for clarity, versatility, and digital use. Available in serif and slab serif variants, in nine upright weights. [typeverything.com]

TypeMates released Gustine, a clear and confident geometric typeface with sharp and dynamic details designed by Natalie Rauch. The Gustine Vaganza sub-family doubles down on Gustine’s DNA and brings new twists, flavour and personality to its forms, taken to its extreme in the heavy, high-contrast Gustine Extra. [typemates.com]

TypeTogether released Poltik, a two-toned family with a reverse contrast text and eye-catching headliner for a stylish, expressive presence designed by Patrycja Walczak. The typeface, with which the designer won TypeTogether’s 2023 Gerard Unger scholarship, was inspired by the numerals on a 1970s Polish nightstand clock. Available in five text weights developed from the original display pair, in upright and italic styles. [type-together.com]

TypeType Foundry released a pair of script typefaces designed by Antonina Zhulkova. TT Gentlemens is a dynamic handwritten typeface that combines the seriousness and precision in writing with elegance and sophistication, while TT Disruptors is a ductile marker-drawn handwritten typeface with worn edges, varying stroke thickness, and elongated ascenders. [typetype.org, typetype.org].

Typonym released Marsam Text, a condensed version of Marsam (2024), a slab serif that roams that arid desert between the severe, enboldened geometry of the ‘Egyptian’ neo-grotesque slab serifs and the graceful, bracketed serif forms of traditional Clarendons, designed by Evan Deterling. Through its narrower proportions, the Text version aims to provide better typesetting in some editorial contexts. [typonym.xyz]

Typotheque released Pristine, a bi-scriptual Latin/Thai sans serif which blends high contrast, soft curves, and crisp terminals to create a tone that is warm, informal, and approachable, designed by Mint Tantisuwanna. In Pristine, Thai and Latin were designed in parallel, allowing each script to inform the other while respecting their unique traditions. Rather than forcing visual uniformity, the design embraces cultural nuance—using different details to evoke a shared tone. Available in four upright weights. [typotheque.com]

Typozon released Chosmos, a heavy display typeface that’s bold, chunky, and unapologetically dynamic in its organic forms. Designed by Cristian Vargas in upright, slanted, and backslanted styles, it confidently navigates the space between wit and sophistication—playful in spirit, yet disciplined in execution. [typozon.xyz]

Underware released Kermit, a friendly and approachable font that encourages children of all skill levels to read, even if they are anxious about their abilities, commissioned by Microsoft and designed by Akiem Helmling, Sami Kortemäki, and Bas Jacobs. The typeface, developed using the foundry’s writable font technology, includes a time axis. The Kermit ministe documents the design process with essays from Microsoft’s Rob McKaughan, the Underware team, and Gerry Leonidas, also available in the print publication Time to play. [underware.nl]

WiseType released WT Bobine, a dot-matrix typeface designed by Arthur Calame. The constructive element is a four-sided star in the regular style and a denser, eight-sided star for the bold. [wisetype.nl]

Zakznak released Fialka Sans, a sans serif designed by Zakhar Kryvoshyya, available in seven upright weights. [zakznak.com]

London Type have a refreshed foundry website, featuring a set of new typefaces:

IR Lüthold Sans and IR Lüthold Sans Text, a pair of sans serif typefaces designed by Ian Ritchie and Paul Harpin based on the DIN 1451 road signage type. [londontype.co.uk, londontype.co.uk]

LDN Kings Road, a ’60s-inspired, bottom-heavy, rounded sans serif designed by Paul Harpin. Available in nine upright weights. [londontype.co.uk]

LDN Mental Block, a geometric modular typeface designed by Geoff Waring. I wanted something that could be used as a design tool as well as a font that you can read. The letters become graphic shapes in themselves, and because they are a sort of stencil you can colour the different elements of the single characters. Available in solid and hatched styles which can be layered for chromatic effects. [londontype.co.uk]

LDN Kew Script a curly, monolinear informal script typeface designed by Paul Hickson and Patricia Hickson, channeling the transition from Art Nouveau to Art Deco. Currently available in a single style, with more weights in development. [londontype.co.uk]

Updates, expansions, and reissues:

ArrowType updated Name Sans, a modern interpretation of the tile mosaic name tablets of the New York City subway designed by Stephen Nixon and initially released on Future Fonts in 2020 and finalized in 2023. This incremental update features improved kerning among a host of small refinements. [arrowtype.com]

Bloom Type Foundry reissued Agate, a serif typeface originally designed by Baptiste Guesnon in 2016 as a display font for the Strates architecture magazine and also used for typesetting experiments in the early days of variable fonts. The redrawn version, named Agate Recut, is available in six upright weights. [bloomtype.com]

Boomtype published on Future Fonts an update to Crushual, a Latin/Thai bi-scriptual condensed slab serif designed by Boom Promphan Suksumek as the final project for Type Media 2021-2022 and initially released in 2022. The new version features refined letterforms and better spacing. [future-fonts.com]

Commercial Type transferred to the foundry’s main library the Eugenio collection, originally commissioned in 2017 by Francesco Franchi for the redesign of the Italian newspaper La Repubblica and previously made available as a set of early-access releases in the Commercial Type Vault. Eugenio Serif, designed by Miguel Reyes with assistance from Hrvoje Živčić and Christian Schwartz, is an interpretation of Giambattista Bodoni’s types, in particular the smaller 16pt and 24pt specimens shown in Manuale tipografico (1818). Its complement, Eugenio Sans, is a geometric sans designed by Greg Gazdowicz with strokes that terminate at flat verticals, creating open apertures and clean spaces between letters, which makes the typeface highly readable and keeps it from feeling nostalgic. Eugenia, a third member of the collection exploring Bodoni’s italic designs, many of which have exuberant swashes and exist at various points on a continuum between traditional italics and connecting scripts, was folded into Eugenio Serif. [commercialtype.com, commercialtype.com]

Commercial Type also moved to the main library Royal Gothic, a revival by Paul Barnes of the eponymous typeface (Patent Type Foundry, ~1870), whose no-nonsense, gritty, industrial appearance, with narrow capitals and an increased contrast was expanded with the help of Luke Charsley and Tim Ripper to several upright and italic styles. [commercialtype.com]

CSTM Fonts published on Future Fonts an update to Backslanted, a font series including backslanted typefaces of various styles, weights and angles originally released in 2023. The new version expands the character set of Backslanted Script to cover Extended Latin and Georgian scripts. [future-fonts.com]

Displaay Type Foundry updated Denim, a sans serif designed by Daniel Quisek and Martin Vácha and originally released in 2021. The new version adds support for the Cyrillic and Greek scripts, designed by Ilya Bazhanov and Marek Čuban. [displaay.net]

DSType finalized Rigor Ionic, the text optical size of the eponymous slab serif typeface designed by Pedro Leal and Dino dos Santos and initially released 2024. Along with Rigor it forms a pairing of a grotesque sans and slab serif designed to bring together distinct historical sources into a cohesive system. [dstype.com]

DualType expanded the character set for Raketa, a modulated display sans that draws from the study of expressive calligraphic brushwork, translating its fluidity into clean, structured forms, designed by Gen Ramírez and initially released earlier this year. [future-fonts.com]

Emtype Foundry added to Akkordeon, a sans serif designed by Eduardo Manso and originally released in 2017, a variable font version with a ‘wght’ axis that maps to a non-linear combination of width and weight. [emtype.net]

FDI Type Foundry made freely available FDI Lettograph, a revival by Ralf Herrmann of Signal (Berthold, 1931), a connected script typeface designed by Walter Wege. The FDI typeface, funded through a crowdfunding campaign, was exclusively offered to backers and to supporters of Typografie.info and Typography.guru for a period of one year prior to general availability. [fdi-type.de]

Feliciano Type has reissued — and, in the process, redrawn — Eudald, a serif typeface designed by Mário Feliciano and initially released in 2006 as Eudald News. Conceived as a typeface for text use, Euldald finds inspiration in the eighteenth-century typefaces cut in Spain by Eudald Pradell (1721–1788). [felicianotype.com]

Feliciano Type also updated with three additional weights Sebenta, a slab serif inspired by an early twentieth-century monospaced typeface available from Fundição Tipográfica Gini (Manuel Guedes, Lda.), presented in a specimen from 1938, designed by Mário Feliciano and originally released in 2021. [felicianotype.com]

Fontfabric added to Mont, a geometric sans designed by Svetoslav Simov and Mirela Belova and originally released in 2018, a variable font with a weight axis. [fontfabric.com]

Fuerte Type added italic styles to FT Pilar, a sans serif influenced by the rationality of the classic Swiss Neo-Grotesque typefaces from the mid-20th Century, balanced with subtle quirks and details that introduce warmth and give it a distinct presence in the crowded landscape of contemporary sans-serifs typefaces, designed by Fermín Guerrero and originally released in 2022. [fuertetype.com]

Hot Type expanded the character set of Hot Sans, a sans serif whose design builds upon mid-20th century modernist ideas, heavily influenced by the successful European classics of times gone by, namely Neuzeit Grotesk and Mercator, designed by Marko Hrastovec and originally released 2022. The new version includes support for the Cyrillic script and the Vietnamese alphabet. [hottype.co]

Kostas Bartsokas added support for the Cyrillic script to Canicule Display, a vivid serif with an organic flair echoing memories of the pen, where the elongated serifs of the lighter weights gradually become glyphic as the weight increases, designed by Kostas Bartsokas and initially released in 2022. [future-fonts.com]

Love Letters finalized the design of Optic, a heavy, squarish display typeface with a large x-height and softened outlines, designed by Sebastien Sanfilippo and initially released in 2023. The finished typeface is available in three widths and five weights, in upright and italic styles. [future-fonts.com]

In another Future Fonts graduation, Manic Type wrapped up the design of Zeplin, a reverse-contrast display typeface that is all about expression and chill vibes, designed by Jamie Chang based on research into the forms of Antique Olive (Fonderie Olive, 1962) and initially released in 2022. The finished typeface includes support for the Cyrillic script and the Vietnamese alphabet. [future-fonts.com]

Mass-Driver published an update to MD Thermochrome, a typeface designed to evoke dot-matrix and thermal printer fonts, designed by Rutherford Craze and originally released in 2024 in a single style. The new version features a weight axis that controls the dot size, producing uniwidth styles that can be layered for chromatic effects. [mass-driver.com]

Maxitype updated Cornbread, a script typeface based on the lettering, and with the participation, of Philadelphia graffiti artist Darryl ‘Cornbread’ McCray, originally released in 2024. The updated version features a ‘drip’ variation axis. [maxitype.com]

Naipe Foundry expanded Borogodó, a high-contrast sans serif that cultivates couture looks with a tropical feel, designed by Álvaro Franca and Felipe Casaprima and initially released in 2024. The updated version features five upright weights in three optical sizes. [future-fonts.com]

Optimo updated Hermes, an interpretation of a typeface sample named Epoca produced by a Hermes 3000 typewriter, originally designed by Gavrillet & Rust (Gilles Gavillet and David Rust) and released in 2003. The typeface was redrawn by Amélie Gallay and extended to five weights across three widths, in upright and italic styles. [optimo.ch]

PampaType reorganized and expanded Borges Título, the display styles designed by Alejandro Lo Celso to complement the Borges (2004) text serif. The solid display style has been renamed Borges Titling, while the open display style has been expanded into the four-weight Borges Open. [pampatype.com, pampatype.com]

The Northern Block reissued Dohrma, an interpretation of Othello (ATF, 1934) designed by Jonathan Hill and originally released in 2010. The updated family features a solid style in three textures (Black, Soft, and Grit) and an outline style, with matching oblique styles. [thenorthernblock.co.uk]

The Northern Block also updated Zaius, a bold sans-serif typeface inspired by the iconic lettering of Planet of the Apes (1968), originally crafted by legendary typographer Ed Benguiat. Designed by Jonathan Hill and originally released in 2009. The new version features four styles and an expanded character set. [thenorthernblock.co.uk]

Type Du Nord updated Yolker, a typeface designed by Libbie Bischoff to look like eggs just dropped into a pan with the letters occupying approximately the same area, originally shown in June 2021 as part of the designer’s 52 Fonts Project. The update features Yolker Color, a new style designed by Sophia Tai. [typedunord.com]

Zetafonts added the ultranarrow Arrogantissimo subfamily to Arrogante, an early-access serif typeface that combines a Didone structure with calligraphic fluorishes designed by Andrea Tartarelli, Mario De Libero, and Cosimo Lorenzo Pancini and initially released at the beginning of 2025. [zetafonts.com]

Sportsfonts, established by Christoph Koeberlin in 2015 as a type foundry specialized in sports, now has a dedicated website. It showcases a series of recent in-progress designs available on request, as well as two new collections of numerals released under a Creative Commons BY-NC-ND 4.0 license:

Libero Neue is a contemporary typeface that upholds the values of the football of the good old days, and an update of Libero (2014): we modernised the shapes, made everything a bit tighter and more refined, while staying true to the classic style. [sportsfonts.com]

Sportsfonts Legends is a homage to some of the greatest football players and the iconic numbers on their backs, with styles named after Diego Maradona, Franz Beckenbauer, Johan Cruyff, and Pélé. [sportsfonts.com]

Font Club Belgica, founded in 2024 in Ghent, Belgium by Frederik Berlaen and Dries Wiewauters, was officially launched. The initial catalog features a series of designs by Wiewauters that were previously released with Colophon Foundry.

PDU, originally released in 2010, is faithful digitization and exploration into the limits of the Plaque Découpée Universelle, a stencil based system originally designed by Joseph A. David in 1876. The typeface is available in solid, stencil, and outline variants and is supplemented by a set of matching patterns. [fontclubbelgica.com]

MAD Sans and MAD Serif, originally released in 2017, are interpretations of the series of vector fonts developed by Dr. Allen V. Hershey. The two typefaces, entirely comprised of straight segments between points on a 45 UPM grid, are available in open and filled variants, with upright and italic styles in four weights. [fontclubbelgica.com, fontclubbelgica.com]

Nib is a serif typeface that combines chiseled and pointed pen forms into a multifunctional workhorse typeface, originally released in 2019. In larger sizes, Nib’s angular, chiseled features dominate, offering a sharp, irregular look. However, in smaller text settings, its calligraphic roots emerge, adding subtle warmth and approachability. [fontclubbelgica.com]

Pep, originally released in 2019, is a modular display typeface inspired by experiments such as Fregio Mecano, Futura Schmuck, and Bruno Munari’s ABC Con Fantasia. Based on distinct six geometric elements, Pep is available in monochromatic and color variants, with either solid characters or separate shapes. [fontclubbelgica.com]

Cru is a geometric sans serif rooted in the bold, attention-grabbing aesthetic of 19th-century American woodtype such as Condensed Gothic (Leavenworth, ~1836), originally released in 2023. [fontclubbelgica.com]

Typotheque have released a collection of new, original CJK fonts, as well as a series of articles documenting the design process:

A journey to the Himalayas: planning and designing large-scale Chinese font families by project lead Zheng Chuyang on the challenge of designing a system of 40,000 characters across nine weights.
The weight of Chinese characters: designing an ultra-bold typeface by Xue Tianmeng explores how stroke thickness affects perceived weight in Chinese characters, explaining the complexity of designing balanced, readable type across various weights and styles.
Understanding CJK regional character variants by Eric Q. Liu: Chinese characters, or Han characters, vary across East Asia due to regional language evolution and reform. Although Unicode unifies them into a single Chinese, Japanese and Korean (CJK) block, fonts also need to align with regional preferences.
Typesetting principles of Chinese, Japanese, and Korean (CJK) text by Peter Biľak covers vertical and horizontal text orientations, line height requirements, text alignment and hyphenation practices, and distinct rules for line breaks and punctuation placement.

Books, magazines, and specimens:

Walter Käch’s seminal Schriften, Lettering, Écritures (1949, DE/EN/FR) has been reissued by Dinamo in collaboration with Museum für Gestaltung Zürich, with a new introduction by Dan Reynolds and a foreword by Curator of the Graphics Collection Barbara Junod. North American readers can order the book from Katherine Small Gallery.
The Ohno book, a serious guide to irreverent type design by James Edmondson, to be published by Chronicle Books in October, is available for preorder. Along with a visual feast of fonts and signage and type ephemera, the book includes guidance and practical information for graphic designers and typographers, including: expert advice on designing type fonts, how to balance practical concerns with creativity, why OH no names fonts after an obscure funk band and a French school of decorative arts, what it takes to earn a living as a type designer, and much more.
New from Éditions B42, Après la typographie: imprimerie industrielle et avant-gardes artistiques (FR) by Victor Guégan revisits, from the angle of typography, the graphic revolution ignited by the interwar avantgardists, primarily in Germany (Herbert Bayer, Laszlo Moholy-Nagy, El Lissitzky, and later Max Bill).
Keith Houston’s new book, Face with tears of joy: a natural history of emoji, will be published in July by W.W. Norton and is available for preorder. In this rollicking tech and pop culture history, Keith Houston follows emoji from its birth in 1990s Japan, traces its Western explosion in the 2000s, and considers emoji’s ever-expanding lexicon.
Published by Slanted, Graphic languages: a visual guide to the world’s writing systems, is a vibrant visual journey and guide through the world’s most influential writing systems — brought to life by Oliver Häusle in collaboration with leading international type designers and script experts.
Plaintext #2, the second issue of Plain Form’s publication for contemporary type design, is available for pre-order until June 15th. From fiction to theory, from mystical analyses to visual works, Plain Text aims at exploring typographic imaginaries, moving beyond a strictly historical and technical framework, with a taste for the unknown and the dormant potential of writing.
205TF’s annual publication Irregular #4 features recent additions to the foundry’s catalog of experimental typefaces and Sculpting light, an essay by Federico Parra Barrios on designing Exposure (2022) and Hour (2023), which you can also read online.
The July Type specimen, Riso-printed in four alternate colors, features the typefaces from the foundry’s current catalog, as well as several forthcoming releases by Edward Dżułaj and collaborators Rafał Buchner, Pauline Fourest, Ferdinand Del Fabbro, and Nika Langosz.
Hamburgerfonts is a culinary-themed type specimen created by The Office for Ordinary Things for Contrast Foundry in the format of a children’s mix-and-match book.
Underware’s sold-out Safari Typo Amsterdam (De Buitenkant, 2017), a brief typographic tour of letters in public space in the Dutch capital, presented by type designer Bas Jacobs, is now available as a free PDF download.

Speaking of out-of-print publications, Production Type have been making available on their website a series of essays initially published as part of the foundry’s various specimen books:

History of the Hershey fonts by Frank Grießhammer.
Maths vs. machines by Véronique Vienne.
Lombardic capitals: the first Latin monospaced script by Marc H. Smith.
A (very small) history of (very) small types by Sébastien Morlighem.
From Stoichedon to programming: a concise history of monospaced typefaces by Alice Savoie.

In other news:

The results of the Type Directors Club 71 competition have been announced. Congratulations to the awardees!
TypeTogether’s 2025 Gerard Unger Scholarship is open for submissions until June 1st.
The final projects of the 2023–2025 class at the EsadType postgraduate type design course have been published online. You can read the dissertations of Yaprak Buse Çağlar, Kateryna Korolevtseva, Oksana Sheinman, Arnab Chakraborty, and Manau Quellec.
The culmination of over twenty years of work, the BaTyR Renaissance typography database gathers information related to the history of printing materials (typefaces, engraved plates) used in Europe from the 15th to the 17th century.
Font Licensing Mess (EN/ES) is an independent research project by María Ramos and Ana Moliz. Over the past few decades, the digital type industry has experienced significant growth. However, the legal and commercial frameworks governing font use have not evolved with the same clarity. As a result, the system is often opaque and fragmented, making it difficult to understand, even for those working within the industry.
Two new videos from the Herb Lubalin lecture series are up on Vimeo. In Gráfica de la República, Jordi Duró explains how the ‘Cubist’ graphic style invaded Spain in the 1930s. And Julien Van Anholt, whose essay Victor Vance, title-artist was recently published in the Poem Pamphlets series, talks about Silent Film Intertitles.
From Typofonderie, an incursion into the design of Le Romain du Roi, the exclusive typeface of Louis XIV.
Blaze Type published a two-part history of stencil typefaces by Sebastien Hayez: here are part one and part two of Stencil, an avoided history.
Automatic Type Design 3: mapping the (type) design space, a review of the ANRT Nancy conference by Silvia Sfligiotti for the Fontstand blog.
A eulogy by Jean-Baptiste Levée for type designer and educator Franck Jalleau (1962–2025).
Behind the scenes with Licko & VanderLans, an interview by Stephen Coles with the Emigre co-founders.
Ralf Herrmann has launched a Kickstarter campaign to crowdfund an open source revival of Rudolf Koch’s 1920s serif typeface, Koch-Antiqua (Klingspor, 1922).
Also on Kickstarter, Sam Roberts of BLAG Magazine is raising funds to finish the short biopic When Better Letters met Brian Walker that tells the professional story of the retired signwriter from Hackney, London.
John D. Berry, whose fundraiser for a written history of ATypI is very close to its financial target, published a draft chapter about ATypI in the 1960s.

Recent releases #33, catch-up edition

2025-04-17T00:00:00Z

Back from a short break to almost a month’s worth of typeface releases and type-related announcements. To keep things manageable, I’ve saved some of the most recent news for next week’s edition.

Aieou Tools released Untimes, a single-style, blobby serif typeface designed by César Bourgeois and Marta Gaggi. [aeiou.tools]

Alphabets Patrick Nell released APN Chora, a contemporary humanist roman with an accompanying italic, capturing Venetian, Aldine, and Dutch characteristics, further rationalized and interpreted from a 21st-century perspective, designed by Patrick Nell. [alphabetspatricknell.com]

ALT.tf released ALT Nadrey, a single-style typeface with soft serifs, rounded letterforms, and smooth transitions, designed by O'Plérou Grebet. [alt-tf.com]

APK Type released APK Narrative, a contemporary grotesque family combining the best aspects of recent APK fonts, designed by Peter Korsman. Available in seven weights in roman and italic styles, plus a monospaced variant of the regular weight. [apk-type.com]

Atipo released Abridge, a condensed sans serif influenced by industrial typography. [atipofoundry.com]

Blancoletters released Basati Rounded, the softened counterpart to Basati, a top-heavy display typeface inspired by Basque lettering designed by Juan Luis Blanco and released in 2023. [blancoletters.com]

Blaze Type released Phill, a sans serif designed by Karol Mularczyk which offers endless possibilities for creating bold, attention-grabbing headlines through variation axes for weight, width, and slant. [blazetype.eu]

Brandon Nickerson released BN Cyther, a wide, slightly-contrasted display sans. [bnicks.com]

Also from Brandon Nickerson, BN Giant is a bold display sans inspired by Gigantic (Dave Rowland, 2019). [bnicks.com]

Capitalics released Spirala, a flared sans that alludes to broad-nib calligraphy designed by Mateusz Machalski. [capitalics.wtf]

CSTM Fonts published on Future Fonts the initial version of Onweer, a slightly nostalgic take on Franklin Gothic, designed by Ilya Ruderman, Yury Ostromentsky, and Micha Strukov. This first release covers basic Latin and Cyrillicc characters, and features variation axes for width, weight, slant, and contrast. [future-fonts.com]

East of Rome released Menhir, a Jugendstil-inspired typeface designed by Lewis McGuffie, whose cited influences include Tip-Top (Klinkhardt, 1902), Wodan (Stempel, 1902), Herold (Berthold, 1901), Eckmann-Schrift (Rudhard’sche, 1900), and Block (Berthold, 1908). The typeface supports the Latin and Cyrillic scripts and is complemented by a set of icons designed by Renée Clarke. [eastofrome.com]

Element Type released Intern Sans, the monochrome counterpart to the Intern (2023) color font, designed by Doğukan Karapınar and İbrahim Kaçtıoğlu. [elementtype.co]

F37 Foundry released a pair of typefaces with compatible proportions and a dramatic range of widths, designed by Ryan Williamson and Rick Banks. F37 Elastica Sans is an industrial grotesque with humanist features, while F37 Elastica Serif is a bracketed slab serif in the Clarendon/Ionic tradition. In the narrower widths, the compact shapes and large x-height test the limits of how compressed a serif font can become, resulting in distinctive letterforms that assemble into unique textures. [f37foundry.com, f37foundry.com]

F37 Foundry also published the initial version of F37 Azadi, a bi-scriptual, single-style, heavy display typeface with incision-like counterforms that seeks to blend Latin and Arabic scripts seamlessly, designed by Shaqa Bovand. [f37foundry.com]

Fatype released the initial version of States, a single-style sans serif with letterforms that celebrate an array of grotesque eccentricities that undeservedly ended up in the dustbin of history, designed by Anton Koovit. States is available in sharp and rounded versions (with the latter being a reference to clogged up printed letters), interpolated in the variable font on a ‘pressure’ axis. [fatype.com]

Fontfabric released Nexa Serif, the serif complement to Nexa (2012) designed by Ani Dimitrova, Kiril Zlatkov, Ivelina Martinova, and Viktoria Usmanova. [fontfabric.com]

Frere–Jones Type released Seaford, a humanist sans whose design is rooted in long-form text serifs and evokes their familiarity and comfort. Seaford was originally designed by Tobias Frere–Jones, Nina Stössinger, and Fred Shallcrass for Microsoft’s Office suite, and proposed in 2021 as one of the five possible successors to Calibri. [frerejones.com]

Giulia Boggio released Bastardo Rounded, the softened counterpart to Bastardo Grotesk (2021). [giuliaboggio.xyz]

Also from Giulia Boggio, DGM Typeset is a typeface in sans and slab serif variants that blends the vintage feel of a classic Olivetti Type with a digital flare and a modern duality. [giuliaboggio.xyz]

Gradient released MSCHN, a geometric sans combining sharp and soft corners inspired by the typography of factories, machinery, and architectural signage, where utility and clarity take precedence, designed by Milos Mitrovic. [wearegradient.net]

Hassen Khattak published on Future Fonts the initial version of HK Moreeh Naskh, a bi-scriptual Latin and Naskh-style Arabic typeface designed by Amr Bakr and Alaa El-Hadidy. [future-fonts.com]

JTD Type released Ultramega, a geometric sans with a large x-height inspired by Zhurnalnaya Roublennaya (Polygraphmash, 1947), designed by Rachel Kriebel. [jtdtype.com]

Lineto released the initial version of LL Riforma Flex, a multi-axis variable edition of LL Riforma, designed by NORM. It features a weight axis, as well as subtle adjustments for the width and optical size. [lineto.com]

M59 published on Future Fonts the initial version of MF Normavaganza Extra, the OG free range, all cap, no sweat, double contrast slabby slab, designed by Fabio Pop with origins in the designer’s KABK Type and Media final project. [future-fonts.com]

Noir Blanc Rouge released Obliqa Glitch, a single-weight pixel typeface designed by Bastien Sozeau, available as a variable font whose italic axis controls the slant by shifting successive rows of pixels to the right. As the slant increases, characters subtly fragment and shift, simulating a real-time digital glitch that adds movement and drama to each letterform. [noirblancrouge.com]

Ooper Case released on Future Fonts the initial version of Elim text Malayalam, a humble, calm and unassuming text typeface designed by Alen Antony Francis, inspired by the likes of Malayalam Series (Monotype, 1958) and Manorama (Linotype, 1984) and supporting the Latin and Malayalam scripts. [future-fonts.com]

Pizza Typefaces released Wayle, a neo-grotesque sans designed by Adrien Midzic, available as a variable font with weight and slant axes. [typefaces.pizza]

Plau released Spalla, a high-waisted, caps-only display typeface with classical proportions, touches of Italian Art Deco, and a spirit that shifts between the dramatic and the elegant, designed by Rodrigo Saiani. [plau.design]

Resistenza Type Foundry released Squadra Stencil, the stencil variant of the Eurostile-influenced Squadra, designed by Giuseppe Salerno and Paco González and released earlier this year. [rsztype.com]

Sharp Type released Eterne, a superfamily designed by Kia Tasbihgou. Eterne Display began as a direct response to printed magician’s ephemera, taking cues from 19th-century French types such as Caractères Elzévirs Gras Allongés (Deberny & Cie). The drama and gesture of the display typeface are reflected in Eterne Text, a Scotch Roman informed by Old Style Antique no.7 (Miller & Richard, ~1858). [sharptype.co, sharptype.co]

Source Type released Bernie, a rounded slab serif designed by Laurenz Brunner and Stefan Fitze, and presented as the latest in the offbeat tradition of soft-serifs, a style that traces back to German designer Lucian Bernhard, renowned for his bold lettering on iconic 1920s poster advertisements. [sourcetype.com]

Type Forward released Karst, a geometric sans serif with contemporary, edgy character, designed by Stan Partalev and Mirela Belova. [typeforward.com]

Type-Ø-Tones released Brise, a stencil serif typeface designed by Laura Meseguer. Rooted in the architectural idea of the brise-soleil, Brise explores how deliberate gaps can give rhythm, clarity, and breath to type. [type-o-tones.com]

Typogama released Rootzin, a single-style, reverse-contrast, slab serif typeface designed by Michael Parson. [typogama.com]

WrittenShape released Reptil, an interpretation of Turtle (Letraset, 1971) designed by Raphaël de La Morinerie and Ethan Nakache. [writtenshape.com]

Updates, reissues, and expansions:

Black Foundry added support for the Arabic script to Vesterbro, a serif typeface that merges characteristics from Scottish and Garalde models, designed by Jérémie Hornus, Alisa Nowak, and Ilya Naumov and originally released in 2017. The Arabic extension, designed by Hirbod Lotfian, preserves the expressive charm of the original while embracing the fluidity and calligraphic heritage of Arabic script. [black-foundry.com]

Canada Type reissued Babbage Pro, a single-weight typeface that derives its inspiration from the pure utilitarian form of a typewriter font, humanized with a subtle infusion of naïve capriciousness [coreyholms.com], originally designed by Corey Holms in 2003. The new version features an expanded character set, with contributions by Patrick Griffin. [canadatype.com]

The DJR Font of the Month Club update is a lowercase design for the informal script typeface Indoor Kid, designed by David Jonathan Ross in collaboration with comics writer/editor/publisher Ellis Bojar and originally released in March 2024. The lowercase design blends influences from the pre-digital era of comic books. [djr.com]

DSType finalized the design for Rigor, the smallest optical size of the eponymous collection designed by Pedro Leal and Dino dos Santos, originally published in 2024 as an early-access release. The typeface now supports the Latin, Cyrillic, Greek, Arabic, and Hebrew scripts. [dstype.com]

Groteskly Yours Studio updated Porte Neue, an epigraphy-inspired, high-contrast sans designed by Eugene Tantsurin and Anna Remm and originally released 2019 as Porte. The typeface has been expanded to six weights, and is now also available as a variable font. [groteskly.xyz]

Jad Maza published on Future Fonts an update to Bantayog Sans, a bi-scriptual softened sans forged from the characters cast on historical markers in the Philippines, supporting the Latin and Baybayin scripts. Initially released in 2023, the typeface now features an expanded character set, and a crisp companion named Bantayog Sharp. [future-fonts.com]

James Plattner published on Future Fonts an update to Egads, a display sans that leans into the energy of classic geo-sans typefaces like ITC Kabel and Grizzly, but subverts that familiar feeling of order with its highly exaggerated bottom-heaviness, initially released in February. The new version features three weights and an expanded character set. [future-fonts.com]

Just Another Foundry updated JAF Lapture, an interpretation of Leipziger Antiqua (Typoart, 1971) with distinctive characteristics that combine elements of both blackletter and roman type, designed by Tim Ahrens and originally released in 2004. The new version includes condensed styles, as well as a range of extra-heavy weights. Support for the Cyrillic script, designed by Oleg Macujev in 2019 for the regular text styles, has now been extended to the entire collection. [justanotherfoundry.com].

Lechuga Type finalized Ciclo Display, a high-contrast serif typeface with a pronounced tilt on the stress axis designed by Antonio Mejía Lechuga based on Bernhard Modern (ATF, 1937). Ciclo Display was originally published in 2024 as an early-access release, and a text counterpart is currently in development. [fonts.antoniolechuga.com]

Manic Type published on Future Fonts an update to Zeplin, a reverse-contrast display typeface that is all about expression and chill vibes, designed by Jamie Chang based on research into the forms of Antique Olive (Fonderie Olive, 1962) and initially released in 2022. The new version features two variations axes that enable the redistribution of weight by shifting the position of the counters. [future-fonts.com]

Ornamental & Title Type updated Neuf, a revival of Gravure Taille-Douce (Fonderie Typographique Française, 1920s), designed by Eliott Grunewald and originally released in 2022 in a single bold weight closely following the source material. The new version features four weights, and a rounded variant. An additional weight in upright and italic styles is currently in development. [ott-foundry.com]

Pangram Pangram finalized PP Museum, a modulated sans inspired by early sketches of Hermann Zapf’s Optima (Stempel, 1958), designed by Andrea Biggio, Mathieu Desjardins, Francesca Bolognini, and initially published in January as an early-access release. [pangrampangram.com]

Production Type updated Proto Grotesk, a sans serif inspired by Breite Halbfette Grotesque (Bauer & Co., late 19th century), designed by Jean-Baptiste Levée and originally released in 2014. The new version features matching italic styles for all weights, as well as support for the Greek and Cyrillic scripts. [productiontype.com]

Simplebits updated Cartridge, a geometric sans inspired by 1970s-era type used on Atari 2600 video game packaging, designed by Dan Cederholm and originally released in 2021. The new version features five weights, in sharp and softened variants. [simplebits.shop]

Store Norske Skriftkompani updated Gangster, a Renaissance-style serif designed by Arve Båtevik as what I think Garamont, Jannon, Granjon, Grandjean, and Goudy’s fonts would look like, if they had the tools we have today. Initially released in 2022 as a single-weight roman and italic pair, Gangster has now been expanded to a range of seven weights. [skriftkompani.no]

Teo Tuominen published on Future Fonts an update to Kerub, an incisive, condensed display serif originally released in 2023 as Ra. The shapes have been redrawn for the new version, which also features two additional weights. [future-fonts.com]

Brian Dove’s type designs, previously available through Big Fog, the design studio he co-founded with Valerie Burgess in 2021, are now available from the newly launched Big Fog Foundry. Updates include:

The debut of Unie, a single-style, blocky unicase display typeface. [foundry.bigfog.co]

The expansion of Gayot New, a contemporary interpretation of Gayot (Mecanorma, 1973) initially released in 2022 in a single black style. The design has now been extrapolated to a range of eight weights. [foundry.bigfog.co]

The expansion of Clearly, a condensed flared serif typeface inspired by a range of Old-style and Victorian era serifs (as well as their modern interpretations), initially released in 2023 as a single style. It’s now available in a range of seven weights. [foundry.bigfog.co]

Alex Slobzheninov established a new font distribution platform named Contemporary Type. The platform features seven foundries, with a series of previously-unreleased typefaces:

Fantasia Type released Brass, a display typeface related to the typographic history, in particular to the golden age of photocomposition (for example the VGC photo-mechanical title letters among others) and to the Letraset and Mecanorma rubdown transfer sheets era [instagram.com], designed by Franziska Weitgruber and Michele Galluzzo, originally made available by request in 2020. [contemporarytype.com].

Daria Cohen released Onlysans, a uniwidth ‘postgeometric’ sans that maintains the appearance of rationality – clean, precise, modern – yet harbors strange mischievous details. [contemporarytype.com]

Morula Type released MRL Transit, a display typeface that draws inspiration from Magnetic Ink Character Recognition (MICR) fonts, reimagining their functional origins with a rounded, retro flair, designed by Valerio Monopoli. The typeface features a width variation axis. [contemporarytype.com]

Rüdiger released RR Opague, a synthetically distilled postmodern geometric sans designed by Philipp Neumeyer, whose historical influences include Lining Gothic No.82 (Barnhart Brothers & Spindler), Venus (Bauer, 1907), and the MacKellar, Smiths & Jordan Co. Gothics series. [contemporarytype.com]

Also from Rüdiger, RR Repose is a single-weight, caps-only, condensed display sans available in quadrospaced and proportional variants. Each variant comes in three styles that control the amount of rounded corners. [contemporarytype.com]

Along with Contemporary Type, Alex Slobzheninov also launched the Flight Mode foundry, featured on the platform with four releases:

FL Prefere is a serif typeface resulting from a font-a-day creative exercise: forcing elements to align along an imaginary horizontal resulted in flat counters, brutal geometry and some blind letters. [contemporarytype.com]

FL Rare is an efficient grotesk fused with traces of handwriting, organized along variation axes for weight, optical size, and slant. The accompanying Cursive styles provide an expressive alternative to the obliques. [contemporarytype.com]

FL Art Grotesk is a neo-grotesque sans that pushes its weights and widths beyond the norm, becoming almost ornamental in its most narrow, wide, thick and thin cuts. [contemporarytype.com]

FL Science Sans is the humanist counterpart to FL Art Grotesk, with which it shares the dramatic range of widths and weights. [contemporarytype.com]

The other two foundries on Contemporary Type are ArrowType and Plain Form.

Laucke Siebein Type is a new type foundry established by Dirk Laucke, Johanna Siebein, and Clemens Buchegger. The foundry’s initial catalogue includes:

Notch, a typeface conceived as a visualization for sythetic sound. It’s a constructed and variable typeface orchestrating its appearance by four visual axes: Notch shifts from sharp to rounded corners, Slope adds weight/volume, Gain amplifies weight unproportionally and on top Band provokes conical shapes. [type.studio-laucke-siebein.com]

Mimesis is a sans serif influenced by Mercedes-Antiqua (Woellmer, 1904), adopting its Art Nouveau forms, refined with a more disciplined approach, deliberately handling the original’s ornamentation in a rational manner. [type.studio-laucke-siebein.com]

In other news:

The ANRT Nancy video archive now contains the final presentations for the research projects from the class of 2023–2025, featuring talks from Khải Nguyễn, Jeanne Saliou, Johannes Ammon, Juliette Ogier, Fangzheng Li, Camille Martinet, and Ariq Syauqi.
I took so much to publish this post that it’s now the final day of Glenn Fleishman’s (successful in the meantime) crowdfunding campaign for a new edition of Six Centuries of Type & Printing which, starting with early documented efforts and surviving artifacts from China and Korea, […] takes you through each generation of increasing sophistication in metal and relief printing until the abrupt 20th century shift into flat offset printing, which was made possible through photographic and digital improvements, and phototypesetting and digital composition.
For Typeroom, Giannis Papaioannou interviews George D. Matthiopoulos, author of the recently-published Ελληνική Τυπογραφία [Greek Typography], as he reflects on the artistry, heritage, and evolution of Greek typography.
TypeTogether released Letters for the future: Ten years of the Gerard Unger Scholarship, a publication edited by Linda Kudrnovská that provides a comprehensive history of the scholarship, introduces the typefaces produced thus far, and features interviews with the scholarship recipients.
Read the preface written by Stephen Coles for Emigre Fonts, Type Specimens, 1986–2024, recently published by Letterform Archive.
New from Lazy Dog, Il disegno del carattere. 1460–2014 (IT), edited by Alessandro Colizzi and Riccardo Olocco, is the third anthology in a series dedicated to the history of visual communication. The book offers a comprehensive selection of documents, highlighting key moments in Western typographic history with an approach that balances historical significance and contemporary relevance. Through original texts by engravers, designers, and computer scientists, Il disegno del carattere guides readers in understanding the creative and technological foundations that have shaped the evolution of typographic aesthetics.
Triest is preparing a second edition of History and Form of the Latin Script (DE/EN/FR), edited by Rudolf Barmettler, Rupert Kalkofen, and Roland Stieger, and originally published in 2024. Based on Hans Eduard Meier’s (1923–2015) standard work The Development of Script and Type (first published in 1959), the editors have completely revised the book, supplementing and expanding it with state-of-the-art scientific findings.
The tenth installment in the Poem Pamphlets series focuses on the craft of silent film intertitles: in Victor Vance, title-artist, Julien Van Anholt tells the story of the Warner Bros-associated letterer whose distinctive style of lettering, constant over the years, was based on a virtuosic use of the brush.
Relatedly, the complete run of Poem Pamphlets is now available as a box set.
Safari Technology Preview 126 added support for text-wrap: pretty, a CSS property to enable a better text layout algorithm. The specification states that the precise set of improvements is user agent dependent, and may include things such as: reducing the variation in length between lines; avoiding typographic rivers; prioritizing different classes of soft wrap opportunities, hyphenation opportunities, or justification opportunities; avoiding hyphenation on too many consecutive lines…, and Safari’s implementation seems to be more sophisticated than the one Chromium-based browsers have been employing since 2023.
Future Fonts’s HyperTalks, now at its third edition, features lightning talks and special performances from type and graphic designers from around the world. The event will be livestreamed free of charge on May 9, 2025 at 10AM-12 PDT.
One for your RSS reader: the Fontra blog features periodic updates on the development of the open source, web-based font editor.

On the Atlas website, I haven’t made much progress on infrastructure work but there’s a new page that groups foundries by the year they were founded.

Recent releases #32

2025-03-19T00:00:00Z

A double-feature look at the typeface releases of the past two weeks.

Bea Korsh released Cake4Freaks, a typeface inspired by Gerrit Noordzĳ’s sketching technique. At large sizes, the zigzags carve the page into abstraction—darting, curving, crossing in a labyrinth of letterforms organic and bizarre. At small sizes, however, they solidify into the silvery shapes of a textface modeled on the broad nib pen. [futurefonts.xyz]

On the heels of Macrosoma Grotesque, Blaze Type released a second member of Valerio Monopoli and Fred Wiltshire’s extensive Macrosoma collection, Macrosoma (Grotesque) Stencil. [blazetype.eu]

Brandon Nickerson Studio released BN Attica, a bold geometric sans serif. [bnicks.com]

CakeType released Vandertak Capslock, an all-caps, layered chromatic companion to Vandertak (2023), designed by Pieter van Rosmalen with the assistance of Jacques Le Bailly. The typeface is inspired by early 20th-century lettering on the facade of Hotel New York in Rotterdam. [caketype.com]

Death of Typography released DT Hooke, a condensed serif typeface designed by Lee Yun Xuan. Its sharp ink traps and even sharper terminals evoke the pointed edges of a hook’s barb, while the bars curve with a natural bend, capturing the dynamic motion of catching or pulling. [deathoftypography.com]

DualType published on Future Fonts the initial version of Dual Casual, an all-caps informal script typeface designed by Gen Ramírez. With origins in a design called Tejuino, it evolved into a variable font with axes for weight, width, and slant. [futurefonts.xyz]

East of Rome and Manchester Type released Mansa, a multi-script typeface designed by David Williams which pairs a Latin design informed by 19th-century English Modern types to a Naskh-style Arabic design in the tradition of metal types used by the Būlāq Press in Cairo throughout the 19th and 20th centuries. Originally developed by Williams for the MA of Type Design at Reading University, the Arabic design was subsequently revised by Muna Abdelhadi. [eastofrome.com, store.typenetwork.com]

En Travaux released Péix, a condensed dot-matrix serif typeface designed by Audrey Aujoulat and En Travaux, available as a multi-axis variable font. The typeface takes its name from the pronunciation of px (short for pixel). [entravaux.framer.website]

HAL Typefaces released HAL Magic, a confident and dynamic geometric sans-serif face loosely based on Joseph Churchward’s Tranquility (1972), designed by Elias Hanzer and Lucas Liccini. The typeface’s range of x-heights, from almost-unicase down to peculiarly low, is available, along with weight and slant, as a variation axis. [type.hanli.eu]

Hot Type released Exat, a neo-grotesque sans designed by Mihael Šandro and Marko Hrastovec that references Helvetica (Haas, 1957) through the lens of Croatia’s assimilation of the International Style, propelled by the art & architecture collective EXAT 51 and its co-founder, artist/designer Ivan Picelj. Exat is available as a variable font with width and weight axes. [exat.hottype.co]

Identity Letters released Joie Grotesk, a nod to 19th-century grotesques designed by Moritz Kleinsorge, available in nine weights, in upright and italic styles. [identity-letters.com]

Inhouse Type released Totokin, a reverse-contrast slab serif designed by Mariya Lish. [inhousetype.com]

Leinster Type released Multiflex, a sans serif with open forms and a large x-height, designed by Troy Leinster and made available as a variable font with weight and width axes. [leinstertype.com]

Letterjuice released Αθηναία (Athenea), a Greek script experimental yet functional family which explores the boundaries between type styles within the same typeface, designed by Pilar Cano and Ferran Milan. [letterjuice.cat]

Letters from Sweden released Ivar Hand, based on the handwriting of eight-year-old Ivar and enhanced with a built-in randomizer activated through the Contextual Alternates OpenType feature. [lettersfromsweden.se]

Mark Simonson Studio released Synergy, a neo-grotesque sans along the lines of Swiss faces such as Univers (Deberny & Peignot, 1957), developed from an idea Mark Simonson had in 1981 for a ‘friendly’ sans serif with somewhat rectilinear forms and very few angles. [marksimonson.com]

In February, Outline Online released Arketa, a careful amalgamation of different references, spanning from an old Apple StyleWriter II advert and other, less obscure sources, such as IBM’s Pica, Advocate and Elite typewriter faces, and our own samples from a Hermes Baby typewriter, designed by Samira Schneuwly and Laura Csocsán. [outline-online.com].

RadLuka released RL Folklor, a display typeface that takes cues from traditional craftsmanship, particularly woodcut aesthetics, designed by Radek Łukasiewicz. [radluka.com]

Sudtipos released Gintona Sans, the serifless counterpart to Gintona Slab (2024), designed by Eduardo Dulín. [sudtipos.com]

The Designers Foundry released Genevoix, a tribute to Bauhaus aesthetics designed by Roman Seban as a modular stencil design for display usage, supplemented by a geometric sans suitable for running text. [thedesignersfoundry.com]

The Northern Block released Loew Next Devanagari, a further expansion of Loew Next — following Loew Next Arabic in 2018 — designed by Amélie Bonet and Jonathan Hill, with Indic script consultancy from Erin McLaughlin and Pooja Saxena. [thenorthernblock.co.uk]

Tiro Typeworks and Microsoft released Skeena Indigenous, an indigenous-first project, in which priority is given to supporting orthographic and typographic norms of indigenous languages of North America, rather than prioritizing those of European settler languages, designed by Paul Hanslow and John Hudson as an expansion of the modulated humanist sans Skeena, which in 2021 was proposed as one of the five possible successors to Calibri. Skeena Indigenous is made available under the OFL license and features extensive documentation, including discussion of common issues in indigenous text such as presence of confusable Unicode characters and unstable encodings, language specific variant letterforms, and OpenType Layout implementation. [microsoft.github.io]

TPTQ Arabic released Roshan (Persian for bright or enlightenment), a high contrast multiscript typeface with close connections to calligraphic traditions, designed by Sina Fakour with assistance from Peter Biľak and Kristyan Sarkis. It features an incised Latin design, and an Arabic design inspired by the rounded forms of Persian Naskh and Maghrebi writing styles. [tptq-arabic.com]

TypeMates released Gregory Poster, a high-contrast condensed flared serif typeface designed by Jakob Runge (Latin), George Triantafyllakos (Greek) and Seryozha Rasskazov (Cyrillic). [typemates.com]

Velvetyne released Velvelyne, a sans serif designed by Mariel Nils and Manon Van der Borght for the foundry’s website, based on the algorithmic manipulation by Benjamin Dumond and Raphaël Bastide of Liberation Sans (Ascender, 2007). [velvetyne.fr]

Cast Type Foundry has a new website, featuring three additions to the Alfabeti Modernisti series of revivals:

AM Serie 704 is a revival by by Stefano Baldassari of Serie 704 (Xilografia Milanese), a bold all-caps face with geometric shapes and a modular construction. [c-a-s-t.com]

AM Marche is a revival by Fabrizio Falcone of Marche (Xilografia di Verona), a geometric sans with some idiosyncracies that reveal its Art Deco origins. [c-a-s-t.com]

AM Novecento is a revival by Alessandro Bombieri of Novecento (Xilografia di Verona, 1937-1940), a dark geometric all-caps sans of elementary construction, with a striking rounded feel due to the abundance of arcs and circles that make up its design. [c-a-s-t.com]

Device Fonts has published several of what the reverse-chronological sorting on the foundry website suggests are new typeface designs by proprietor Rian Hughes. In the absence of design notes, you’re stuck with my speculation.

Carbak Stamp is a single-style, all-caps distressed sans evoking rubber stamp impression, supplemented by ornaments for chromatic layering. [devicefonts.co.uk]

Marchmont Tall is a single-style condensed semiserif typeface. [devicefonts.co.uk]

Ministry Condensed is a narrow variant of Ministry (2005), a sans serif modeled on the typeface introduced in 1933 by the British Ministry of Transport for use on road signage. [devicefonts.co.uk]

Rapino is a top-heavy, reverse-contrast, single-style display typeface in the vein of Strada (1967) and Zipper (1970). [devicefonts.co.uk]

Remarque is a heavy, single-style display typeface that likely references a cluster of designs from the 1960s and 1970s, such as Dreamline (Mecanorma, 1969). [devicefonts.co.uk]

Scorch is a heavy, wavy, single-style display typeface. [devicefonts.co.uk]

Supermarché is a single-weight, heavy sans serif that references Gill Kayo (Monotype, 1936). [devicefonts.co.uk]

Vertigram is a compressed sans serif available in a variety of weights, in upright and italic styles, with a choice of sharp or rounded outlines. [devicefonts.co.uk, devicefonts.co.uk].

Warminster is a flared serif typeface available in two solid widths, with the condensed supplemented by a Shaded variant. [devicefonts.co.uk]

Updates, reissues, and expansions:

Bold Monday added a monospaced variant to Rigby, a sans serif designed by Pieter van Rosmalen, started as a custom typeface developed for Dutch public broadcaster NTR and originally released for retail in 2023. The name is a play on RIBBI, an acronym for the traditional Regular, Italic, Bold, Bold Italic palette that emphasizes a conceptual commitment to a minimal but practical set of styles. [boldmonday.com]

CubicType expanded the character set for Arugula, a stencil sans serif designed by David Jones, developed from found stencilling on the side of a case of rocket ammunition, and originally released in 2023. [drj11.itch.io]

CSTM Fonts published on Future Fonts an update to Zhivov, a multi-purpose typeface based on early Cyrillic graphics designed by Yury Ostromentsky and initially released in 2022. The new version unifies the character set (Extended Latin, Standard Cyrillic, and Old Slavonic scripts) and OpenType features of the typeface’s three styles. [futurefonts.xyz]

Delve Fonts reissued Blot Test, a Rorschach-inspired symbol font comprised of 52 ink blot glyphs, designed by Delve Withrington and originally released in 1999. [delvefonts.com]

Another Delve Fonts reissue is Cortina, a futuristic, modular typeface designed by Joachim Müller-Lancé and originally released in 2001. [delvefonts.com]

DSType finalized Habil, a pointed-pen calligraphic script referencing António Jacinto de Araújo’s Nova Arte de Escrever (1797), designed by Pedro Leal and Dino dos Santos, and originally published in 2024 as an early-access release. [dstype.com]

DSType also released a bold, dark, and striking evolution to Rigor and Rigor Ionic, a pairing of a grotesque sans and slab serif designed to bring together distinct historical sources into a cohesive system, designed by Pedro Leal and Dino dos Santos, originally published in 2024 as early-access releases. These families were updated with the heavyweights Rigor XL and Rigor Ionic XL, each available in three optical sizes. [dstype.com]

FaireType updated with matching italic styles Octave, a revival by Maxime Gau of an Elzevir/French Oldstyle typeface originally designed by Théophile Beaudoire and used in the book Histoire de La Musique en Russie (1898) [archive.org]. Octave was originally released in 2022. [fairetype.com]

Good Type Foundry reissued Kosmos, a modular typeface originally released in 2022, as a variable font whose weight axis controls the thickness of the horizontal lines. [goodtypefoundry.com]

Gruppo Due expanded to five weights G2 Erika, a condensed sans serif designed by Moritz Appich and originally released in 2021 as a single-weight proportional & monospaced pair. [gruppo-due.com]

Huy! Fonts revamped Ultramarina, a display serif typeface halfway between nineteenth century display wood letters and the American grotesk sans-serif of the early twentieth, designed by Juanjo López and originally released in 2011. The redrawn version also features an expanded character set. [juanjez.com]

LettError expanded the character set for LTR Very Bauble, a Tuscan-coded display typeface that uses advanced interpolation between five designs to orchestrate intensifying ornamentation along a variable ‘serif’ axis, designed by Erik van Blokland and originally released in 2024. [letterror.com]

Olga Umpeleva published on Future Fonts an update to Heaven can wait, a pseudo-pixel typeface initially released in 2024, inspired by the embroidered title sequence for Ernst Lubitsch’s eponymous film. The new version expands Latin and Cyrillic coverage to support more languages. [futurefonts.xyz]

Optimo updated Dada Grotesk, a sans serif based on Aurora Grotesk (Wagner & Schmidt, ~1908) originally designed by Gaël Etienne and deValence for the 2005 Dada exhibition at the Centre Pompidou, Paris, and initially released for retail in 2007. The current version was completly redrawn and completed with a new range of weights going from Light to Super, with a new multi-script version covering the Latin, Greek and Cyrillic scripts distributed as Dada Grotesk Pan. [optimo.ch]

Sumotype published on Future Fonts an update to Fuga, a hybrid sans serif typeface designed in order to explore the principles of the broad nib pen in a contemporary context, designed by Oscar Guerrero Cañizares and intially released in 2021. The new version features italic styles for four of the typeface’s eight weights. [futurefonts.xyz]

TypeType Foundry expanded the character set for TT Interphases Pro, a neo-grotesque sans designed for user interfaces and originally released in 2019. The design credits for the new version include Pavel Emelyanov, Marina Khodak, Antonina Zhulkova, Toma Streltsova, Alexander Smirnov, Kseniya Karataeva, Nadezhda Polomoshnova, and Nadyr Rakhimov. [typetype.org]

Victoria Rushton published on Future Fonts an update to Kadabra, a Spencerian script typeface inspired by the work of calligrapher Jean Larcher (1947–2015), developed by Victoria Rushton from a design by Dai Foldes and initially released in 2021. [futurefonts.xyz]

In other news:

Identita is a multi-faceted project documenting the history of Czech graphic design. Among the materials produced (which include a book, an exhibition, and a feature-length film), a seven-part TV series is now available on YouTube (via Typographica).
A look inside the first three volumes from Letterform’s Archive new series of type specimen facsimiles conceived by Alice Chau, dedicated to the work of Lucian Bernhard, Roger Excoffon, and Aldo Novarese.
In Bill 5, Tschichold 6, Robin Kinross sorts out a bibliographic puzzle pertaining to the 1946 debate between Max Bill and Jan Tschichold.
Caren Litherland in conversation with Shiva Nallaperumal about Delegate (Commercial Type, 2023), design, and November’s new website.
Matthijs Sluiter talks to André Baldinger and Toan Vu-Huu of BVH Type about the creation of Dina Chaumont (2023), in the first of what I hope will be a series of interviews with type designers about their relationship with the typeface families they designed.
The KABK TypeMedia class of 2022–2023 student showcase is now online.
The out-of-print, 512-pages Emigre No. 70: The Look Back Issue is back as a PDF download.

Recent releases #31

2025-03-04T00:00:00Z

A look at the type releases of the past week.

205TF released Naancy, a filiform display sans drawing from architecture—its rhythm, the juxtaposition of styles, the play of light and shadow, the layout of facades, motifs and ornaments—and from nature, with its unexpected forms, curves, and intertwining shapes, designed by Damien Gautier. With several alternate letterforms and discretionary ligatures available as stylistic sets, the typeface invites letter-by-letter compositions. Naancy is available in two grades with matching ornaments. [205.tf]

Adriana Garcidueñas published on Future Fonts the initial version of Tlayuda, a single-weight, reverse-contrast display typeface whose upcoming versions will include vertical variation axes for waist and x-height, as well as horizontal axes for width and serif extensions. The design concept originates from a TypeCooker session organized by the Letrástica community, and the design space was developed with the guidance of Romina Hernández. [futurefonts.xyz]

Blaze Type released Booster, an interpretation of Modern Gothic (Barnhart Brothers & Spindler, ~1897) designed by Maksym Kobuzan. The original Sans is supplemented with five treatments enhancing different aspects of a design’s personality and function: Rounded, Pixel, Polygonal, Stencil, and Inktrap. The collection is available as variable fonts with axes for width, weight, and slant. [blazetype.eu]

Also from Blaze Type, Macrosoma Grotesque is the first subfamily of the upcoming Macrosoma collection, which at almost two thousand individual cuts the foundry says might very well be the most expansive type family ever created. Designed by Valerio Monopoli and Fred Wiltshire, Macrosoma Grotesque is available as a variable font with axes for width and weight. [blazetype.eu]

A third release from Blaze Type, Quadro is a squared squared sans designed by Giuseppe Tangaro, available as a variable font with width, weight, and slant variation axes. [blazetype.eu]

Capitalics released Regards, a kind of homage to the aesthetics of the streets of London, in which the works of the greatest masters of typography are interwoven alongside neo-Gothic architecture or Brutalist insets , designed by Mateusz Machalski. [capitalics.wtf]

Céline Hurka released Carmen is Regular, a bold display typeface designed by Céline Hurka for, and in collaboration with, Carmen Dusmet Carrasco. The typeface plays with this idea of never achieving completion, never finding peace and will receive continuous updates, with each licensee encourage to request up to five custom ligatures. [celine-hurka.com]

Commercial Type published in the foundry’s Vault section Caslon Ionic Rounded, the rounded counterpart to Caslon Ionic, an interpretation of Ionic No. 2 (Caslon, 1854) designed by Greg Gazdowicz and Paul Barnes and released in 2019. [vault.commercialtype.com]

CubicType released Dorothy Norma, a fantasy dot matrix font based on DIN 6776 lettering for technical drawing designed by David Jones. [drj11.itch.io]

Dalton Maag expanded the weight range of Soleto, a contemporary sans designed by Fernando Caro, Fabio Haag, and Rafael Saraiva and originally released in 2014. The new version is also available as a variable font with a weight axis. [daltonmaag.com]

Dalton Maag also expanded the character set for Lexia, a humanist slab serif designed by Ron Carpenter, Ignacio Casco Guijarro, Reiko Hirai, Franziska Hubmann, and Robert Pratley and originally released in 2007. The new version supports the now support Cyrillic, Greek, and Hebrew scripts. [daltonmaag.com]

Along with Lexia, its monospaced counterpart Lexia Mono, originally designed by Ron Carpenter, Ignacio Casco Guijarro, Elí Castellanos, and Spike Spondike and released in 2019, was similarly updated to support Cyrillic, Greek, and Hebrew. [daltonmaag.com]

David Jonathan Ross released ECWC Standard, an interpretation of the condensed, monospaced all-caps sans serif used by Environment Canada from 1975 onwards to broadcast weather information over cable. The typeface was comissioned by Matt Hadden and Mark J. Szymanski, who run a 24/7 simulator on YouTube, and is available under the OFL lincese. [github.com]

Slight Chance, a freer interpetation of the source material with a matching lowercase design, is the February 2025 offering of the Font of the Month Club. [djr.com]

Dương Trần published an update on Future Fonts for Thow, a serif typeface that captures the essence of transitional mixed with modern genre while introducing unique and contemporary flourishes that evoke a heritage of historical elegance, designed by Dương Trần and initially released in 2024. The new version features matching italic styles for all weights. [futurefonts.xyz]

ECAL Typefaces released Magnette, a display typeface inspired by a set of mysterious shapes found on an unidentifiable cassette tape in a thrift store, designed by Edouard Berard. [ecal-typefaces.ch]

Gruppo Due released G2 Airdancer, a formalist approach to bold, compressed, display sans-serifs that rather explores technological properties of type design than a revivalist narrative. Originally designed by Massimiliano Audretsch, Moritz Appich, and Bruno Jacoby for an installation in the Lichthof of Karlsruhe University of Arts and Design, G2 Airdancer features regular, semi-round, and round styles. These styles are made available, along with width, as variation axes. [gruppo-due.com]

Inga Plönnigs published on Future Fonts an update to Zetkin, a sans serif typeface informed by Venus (Bauer, 1907), designed by Inga Plönnigs, initially released in 2020. The new version features six weights across four widths, in upright and oblique styles. [futurefonts.xyz]

Interval Type released two narrower widths of Oceanic Grotesk, a sans serif designed by Ilya Naumov and released in 2023. The new families are called Oceanic Grotesk Compact and Oceanic Grotesk Condensed. [intervaltype.com, intervaltype.com]

Ivy Foundry released IvyGothic, a neo-grotesque sans designed by Jan Maack based on Times Gothic (ATF). [ivyfoundry.com]

Martha Sue Coursey published on Future Fonts the initial version of Magik Wanda, a typeface that began as inky drawings hand-lettered with a Speedball Series B nib and was influenced by the lettering styles of the Vienna Secession movement and the illustration and lettering in Wanda Gág’s children’s books. [futurefonts.xyz]

Maxitype released Teletext, a humanist pixel typeface based on a 1979 design by Adrian Frutiger for the CRT screens of the Paris Charles de Gaulle airport, expanded by Maximage into a fully-featured typeface. [maxitype.com]

Nova Type Foundry finalized Baga, a display typeface designed by Joana Correia and initially released on Future Fonts in 2023. Baga is now available in five weights. [futurefonts.xyz]

Resistenza Type Foundry released Furbo, a ’70s-flavored, reverse-contrast, monospaced display typeface designed by Giuseppe Salerno and Paco González. Furbo is available as a variable font with axes for width, inclination, and for shifting the weight vertically. [rsztype.com]

Rosetta released Only Yours, a generative typeface that contains thousands of unique variations, each featuring a different combination of characteristics, designed by David Březina. Every variant, of which nine are generated each day, comes with an exclusive license. [rosettatype.com]

Teo Tuominen published on Future Fonts the initial version of Finnish Pie, a condensed serif typeface available in four weights. [futurefonts.xyz]

The Northern Block reissued Scriber, an octagonal display typeface originally designed by Jonathan Hill and released in 2009, as a stencil design. [thenorthernblock.co.uk]

Threedotstype released Tor Grotesk Mix, a remix of the thin weight of Tor Grotesk designed by Marian Misiak for the upcoming Slanted publication Support independent type II. [threedotstype.com]

Typonym released Marsalito, a display offshoot of Marsam featuring bifurcated serifs, designed by Evan Deterling. [typonym.xyz]

Guido Schneider’s Brass Fonts is now known as Bfgs.studio and has a new foundry website. The streamlined catalog contains four typefaces updated in the last year:

Garant, a geometric sans typeface originally released in 2021. [brass-fonts.de]

Konkret Grotesk, a squarish grotesque typeface originally released in 2018. [brass-fonts.de]

Rotwang, a typeface that plays with the character traits of high-contrast transitional serif typefaces and Didone-style typefaces, originally released in 2013. [brass-fonts.de]

Corpa Gothic, a condensed sans inspired by hand-drawn geometric poster typefaces from the 1920s. originally released in 1997. [brass-fonts.de]

In other news:

All the presentations from Automatic Type Design 3, a conference on digital typography yesterday and tomorrow held in February 2025 at ENSAD in Nancy, France are now available on Vimeo.
John D. Berry is currently raising funds to complete the history of ATypI (Association Typographique Internationale) that I began before the pandemic, including research, writing, and publication in final form.

Recent releases #30

2025-02-23T00:00:00Z

A look at the typeface releases of the past week.

Adam Ladd supplemented the optical sizes of Fields, a serif typeface influenced by ITC Souvenir (ITC, 1970) and originally released in 2023, with the rounded, low-contrast Big Ultra style. [ladd-design.com]

Aieou Tools released Zetal, a geometric sans designed by Andrea Biggio, inspired by the industrial modernism of signage on water tanks and cargo containers, blending the strong typographic heritage of the Enschedé foundry with mid-20th-century American influences. [aeiou.tools]

Beasts of England released Blackbike Two, a redraw of Simon Walker’s connected script typeface Blackbike, originally released in 2017. The new typeface also includes new ligatures, swashes, and an expanded character set. [beastsofengland.co]

Blaze Type released Seraphine, a Didone in four optical sizes designed by Karol Mularczyk, available in nine weights in upright and italic styles, as well as a three-axis variable font. [blazetype.eu]

Also designed by Karol Mularczyk and released with Blaze Type, Galice is a humanist sans available in nine weights and their corresponding italics, and as a two-axis variable font. [blazetype.eu]

Branding with Type published on their new foundry website an update to Bw Darius, a serif typeface designed by Alberto Romanos and originally released in 2016. The new version contains Medium and Extra Bold weights. [brandingwithtype.com]

Brandon Nickerson released BN Crocker, a heavy, condensed sans inspired by Permanent massiv (Ludwig & Mayer, 1967). [bnicks.com]

Eliott Grunewald’s eponymous foundry is now known as Ornamental & Title Type. With the launch of the new foundry website, two new typefaces were introduced:

Dank is an interpretation by Axel Pelletanche of Bank Gothic (ATF, 1930). The first installment of the typeface is caps-only, with terminals reminiscent of Morris Fuller Benton’s design available as a stylistic set. [ott-foundry.com]

Horizon is a reverse-contrast, caps-only, condensed display slab font with a wooden type feeling designed by Quentin Coulombier as a synthesis of various 20th-century typefaces in the French Antique style. [ott-foundry.com]

Emtype Foundry updated Steradian, a sans serif designed by Eduardo Manso and originally released in 2018, with a variable font version. [emtype.net]

Formagari released Yet Grotesk, a utilitarian sans designed by Emmanuel Besse which seeks balance, stays humble, and aims to straightforwardly convey its intended message, influenced by Akzidenz-Grotesk (Berthold, 1898), Record Gothic (Ludlow, 1927), and Gerstner-Program (Berthold, 1964), as well as more recent references such as Arial (Monotype, 1982). [formagari.com]

Groteskly Yours Studio has a new foundry website. Their newest release, published at the end of 2024, is Jouter Sans, a sans serif designed by Anna Remm and Eugene Tantsurin, inspired by a selection of Gothic typefaces from an 1867 Farmer type catalog. [groteskly.xyz]

James Plattner released Egads, a display sans that leans into the energy of classic geo-sans typefaces like ITC Kabel and Grizzly, but subverts that familiar feeling of order with its highly exaggerated bottom-heaviness. [futurefonts.xyz]

Jason Santa Maria released the initial version of Citywide, a sans serif inspired by the type on midcentury bus and train destination blinds. Available in five weights and five widths in upright and italic styles, and as a multi-axis variable font. Currently caps-only, with a lowercase planned for a future release. [shop.jasonsantamaria.com]

Lineto released LL Kristall, a humanist sans designed by Laurenz Brunner that completes a trilogy of sans serif designs started with the neo-grotesque LL Akkurat (2004) and continued with the geometric LL Circular (2013). Originally designed for the Arnhem Fashion Biennale in 2011 and further developed as a custom typeface for Kaleidoscope Magazine, LL Kristal is influenced by various strands of the UK typographic tradition, such as Edward Johnston’s typeface for London Underground and Margaret Calvert’s Transport. [lineto.com]

LucasFonts released CorpidMono, the monospaced companion to Corpid, a sans serif originally designed by Luc[as] de Groot in 1997 as the corporate typeface for the Dutch Ministry of Agriculture, Nature Management and Fishing. [lucasfonts.com]

MuirMcNeil released Flip, a collection of seven sans serif typefaces designed by Hamish Muir and Paul McNeil that explore aspects of symmetry in the roman alphabet. Based on Sans Sans, the character set of each individual variant font is governed throughout by a single axis of symmetry: either vertical, horizontal, rotational, biaxial or multiaxial. [muirmcneil.com]

NaN released NaN Serf Sans, the sans-serif companion to NaN Serf (2024), designed by Hugues Gentile, Fadhl Haqq, Léon Hugues, Jean-Baptiste Morizot, Luke Prowse, and Florian Runge, with script consultancy from Daria Cohen (Cyrillic) and Ben Mitchell (Thai). [nan.xyz]

Pangram Pangram finalized PP Model, an homage to the world of plastic model kits, drawing inspiration from the iconic Japanese brand Tamiya, designed by Caio Kondo, Francesca Bolognini, and Mathieu Desjardins. Initially published in 2024 as an early-access release, PP Model is available in proportional and monospaced spacing, complemented by two Plastic variants. [pangrampangram.com]

Playtype released Noir No1 Arabic, the Naskh-style complement to Noir No1 (2019) that tries to get close to abstract shapes without losing the authenticy and visual aspects of Arabic script, designed by Bahman Eslami and Jonas Hecksher. [playtype.com] (via Typecache).

Proof of Words finalized PoW Alara, a sans serif that pays tribute to Pharaon (Deberny & Peignot, 1933), designed by Léo Guibert and originally released in 2023. The new version features matching italic styles for all weights. [proof-of-words.com]

Shapes for Cash released EnjoyFun, a weighty, slightly italicised counterless collection of rascals designed by Timothy Donaldson. The initial release includes two weight extremes: the heavy, counterless Squodge, and the thin, quasi-monolinear Bone. All styles in the family are planned to be metrically compatible, enabling chromatic effects via layering. [shapesforcash.com]

Suitcase Type Foundry released Eroticon, a condensed high-contrast serif typeface with wide, swashy alternate letterforms, designed by Tomáš Brousil. [suitcasetype.com]

Tortilla.studio released Teléfono, a thin connected script typeface designed by Miguel Contreras under the direction of Romina Hernández. [futurefonts.xyz]

TypeType updated TT Ramillas, a high-contrast flared serif originally released in 2020, with floral initials for each weight, as well as an expanded character set. Design credits for the updated version include Yulia Gonina, Pavel Emelyanov, Marina Khodak, Antonina Zhulkova, Kseniya Karataeva, Sia Vrublevskaya, and Nadyr Rakhimov. [typetype.org]

Zetafonts released Autarchist, a typographic odyssey through the aesthetics of 1970s and 1980s science fiction and horror designed by Andrea Tartarelli and Cosimo Lorenzo Pancini. Autarchist is available in sans, serif, and ‘super serif’ variants across a variety of weights, as well as a two-axis variable font. [zetafonts.com]

Zetafonts also released a series of condensed styles for some of its typefaces:

Thicker Narrows, designed by Francesco Canovaro and Andrea Tartarelli, complement the geometric sans Thicker (2019) with Condensed and Compressed widths. [zetafonts.com]

Codec Pro Narrows, designed by Francesco Canovaro, Cosimo Lorenzo Pancini, Andrea Tartarelli, and Mario De Libero, updates the geometric sans Codec Pro (2019) with three new widths: Compressed, Condensed, and Narrow. [zetafonts.com]

In other news:

In 2017, Typotheque started researching type design for the Thai script, taking a slow, deliberate approach and engaging in conversations with native designers, studying the script’s history, and analysing its unique features. The effort culminated this month with the release of several new Thai typefaces, as well as the publication New Thai Type, featuring an essay by Pracha Suveeranont on the history of Thai typography and research by Héctor Mangas Afonso on the contemporary effects of loops.
Remarkable Renaissance Books, John Boardley’s newest book telling the story of eighteen extraordinary early printed volumes, from the very first titles printed in the fifteenth century to the groundbreaking scientific texts of the Enlightenment, will be published in November with Oxford University’s Bodleian Library.
Version 2.0 of Frederik Berlaen’s UFOstretch is now available in the RoboFont extensions store.
Stephen Nixon explains How to make a font in Glyphs, starting from Illustrator.
Read Marcin Wichary’s meticulously produced ode to Gorton, The hardest working font in Manhattan.

Recent releases #29

2025-02-14T00:00:00Z

Just in time for the weekend, a look at the type releases of the past week.

Alanna Munro released Angus Hand, a single-weight handwriting typeface based on samples of love letters written from Victoria, Canada in 1955 by the designer’s grandfather. The original handwriting was preserved as the Casual style, interpolated with the more formal Calligraphy style along a ‘tidiness’ variation axis. [alannamunro.com]

Astype Fonts continues Andreas Seidel’s series of historical stencil fonts with Vtg Stencil Ideal No.2, based on 5/8-inch stencils produced by the American Ideal No.2 (1913) machine. The typeface is available in proportional and monospaced variants. [astype.de]

DualType released on Future Fonts the initial version of Raketa, a modulated display sans that draws from the study of expressive calligraphic brushwork, translating its fluidity into clean, structured forms, designed by Gen Ramírez. The typeface is inspired by mid-century lettering, such as the work of Roger Excoffon, Oscar Ogg, and Oldřich Menhart. [futurefonts.xyz]

Holdon Type is a new foundry, launched by Fadhl Haqq earlier this month. The initial catalogue features HD Koncert, a sans serif which takes inspiration from lettering styles of 1960s music posters. The typeface is available as a variable font with a weight axis. [holdontype.design]

HD Sinar, a reverse-contrast serif by Fadhl Haqq originally released in 2019 as Hailgen, was also updated for the occasion. The new version, featuring a more extensive set of weights, is offered as an open-source release. [holdontype.design]

Fort Foundry released Bearklaw, an interpretation of Futura Display (Bauer, 1932) designed by Brian Brubaker and Mattox Shuler. Available in upright and italic styles across four weights, plus an optically-adjusted cut of the Black weight for smaller sizes, in smooth and distressed flavors. [fortfoundry.com]

Lapagelepage released on Future Fonts the initial version of Saggi, an interpretation of Miklós Kis’s 17th-century types as used in Saggi di naturali esperienze (Florence, 1691), designed by Géza Sipos and Nóra Békés. The typeface is offered in roman and italic styles, with plans for more weights and a companion sans. [futurefonts.xyz]

Lift Type released Hublot, a monospaced typeface originally designed by Sandrine Nugue for La Fenêtre, an art center in Montpellier, France. With a concept that plays on the contrast and graphic rhythm between very round shapes and triangular endings, it’s available in five weights plus a display version of the upright Bold with more radical letterforms. [lift-type.fr]

Manchester Type released Hebden Recut, a mix of a sign-painters' grotesque and Egyptian lettering, designed by David Williams and Lewis McGuffie, based on a single-weight, caps-only grotesque design originally released by McGuffie in 2016. The new version includes a lowercase and is available in eight weights, in roman and slanted styles. [store.typenetwork.com]

Parachute Type released PF Centura, a Clarendon/Ionic typeface designed by Panos Vassiliou and implemented with weight and width variation axes. The typeface takes its name from a single-style, shaded slab serif released in 1999, now renamed to PF Centura 3D in the foundry’s Archive collection. [parachutefonts.com]

Plau released Amarta, a sports-inspired slab serif designed by Diego Maldonado, named after Brazilian football player Marta Silva. The family includes a text style with a weight axis, plus a heavy poster style with a variable width. [plau.design]

Positype released Analogy, an interpretation of Nicolas Jenson’s 15th-century types refined for modern sensibilities, designed by Neil Summerour. Available in six weights with matching italic styles. [positype.com]

Prologue Type is a new foundry established by Ellis Carson Jones. The foundry’s first typeface is Posthumous, a semi-connected Blackletter script with softened joints, available as a variable font with a weight axis. An disconnected variant is available as a stylistic set. [prologuetype.co].

Reber R41 released on R41 Monza, a revival by Ariel Brandolini and Daniele Midena of a condensed sans originally designed at Nebiolo around 1925. The typeface is available in two weights. [store.typenetwork.com]

Storm Type released Kingdom, a calligraphic typeface designed by František Štorm as the user interface typeface for Kingdom Come: Deliverance II, a historical fantasy video game set in the Late Middle Ages. The typeface features dripping terminals, initially used to influence the perception of whitespace in a rendering environment lacking support for kerning or ligatures. The remastered retail release does away with these constraints, and is available in a variety of weights and optical sizes. [stormtype.com].

VZWO supplemented the VZWO Choreo collection designed by Viktor Zumegen with the neo-grotesque sans VZWO Choreo Text, featuring vertical metrics and an italic angle compatible with its display counterparts. Available as a variable font with a weight axis, in upright and italic styles. [viktorzumegen.de]

Typonym finalized Marsam, a slab serif that roams that arid desert between the severe, enboldened geometry of the ‘Egyptian’ neo-grotesque slab serifs and the graceful, bracketed serif forms of traditional Clarendons, designed by Evan Deterling and originally published in 2024 as an early-access release.

W Type Foundry released Likan, a single-style display typeface that exudes a ‘volcanic’ appearance, mirroring the rugged landscapes of the southern Chilean Andes, designed by Mauricio Adasme. [wtypefoundry.com]

Otherwhere Collective released OC Oly, a neo-grotesque sans designed by Andrew Bellamy that draws inspiration from the typographic design of Olympic identities, notably Munich ’72, Montreal ’76, and Sarajevo ’84, with references to Univers 55 (Deberny & Peignot, 1957) and Helvetica Light (Haas, 1957). The typeface features a weight axis and is supplemented with icons that use a variation axis for animation. It appears to be a part of Emblème, proposed as the world’s first kinetic visual identity system packaged in a font file for exclusive licensing. [otherwherecollective.com]

Olivia King updated Inclusive Sans, a sans serif inspired by the friendly personality of contemporary neo-grotesques while incorporating key features to make it highly legible in all uses. Originally released in 2022 in a single weight in upright and italic styles, it now features three weights, plus a variable font. [oliviaking.com]

Daytona Mess released Plasmid, a display font inspired by mitosis, designed by Anne–Dauphine Borione in solid and outline styles. The designer also featured in an interview for type.today published this week. [daytonamess.com]

Inhouse Type released Kotik, a softened sans based on a neo-grotesque model, designed by Mariya Lish. [inhousetype.com]

Teo Tuominen published on Future Fonts the initial version of Core Mono, a monospaced typeface that has a neutral overall feel on the surface but the details blend a subtle mix of mechanical and humanist shapes. The typeface is available in six weights. [futurefonts.xyz]

Notyourtype Foundry released ITYT 28th and ITYT 29th, the results of the Is This Your Type workshop led by Xiaoyuan Gao where students at Graphic Design Arnhem used Google Sheets and Glyphs to develop a collaborative pixel typeface. [notyourtype.nl, notyourtype.nl]

The Braille Institue has updated Atkinson Hyperlegible, a typeface designed to improve legibility and readability for individuals with low vision, originally designed for the identity of the institute in 2019 and released as open-source in 2020. The new version, named Atkinson Hyperlegible Next, features upright and italic styles as variable fonts with a weight axis, in proportional and monospaced variants. Design credits include Elliott Scott and Megan Eiswerth (of Applied Design), Linus Boman , Theodore Petrosky, and Göran Söderström (of Letters from Sweden). [braileinstitute.org]

Hot Type debuted their early-release section named Hot WIP on the foundry’s website.

Dial is a caps-only geometric typeface designed by Marko Hrastovec, originated as a redrawing practice of numbers found on a vintage Quartz wall clock. [hottype.co]

Remorker is a stencil typeface inspired by the intricate wayfinding and warning signs painted on surfaces of Croatian seafaring ships, designed by Marko Hrastovec and Mihael Šandro. [hottype.co]

Pincar, a display typeface designed by Luka Nera Sibila, stemmed from an exercise in writing with unconventional tools. In this case, tweezers were modified to leave a trace of ink on paper. [hottype.co]

Brum is a display typeface influenced by flat-brush and marker lettering with an overall soft character and simplified shape construction, designed by Marko Hrastovec. [hottype.co]

Crespo is a condensed geometric sans influenced by the lettering on a shopfront sign in Milan, Italy. The typeface, designed by Marko Hrastovec and Mihael Šandro, is available in a variety of weights with upright, oblique and backslated styles in three different cap heights. [hottype.co]

In other news:

Enabling Typography. Towards a general model of OpenType Layout is the updated version of an article oiginally written by John Hudson in 2014, with a new conclusion reflecting on the developments of the intervening decade.
The weeklong Automatic Type Design 3, a conference on digital typography yesterday and tomorrow held at ENSAD in Nancy, France, starts on Monday. The programme sounds brilliant, and while the conference is sold out, a free-to-join livestream will be available on the website.
Launching at the conference will be Impact Type: Manufacturing Type for Typewriters in Switzerland, 1941–1997, edited by Sophie Wietlisbach and published by Triest (via Typography.Guru).
Victionary published two additional volumes in their Type in use series, which debuted last year with Sans in use and Serif in use. The new titles are Stencil in use and Display in use, each featuring around a hundred typefaces.
Type designers of the 20th century, a new book from David Jury due for publication this summer with Bodleian Libraries, describes the achievements (and occasional failures) of thirty-seven key type designers to explore the evolution of the designer, the rise of the advertising agency and the changing function of the printer.

Updated February 24, 2025 to reflect the name change from Hebden Recast to Hebden Recut.

Recent releases #28

2025-02-06T00:00:00Z

Almarena Foundry released Joyse, a single-style geometric sans with 70s influences designed by Jérémie Gauthier.

Atypical released Luxurious, a display serif initially designed by George Triantafyllakos for the Athens-based design studio Another Practice. Available in a single weight with support for the Latin and Greek scripts.

Blaze Type released Narri, a display typeface inspired by the dancing shapes of flames, designed by Elsa Drevous. The system is created with curvy lines, strong inverted contrast and sharp endings, resulting of organic calligraphic shapes.

Brandon Nickerson released BN Ventura, a bold, condensed display sans with curved diagonals. Straight-edged alternate letterforms are also available.

Commercial Type published to the foundry’s Vault section a first version of Jargon, a condesend flared serif with a large x-height designed by Thomas Bouillet. Expanded to seven weights from a single condensed style of Tandem, the designer’s graduation project at Type]Media 2020, Jargon is influenced by Dutch newspaper types, with italic styles referencing François Ganeau and Roger Excoffon’s Vendôme (Fonderie Olive, 1951).

DSType released the initial version of Verbo, a refreshing fusion of pure geometry and subtle warmth, reinterpreting the disciplined precision of Bauhaus typefaces through a humanist lens, designed by Dino dos Santos. Along with a set of eight weights and their corresponding italic styles, the family includes Verbo XL, a heavy display version with an increased x-height.

F37 Foundry published a first version of F37 Club, a display typeface that draws inspiration from sound waves and vibrations, bringing rhythm to every letter, designed by Rodrigo Fuenzalida. The typeface’s construction through composited overlapping shapes evokes the optic effect used for Electric Circus (~1960).

Heavyweight Type released Animo, a display typeface inspired by Spanish vernacular lettering, designed by Jan Horčík and Arnaud Chemin. Since much of the overall work was created during the pandemic and lockdown, the first use of the font was on a large flag that was displayed facing the street to encourage passersby, already sort of tired of not being able to function normally. Animo comes in eleven widths, in solid and outline styles for chromatic layering.

Resistenza released Squadra, a squarish sans serif influenced by Eurostile (Nebiolo, 1962), designed by Giuseppe Salerno and Paco González.

Sharp Type released Record, a sans serif inspired by the futuristic aesthetics of the 1980s designed by Johan Mossé and Quentin Berthelot of Parisian studio Image Format. Available in a distinctively retro-futuristic variant called Record Laser and a more conventional counterpart called Record Disc. Specific design references include Antique Olive Nord (Fonderie Olive, 1959) and Serpentine (VGC, 1972).

Tiro Typeworks added two new families to the foundry’s collection of Indic script fonts designed by John Hudson and Fiona Ross, a project started in 2012 as a commission from Harvard University Press. The italic styles for these families were designed by Kaja Słojewska and Paul Hanslow of Tandem Type.

Tiro Malayalam is available in two orthographic flavors: the standard fonts supporting the traditional orthography for Malayalam, Sanskrit, and Pāli texts, and the ‘R’ fonts supporting the simplified, reformed orthography for Malayalam introduced in the early 1970s.

Tiro Sinhala features a design informed by the conventions of 19th Century metal types, but particularly inspired by handwritten and engraved lettering of that period, reflecting the transition from Sri Lankan palm leaf manuscripts to writing with European pens.

Type Du Nord released Yolker, a typeface designed by Libbie Bischoff to look like eggs just dropped into a pan, with the letters occupying approximately the same area. Yolker was originally shown in June 2021 as part of the designer’s 52 Fonts Project. The typeface is also available in a counterless variant.

Typotheque added to Zed, the global type system designed by Peter Biľak and released last year, a set of icons designed by Ondrej Jób. Comprised of more than two thousand symbols, Zed Icons features variation axes for weight, optical size, and roundness.

Black Foundry released initial versions for five display typefaces designed by Gaëtan Baehr. The typefaces are single-style, uppercase-only, and share a set of variation axes to distort the letterforms, enabling the creation of novel text effects. This is showcased with Tavern, a web tool that composes multi-line wavy text by applying the appropriate axis values to each letter.

Genepi is a flared typeface with Art Nouveau accents, inspired by the lettering on the signs at the Tavern on the Green restaurant in New York City.

Absinthe is a blobby typeface that draws its inspiration from the free-spirited, vibrant energy of the 1960s hippie era.

With a similar structure, Spritz is defined not by its filled forms but by the ethereal silhouettes its letters cast, leaving the characters themselves transparent and open to interpretation.

Jack is an ultra-heavy, space-filling, quasi-monospaced design with simplified letterforms.

Amaretto is a serif typeface which, along with the regular capital letters, offers an alternative experimental set where circles seamlessly integrate into the letterforms.

Storm Type updated Hercules, a serif typeface of Modern/Scotch influence designed by František Štorm and originally released in 2005, with additional weights, optical sizes, as well as an (upcoming?) sans serif companion. The collection is now known as Hercules Neo.

Fabrizio Schiavi expanded the character set for Seitu, a geometric sans serif informed by Futura and Gill Sans and inspired by the Coop logo (Bob Noorda, 1985), to support the Cyrillic script.

Love Letters updated on Future Fonts Optic, a heavy, squarish display typeface with a large x-height and softened outlines, designed by Sebastien Sanfilippo and initially released in 2023. The new version features improved kerning and outlines, as well as an expanded Latin character set.

Tipografies updated Glucosa, a condensed sans with slight modulation and roundness designed by Jordi Embodas and originally released in October 2024, with a metrically-compatible display counterpart. Glucosa Display features increased overall contrast and a combination of fully-rounded and sharp details.

DJR updated Ottavio, a dynamic humanist sans informed by cycling, with lighter weights and overall improvements in contrast and spacing. Ottavio was originally designed by David Jonathan Ross for Caterina Piatti (of Reber 41) to celebrate the 100th anniversary of her great-grandfather Ottavio Bottecchia’s victory in the 1924 Tour de France.

Inga Plönnigs published on Future Fonts an update to Zetkin, a sans serif typeface informed by Venus (Bauer, 1907), available in six weights supplemented by a single-weight wide style, all with matching obliques. The new version features overall improvements and a recalibrated Medium weight.

James Plattner published on Future Fonts the finalized version of Bitzer, a serif typeface that selectively observes and breaks the established rules of Latin flat brush calligraphy, originally released in 2024. The new version includes optical size axis, as well as improvements to spacing and letterforms for setting text at smaller sizes.

Muhittin Güneş has a new foundry website and a streamlined catalog consisting of new and updated typefaces:

Amnes, the newest release, is a neo-grotesk sans available in two flavors, one solid, and the other using a stylized inktrap motif.

Originally released in 2020 and updated for the launch, Ranua is a previous exploration of inktraps as an aesthetic device in a sans serif typeface.

Gronland is a sans serif inspired by Swiss public transport signages, NYC way finding systems, originally released in 2021.

Bugrino is a display sans serif with a distinctive combination of smooth and structured elements, influenced by FF Blur (FontFont, 1992) and Huit (VGC, 1972) and originally released in 2022.

Olten is a single-weight display serif with a Didone structure, originally released in 2022. The typeface’s distinctive letterforms emerged from an exploration of the lowercase ‘a’, whose three alternate variants served as the model for the entire design.

Nergiz is a single-weight, high-contrast calligraphic display serif with dripping terminals, originally released in 2023.

In other news:

Good news from Elliot Jay Stocks: the Fine Specimens book, originally publicized through a Kickstarter campaign, is getting published next spring by Quarto.
The Alphabettes collective have been posting short, multilingual reviews of typefaces released in 2024.

Recent releases #27

2025-01-30T00:00:00Z

Atipo released Swiza, a sans serif inspired by the timeless principles of Swiss design, reimagined for today’s needs.

Blaze Type released the Dean collection designed by Tim Vanhille and Inès Davodeau, a tribute to the musical and cinematic culture of mid-20th century America. The collection is comprised of two families of identical proportions, Dean Gothic and Dean Slab, expressed as variable fonts with width, weight, and slant axes.

Brandon Nickerson released BN Branchie, an iteration of BN Branch, originally released in 2021 and apparently based on California Caps / Bailey (~1966) [fontsinuse.com].

After releasing the text family earlier this month, DSType finalized the other three optical sizes of the Pulso collection designed by Pedro Leal and Dino dos Santos and first made available in 2024 as an early-access release. All families are available in Latin-only and Latin/Greek/Cyrillic multiscript packages.

Fontfabric released Nexa Round, the latest variant, designed by Ivelina Martinova, of the geometric sans Nexa, designed by Svetoslav Simov and originally released in 2012. Along with the more conventionally interpolated weight range, the typeface features a stylized Ultra weight available in solid and highlighted styles.

FredsFonts updated with a slanted style Anormal Sans, a condensed, low-contrast sans of Italian Art Deco heritage, designed by Fred Wiltshire and first released in 2023.

Inga Plönnigs released on Future Fonts the initial version of Ringi, a condensed, monolinear, stoically engineered sans inspired by the LED typeface of Berlin S-Bahn displays, available in a variety of optically-uncorrected slants and backslants of up to 45° in tilt.

Letters from Sweden released Gothia Serif Text, the body-text companion to Gothia Serif, an editorial typeface influenced by Dutch models both historical (Hendrik van den Keere and Christoffel van Dijck) and contemporary (Gerard Unger), designed by Göran Söderström and released in 2019.

Monokrom updated Diploë, originally designed in 2024 by Frode Helland and Kostas Bartsokas, with outline refinements and an expanded character set. The typeface now also has a minisite.

Pangram Pangram published an early-access release of PP Museum, a modulated sans inspired by early sketches of Hermann Zapf’s Optima (Stempel, 1958), designed by Andrea Biggio, Mathieu Desjardins, and Francesca Bolognini.

Pizza Typefaces updated two members of the Business collection, the sturdy, insistently-seriffed Business Didot and its connected script companion Business Blooming, with an optical size axis.

Public Type released Contro, a geometric display sans inspired by 20th-century Italian modernist typography, with a conceptual backbone that pays homage to iconic figures such as Tschichold, Renner, Bill, and Bayer, designed by Harsh Patel and Michael Cina. Several alternate letterforms are available through stylistic sets.

RadLuka released RL Grot, a sans serif inspired by early 20th-century designs such as Franklin Gothic (ATF, 1904) and Grotesk No. 9 (Stephenson Blake, 1906) as well as Eastern European vernacular type, designed by Radek Łukasiewicz.

Signal Type finalized Jarlath, a digital revival of Jarlath Hayes’s Tuam Uncial (Letraset, 1974), designed by Max Phillips under the supervision of Hayes’s daughter and initially published in 2020 as an early-access release. Jarlath is available in seriffed and sans-serif variants, with upright and italic styles.

Skritur released Principio, a free typographic interpretation of the capitals found on the title pages of illuminated Irish and English manuscripts dating back to the 7th century, designed by Malou Verlomme. The typeface includes an extensive set of ligatures and uncial alternates.

For her Future Fonts debut, Tamara Pilz published the initial version of Fizz, a sharp, streamlined, reverse-contrasted display serif.

Tour de Force released Nuvola, a caligraphically-informed modulated sans designed by Dušan Jelesijević.

In December 2024, the foundry released Contradictor, a condensed serif typeface also designed by Dušan Jelesijević.

Type-Ø-Tones released Scena, a geometric sans with simplified connections between arches and stems, designed by José Manuel Urós and Sabina Kipară. The design began from slanted lowercase letters with bottom loops and was streamlined into a simplified upright style, with the original features available as alternates.

Also from Type-Ø-Tones, Gotta Scotch, a serif typeface of Scotch/Modern inspiration incorporating contemporary and transitional influences, emerged from Marcela Aguilera’s final project for the Master in Typographic Design at the Eina School of Barcelona and designed in collaboration with Pedro González.

Typofonderie released Deréon, a modern serif typeface designed by Jean François Porchez. It features the sharp ‘arrises’ in counterforms associated with W.A. Dwiggins’s M-formula, as well as an extensive set of swashes and alternate letterforms.

Typozon updated Salvaje Display by Cristian Vargas. (I had previously reported this update as coinciding with the launch of of the new foundry website in November 2024, but apparently it was still featuring the original version of the typeface.)

In other news:

Christoph Koeberlin released the first official version of his Latin Character Sets, a reference organized in four sets of increasing language support, named from Latin S to Latin XL. More details behind the project on Christoph’s blog.
Stephen Nixon explains: RoboFont vs Glyphs, and why I use both.
Slanted is preparing the sequel to the original 2020 compendium: Support Independent Type II showcases over 300 cutting-edge independent type foundries, highlighting their unique designs and the cultural shift away from corporate font giants. Available now for pre-ordering.

Recent releases #26

2025-01-22T00:00:00Z

A look at the typefaces released this past week.

bb-bureau released Resum, a dot-matrix typeface designed by Benoît Bodhuin whose variable weight axis influences the dot size and, through subtle movement, the perceived resolution.

Bold Decisions supplemented with a set of heavier weights True Serif, a sturdy family distilled from a few ’60s 70’s typefaces, originally designed in 2023 by Mads Wildgaard as a companion to True Sans (2020).

Brownfox added an italic style to Booklet Serif, a typeface of slender proportions, calm rhythm, elegant ovals and nontrivial glyph designs designed by Gayaneh Bagdasaryan and Vyacheslav Kirilenko, originally released in 2024 as the serif companion to Booklet Sans.

Céline Hurka published on Future Fonts an update to Seasummer, the single-weight, all-caps informal script based on the handwriting of illustrator and sea rescue activist Adrian Pourviseh. The new version includes a Cyrillic character set designed by Stefaniia Bodnia.

Collletttivo released Ronzino, a neutral sans serif influenced by Arial (Monotype, 1982), designed by Luigi Gorlero and Nunzio Mazzaferro for the foundry’s website and communication.

CoType released the Aeonik Condensed and Aeonik Extended families designed by Mark Bloom, enlarging the Aeonik collection initially developed in collaboration with Joe Leadbeater. The character set across the collection was expanded to support Vietnamese, Cyrillic, and Greek scripts. The regular-width family has additionally received support for Arabic (designed by Bahman Eslami and Maryam Golpayegani), Hebrew (designed by Fontef), and Thai (designed by Cadson Demak).

DJR updated Ottavio, a dynamic humanist sans informed by cycling and the idea that an inherently unbalanced object can achieve balance through a sense of constant motion, with thicker weights, small caps, and italic styles. It was originally designed by David Jonathan Ross for Caterina Piatti (of Reber 41) to celebrate the 100th anniversary of her great-grandfather Ottavio Bottecchia’s victory in the 1924 Tour de France.

F37 Foundry added support for Arabic to F37 Neuro, a sans serif that layers Swiss Style sensibilities on top of Johnston (1916), originally designed by Rick Banks in 2019. The update adds Leo Philp and Shaka Bovand to the design credits.

FDI Type released FDI Wunder, a revival by Ralf Herrmann of Laudahn-Kanzlei (Bauer, 1913) produced from the original letterpress fonts. Initially offered in 2023 as a free download for Typography.guru supporters, it is now available for general licensing. Along with a faithful blackletter digitization, FDI Wunder includes a variant with romanized letterforms.

Giulia Boggio expanded to a multiweight family the condensed display sans serif Feraz Condensed, initially released in 2024 as a single style.

Also designed by Giulia Boggio, the high-contrast sans Revetra is now available from Gradient as a family of four weights. It was initially released in 2024 as a single style through the designer’s own label.

Identity Letters finalized the design for Werkdruck, a bracketed serif typeface of Modern/Scotch influence designed by Moritz Kleinsorge. It was first published as an early-access release in 2021 as the serif counterpart to Werksatz (2020), a grotesque also referencing the turn of the century.

JTD Type published on Future Fonts an update to Enfilade, a condensed grotesk with four optical variations initially designed by James Hultquist–Todd in 2023. The new version captures the four optical sizes, along with the range of weights, in a dual-axis variable font.

Marmite Defontes released Metaplasm, a compressed neo-retro sci-fi display sans of variable width designed by Guillaume Berry, available in solid and sliced variants.

Optimo renamed Signa77, the subtly flared typeface originally designed by Team’77 for Bobst Graphic’s Lettre d’Or 1978 competition and reissued last month, to Signa Set.

Pangram Pangram finalized Lettra Mono, a monospaced uniwidth serif typeface designed by Francesca Bolognini and Mathieu Desjardins, first published in November 2024 as an early-access release.

Positype released Greed, a single-style, high-contrast serif typeface inspired by the intricate lettering of U.S. currency, designed by Neil Summerour.

Production Type released Terrane, a humanist collection conceived by Emmanuel Besse as a low-contrast sans-serif paired with a serif typeface of identical proportions. In its sans variant, it appears to incorporate the influence of Antique Olive (Fonderie Olive, 1962), while for its serif counterpart the Petit Serif-inspired approach stands apart as a thoughtful and functional reimagining of classical forms but also of some photo-lettering exploration of the 70s such as ITC Quorum (ITC, 1977).

Proof of Words added to their catalog PoW Savon, a Garamond-inspired serif typeface designed by Fanny Hamelin, Loan Bottex and Léo Guibert. Initially designed in 2018, including a bold style by Marion Sendral [fontsinuse.com], it is now reissued by PoW in a single-weight roman/italic pair as an early-access release.

R-Typography released Ramboia, a softened all-curves, no-corners interpretation of Jean Jannon’s 17th-century types, designed by Rui Abreu.

Simplebits released Spagetty, a slab serif with softened outlines inspired by the Wild East West, Ennio Morricone's spring-reverb-laden Spaghetti Western scores, sasparilla, swinging saloon doors, and 80s cartoons, designed by Dan Cederholm.

TPTQ Arabic has returned from a brief hiatus with a series of upcoming releases, the first of which is La Grotesque, a biscriptual typeface designed by Naïma Ben Ayed and Francesca Bolognini. The Latin script is inspired by early 20th-century wood type sans serifs and is paired here with the Maghrebi script, whose traits can position it as the grotesque of Arabic calligraphic styles.

Type Forward updated Garet, a geometric sans originally designed by Mirela Belova and Stan Partalev in 2021, with support for the Greek script.

TypeMates released Resonay Text, designed by Andrej Dieneš as the text companion to the layered chromatic Resonay (2021). It shares with its display precursor an extensive set of swashes and uppercase ligatures.

TypeRepublic released Barcino, a sans serif inspired by the geometric forms and rational style of 1930s typography, designed by Andreu Balius.

Typeverything released Avena, a lightly-contrasted humanist sans designed by Andrei Robu.

TypeType introduced a revamped TT Drugs, a high-contrast sans serif originally designed in 2014 by Philipp Nurullin and Olexa Volochay. The redesign, now featuring a condensed sub-family and a two-axis variable font, has been led by Marina Khodak and Antonina Zhulkova.

Typogama released Gonia, a slab serif designed by Michael Parson to work well for both titling and body text. A distinctive feature: rather than working with a rectangular block, the serifs employ a wedge shape, with very slight diagonals on the sides and a pointed central axis.

VJ Type released Pilot, a serif typeface born from the desire to create a contemporary extended typeface of undeniable elegance, designed by Jérémy Schneider. It marks the foundry’s first deep dive into italic design.

Zetafonts released the initial version of Arrogante, a serif typeface that combines a Didone structure with calligraphic fluorishes, designed by Andrea Tartarelli, Mario De Libero, and Cosimo Lorenzo Pancini.

Zetafonts Beats, the foundry’s early-release section, also features another couple of new(?) faces which, as far as I can tell, have not been publicized:

Mezura, a uniwidth, biscriptual typeface that combines Naskh-style Arabic calligraphy with old-style Latin seriffed letterforms, designed by Cosimo Lorenzo Pancini.

Arsenica Condensed, a serif typeface designed by Francesco Canovaro, Filippo Sgarlata, and Mario De Libero that builds upon the foundation of the original Arsenica family, blending historical influences with a modern design sensibility to create a condensed version optimized for impactful, space-saving use in contemporary design.

In other news:

The excellent Words of Type Encyclopedia, an educational project by Lisa Huang that brings together the terms used in typography, illustrated and explained in multiple languages, was officially released at the Face/Interface 2025 conference this past weekend.
Thinking through Graphic Design History. Challenging the canon by Aggie Toppins, due for release tomorrow with Bloomsbury, shows how students and practicing designers can enrich their work by thinking historically about design (via Paul Soulellis).
In Type and Context, learning from the inscription in the courtyard of the Ducal Palace of Urbino, typeface designer Radim Peško considers different approaches based on the original letterforms from the Renaissance. This leads to experimentation with technologies, using different methods, and constructing new typefaces to not only demonstrate the resulting fonts but also give context to their origins. Roma Publications shows more spreads from the book.
An insightful interview with Erik van Blokland, here in conversation with Ilya Ruderman for the type.today journal: “Drawing is thinking”.
From Sharp Type, My-Lan Thuong decided to research what would be necessary for a better representation of all the Latin-based languages, resulting in The OmniLatin Research and an open-source RoboFont extension (via Aleksandra Samuļenkova).
An interview for Its Nice That with the founders of Kyiv Type Foundry discussing the recent revival project KTF Metro Fonts (2024).

Recent releases #25

2025-01-14T00:00:00Z

A look at the type releases of the past week. (Now with some corrections and additions.)

Beasts of England released Friend, a condensed serif typeface with softened outlines designed by Simon Walker.

Capitalics released Magiore, a geometric sans designed by Mateusz Machalski, available as a variable font with width and weight axes.

Earlier in December 2024, the foundry released Fliper, another geometric sans by Machalski that provides rotated letterforms via stylistic sets.

Céline Hurka released Idyll, a set of decorated capital letters and floral ornaments inspired by Tuscany.

Contrast Foundry released CoFo Sans Semi-Mono, the semi-proportional interpolation of CoFo Sans and CoFo Sans Mono, all designed by Maria Doreuli.

Dinamo released Solar, a geometric sans designed by Renan Rosatti from diverse influences, among which Kabel, Vogue, Metro No. 2, Johnston, Erbar-Grotesk, and Futura. The typeface’s stylistic sets control the expression of these influences.

DSType finalized the text family from the Pulso collection designed by Pedro Leal and Dino dos Santos, first made available in 2024 as an early-access release in four optical sizes. The text family is available in Latin-only and Latin/Greek/Cyrillic multiscript packages as Pulso and Pulso Pro, respectively. Across the collection, upright styles are paired with two sets of italics and are available in three grades for finer adjustments to the typographic color.

FDI Type released Wimaria Gotisch, a digitization by Ralf Herrmann of the fett style of Element, originally designed by Max Bittrof in 1933 for Bauer.

Playtype released Access, a nod to Aldo Novarese’s Eurostile (1962) designed by Jonas Hecksher. It’s a reworking of a design originally released in 2010 [fontsinuse.com] that introduces additional weights and a new semi-proportional family named Access Granted.

Positype released Overture, an interpretation of the types of Giambattista Bodoni designed by Neil Summerour. It’s the designer’s second engagement with the source material, following Donatora in 2004. Overture features italic styles with three different slants (Adagio, Andante, and Allegro), and is available in three optical sizes.

Sudtipos released KWINC Grotesk in collaboration with New York design studio Karlssonwilker. Loosely inspired by vernacular dimensional letters available in home improvement stores, it’s used as the studio’s house typeface (via Typecache).

Typeji released on Future Fonts the initial version of Paragraf, a serif typeface with high-waisted structures, a tall x-height, and slightly narrow proportions designed by TienMin Liao.

A new presence on Future Fonts, Ratchanon Boongsrithong releases typefaces as Vee Ratchanon, starting with Canon Grotesque, a condensed sans with wide alternate characters, available in Latin-only and Latin/Thai biscriptual variants.

In other news:

Lessons from letters, Pooja Saxena on the richness of Indic signage and her decade-long work on the India Street Lettering archive.
Chopstick Sleeves as Emissaries of Japanese Typography and Culture, designer and educator Angie Wang deciphers a collection of over 500 sleeves recently donated to the [Letterform] Archive.
Face/Interface 2025 brings together scholars, designers, engineers, and technologists to explore global type design, book design, interface design, and human-computer interaction. The conference takes place this Friday & Saturday in Stanford, California. In-person seats are sold out but the livestream can be joined free of charge.
The latest pamphlet from Poem Editions, Philly Hands is a concise but in-depth survey description of Philadelphian street penmanship, written and photographed by François Chastanet.
Manifold / Colin Sackett, publishing 1984–2024 details and illustrates the ideas and methods that contributed to over a hundred and fifty individual projects, by way of page plans, annotation, and quoted and explanatory texts from the prolific Uniformbooks founder. The individual pages can be accessed as PDF files, with the physical book coming later this January. So, so good.

Recent releases #24

2025-01-07T00:00:00Z

Kicking off the new year with a look at the type releases of the past week and a half — now with images!

Blaze Type released Sature, a display typeface that evokes felt-tip marker lettering, designed by Nicolas Dupuis.

Brandon Nickerson released BN Gallant, an interpretation of Churchward Typestyle (2002).

Huerta Tipográfica released Betània Patmos, a script typeface intended for early reading texts designed by Carolina Giovagnoli.

Occupant Fonts released Carp, a humanist sans-serif inspired by Antique Olive (Fonderie Olive, 1962) designed by Marie Otsuka.

Typeji released on Future Fonts the first version of Method, a geometric sans-serif typeface inspired by Lining Gothic No.82, designed by TienMin Liao.

Tiro Typeworks launched a new website, now offering a canonical destination for the foundry’s designs, among which some new and updated typefaces:

Laconia Cherokee is an extension to Laconia (2021) for the Cherokee syllabic writing system, designed by Ross Mills with Paul Hanslow and Anna Štepanovská.

Brill, a serif typeface for scholarly texts originally designed by John Hudson with Alice Savoie and Karsten Luecke for the eponymous Dutch academic publisher, features even more extensive Unicode coverage (added by Paul Hanslow and Kaja Słojewska) and is now available as a variable font.

Euphemia is a thorough reworking and extension of Ross Mills’ original design, fulfilling his intent for a harmonised Latin and Canadian Syllabics typeface, with contributions from John Hudson and Paul Hanslow.

Earlier in December 2024:

Altiplano released Citizen Grotesk, a contemporary grotesk inspired by the Swiss International Style, designed by Raphaël Verona as a family of eight weights, preceded by the single-style Citizen Grotesk Poster earlier in the year.

Bastarda Type released Trujillo BT, a modernist display sans inspired by the work of Colombian artist Sergio Trujillo Magnenat, designed by Jason Guzmán and Seb Castellanos de la Hoz.

In other news:

Dusting off the blackletter types (77min video), a presentation by Dan Reynolds for the Herb Lubalin Lecture Series. This hour-long primer for typical blackletter styles—especially those that unfolded in German-speaking Europe, where there was the most experimentation—will make those letterforms feel more familiar and show which traditions might be most ripe for revival in the 21st century.
A new tag on the Atlas of Type website collects typefaces by women and non-binary designers, based on a living document started in 2022 by María Ramos and published in various forms by Alphabettes, such as their yearly round-ups for 2022 and 2023.
I’m also slowly reviewing for accuracy the list of the almost 800(!) typefaces released in 2024. Wish me coffee!

Recent releases #23

2024-12-28T00:00:00Z

A look at the type releases, updates, and expansions of the past week.

DJR released Fit U&lc, an update of the all-caps, space-filling Fit (2017) that adds lowercase characters, designed by David Jonathan Ross as the November offering of the Font of the Month Club.
En Travaux released Peridia, a display serif whose bold proportions and tight spacing allow for playful and mycelian interconnections between letters, designed by Alec Vivier-Reynaud.
F37 Foundry released the initial version of F37 Morta, a Latin and Naskh-style Arabic pixel typeface designed by Shaqa Bovand.
Font Spectrum released Silver Coil, a seamlessly-animating striped typeface designed by Edgar Walthert.
Lineto released LL Kleisch, a serif based on typefaces from Van Djik, Kis and Fleischmann, designed by Chiachi Chao to complement old-style CJK typefaces.
Off Type released OT Pergamon, a spiritual heir to Papyrus (Letraset, 1983), designed by Valerio Monopoli.
Order Type released Haltung, a contemporary neo-grotesk designed by Joe Moore.
Pizza Typefaces released Alch, a single-weight typeface with blackletter-inspired details, available in two styles (serif and spiky sans), designed by Adrien Midzic (Correction: the typeface was in fact released earlier this year).
PSTL updated Scale, a sans serif designed by Mark Caneso, with matching italic styles.
US Graphics Company (formerly known as Berkeley Graphics) released the second version of Berkeley Mono, a coding typeface designed by Neil Panchal.

Frere–Jones Type is adding to their library expanded and re-engineered versions of some classic designs by Tobias Frere–Jones originally released with Font Bureau. The initial batch of updated typefaces includes:

Garage Gothic (1992), a condensed sans evoking the type on parking tickets from ’80s Brooklyn.
Interstate (1993), an interpretation of the road sign typeface Highway Gothic (1948).
Nobel (1993), a revival of Sjoerd Hendrik de Roos’s Nobel (Typefoundry Amsterdam, 1929).
Griffith Gothic (1997), an interpretation of Chauncey Griffith’s Bell Gothic (Linotype, 1938).

Other additions to the Frere–Jones Type website:

Cafeteria (1993), a freeform sans.
Epitaph (1993), a revival of the eponymous type from around 1880.
Niagara (1994), a serif that recalls the crisp, elegant geometry found in some of the best American styles from the 1930s and 1940s.
Asphalt (1995), a heavy sans inspired by Antique Olive Nord (Fonderie Olive, 1959).
Citadel (1995), a condensed serif with solid and inline styles.
Pilsner (1995), a blocky typeface inspired by the roman design wearing blackletter-like clothes of a beer label.
Hightower (1996), a take on the fifteenth-century Venetian roman.
Grand Central (1998), a serif following the original signage type of the Grand Central Terminal in New York City, itself an interpretation of Louis Perrin’s “caractères augustaux” (1846).
Interstate Mono (2000), the monospaced version of Interstate.

Smuss Type Kiosk also has an updated catalog on the foundry’s re-engineered website, including new designs from William Stormdal. The typefaces are:

STK Bureau Sans and STK Bureau Serif, a sans & serif couple originally released in 2022.
STK Gerhard, a monospaced sans originally released in 2022.
STK Miso, a wide-set sans originally released in 2022.
STK Saga, a serif first released earlier this year (I think?).
An initial version of the slab serif STK Earl.

In other news:

TypeTogether has a new printed catalogue featuring all the retail typefaces released by the foundry between 2019 and 2024.
As Quora makes increasingly dubious moves, Thomas Phinney has been bringing his answers to type-related questions to his personal blog, Phinney on Fonts.
More articles from the Typography papers journal have been made available as PDF. They now form an almost complete archive, with only issue #8 still missing.
From the Letterform Achive, Ten Typography Talks to Revisit from 2024.
Hand carved lettering on stone, a seven-part instructional YouTube series by Barry Thomas (via Antonio Cavedoni).
From the diary of designer, writer and illustrator Peter Campbell (1937–2011), In the printshop is a meditation on technological change originally written in 2010 (via Titus Nemeth).

Thats’s all for this year, see you in 2025!

Recent releases #22

2024-12-17T00:00:00Z

A look at the type releases, updates, and expansions of the past week.

Bold Monday released Merwede, a uniwidth text serif that synthesizes diverse influences, designed by Titus Schulz and shaped by his experience as a book designer.
Brandon Nickerson released BN Boxer, an interpretation of Square (Mecanorma, ~1972).
Bureau Brut released on the newly-redesigned foundry website a condensed width for Round, originally designed in 2021, as Round Condensed.
Carter & Cone released Skia CC, an update of Skia, the variable font avant la lettre designed by Matthew Carter for Apple in 1994 (via Typecache).
Collletttivo released Aujournuit, a single-weight serif in multiple widths designed by Teo Gaudet.
Commercial Type released Place, designed by Julien Priez as a wide serif typeface focusing on beauty and elegance, featuring both roman and blackletter capitals.
East of Rome released Kalev, a take on the architectural idealism of twentieth century Estonian sans serif type designed by Jaan Rõõmus, Ana Sanikidze, and Fred Wiltshire.
Feliciano Type relesed Acceptera, a contemporary sans that draws heavily from the Swedish functionalist movement, particularly the modernist principles showcased at the groundbreaking 1930 Stockholm Exhibition, designed by Mário Feliciano.
Formagari released Cedrat, a serif with an upright style based on the “Les Hollandaises” typefaces shown in Berthier & Durey’s Spécimen de caractères (1895) and an italic that draws from the likes of Times and ITC Caslon 223, designed by Emmanuel Besse in three optical sizes.
FredsFonts updated Amalgam, a bubbly typeface with overlapping characters designed by Fred Wiltshire, with an extended character set and an axis for looseness.
GarageFonts reissued Archive, a segmented-display modular typeface originally designed by Pieter van Rosmalen in 2000, along with a new halftone variant named Archive Matrix.
Giulia Boggio released a beta version of Atlas Mono, a monospaced Didone with an upcoming proportionally-spaced counterpart.
Luis Bandovas updated Subito, a geometric sans influenced by ITC Avant Garde Gothic (ITC, 1970) and Century Gothic (Monotype, 1990), with a condensed width.
Mark Simonson Studio added support for Korean to the Proxima Super Nova collection with Proxima Nova Hangeul, designed by lo-ol type (Noheul Lee, Loris Olivier).
Optimo released Signa77, a subtly flared typeface originally designed by Team’77 for Bobst Graphic’s Lettre d’Or 1978 competition.
Positype released Ace, a collegiate slab in seven widths designed by Neil Summerour.
Production Type released an initial version of Cardinal Elite, the monospaced member of the Cardinal collection designed by Jean-Baptiste Levée.
R9 Type+Design released Experimo, a display sans that juxtaposes round and rectangular shapes designed by Tana Kosiyabong.
RadLuka released RL Wit, a serif typeface drawing inspiration from the Renaissance epitaphs found on churches in the city of Wrocław, designed by Radek Łukasiewicz.
TipoType released Humant, a geometric sans inspired by the iconic Bauhaus design movement.
Typeverything released two typefaces designed by Andrei Robu. Forta is a humanist sans in three widths across an extensive set of weights, while Grano is a geometric sans inspired by Block (Berthold, 1908).
ZetaFonts expanded Claus, an interpretation of Stunt Roman (1930s) designed by Mario De Libero, to eight weights.

Flavia Zimbardi released three new typefaces in the Women in Type series:

Corax, a high-contrast serif that explores the italic construction in up-right letterforms, with calligraphic influences and an unexpected gothic twist, designed by Júlia Lago.
Gigio, a friendly yet strong slab serif, inspired by comic books designed by Ana Laydner.
Profane, a display serif that evokes a modern interpretation of 14th-century inscriptions found in the Metz Cathedral, designed by Tassiana Nuñez Costa.

Fontwerk has a new, streamlined foundry website and is now offering full-featured font trials for its entire catalog.

Earlier in November Resistenza released Performa, a geometric sans with grotesque influences designed by Giuseppe Salerno and Paco González.

In other news:

Akten der H. Berthold AG aus der Abteilung Schriftschneiderei, records from H. Berthold AG’s type-cutting department (1913-1945) digitized by the Deutsches Technikmuseum and published under a CC0 license (via Dan Reynolds)

Recent releases #21

2024-12-10T00:00:00Z

A look at the type releases of the past week.

Cantrell Type released Cantrell Grotesk, an interpretation of Phönix-Grotesk (Krebs, 1914) with a humanist slant, designed by Kevin Cantrell (via Proof&Co. Weekly).
F37 Foundry released F37 Confusa, a single-weight, all-caps display typeface with merged letterforms, designed by Cecilia Erlich.
Giulia Boggio released the initial version of DGM Fette, an interpretation of Breite fette Information (Klingspor, 1956).
MuccaTypo released Hilbertus Gill, an interpretation of Albertus (Monotype, 1936) designed by Matteo Bologna.
Sharp Type released Rosalie, a contemporary display serif inspired by a medieval mural in Guérande, France, designed by My-Lan Thuong.
Zetafonts released Altro, a typeface that interpolates between a humanist grotesque and an old-style serif, designed by Francesco Canovaro and Mario de Libero.

Updates and expansions:

Brandon Nickerson released BN Numa Pro, an evolution of BN Numa with more sharply defined features.
DualType expanded the character set for Luska, a display typeface with Tuscan serifs inspired by wood type designed by Gen Ramírez and Zrinka Buljubašić.
Ivy Foundry updated IvyBodoni, an homage to the modern serif designs of the ’60s and ’70s designed by Jan Maack, with a condensed width. Variable fonts with width and weight axes are also available.
James Plattner updated Bitzer, a serif typeface that observes and breaks the established rules of Latin flat brush calligraphy, with several widths, an expanded character set, and a dual-axis variable font.
Lineto released new versions of two designs by Cornel Windlin originally released in 1998. Pablo Desportes updated LL Supermax, an homage to Max Bill inspired by the letterforms used in three of his poster designs, while Minjong Kim updated LL Autoscape, a monospaced sans drawing from Monaco (Apple, 1984).
Muk Monsalve added to Elmira, a family that comes as a sans and a pair of “loom” styles, a condensed width and an experimental variable font with a width axis.
Teo Tuominen updated the contemporary serif typeface Vieno with matching italics for all weights.
Kilotype updated Oldschool Grotesk, a sans serif originally designed by William Montrose in 2019, with metrics-compatible italics by Ignacio Casco Guijarro (via Typecache).

Catching up with releases from the previous weeks.

In November, Pangram Pangram launched a section for early-access typefaces on the foundry website. The initial offering includes:

Valve, a versatile typeface collection that blends grotesque, geometric, gestural, industrial, monospaced, and cursive sans serif styles into a unified, cohesive ensemble designed by Valerio Monopoli, available in plain and stencil styles.
PP Model, a typeface that pays tribute to the world of plastic model kits, drawing inspiration from the iconic Japanese brand Tamiya, designed by Caio Kondo, Francesca Bolognini, and Mathieu Desjardins.
Lettra Mono, a monospaced serif typeface also designed by Francesca Bolognini and Mat Desjardins.

November also saw Double Dagger release Wince, a pixelated reverse-contrast sans.

In other news:

For its 10th anniversary, the Alphabettes collective is preparing Alphabettes Soup: 2015–2025, a publication celebrating a decade of feminist approaches to type research, design, and creative community-building, due for September 2025 with Bikini Books. The collective is currently seeking fundraising to cover production costs.
It takes heroism to live!, Michela Zoppi on the female Futurist typographical experimentations with paroliberismo.
Earlier this year, Production Type revealed an exapanded, renewed Signes Archive, a project dedicated to the history of graphic design and typography originally located at the now-defunct signes.org [web.archive.org]. The new version includes research and commentary from historian and educator Michel Wlassikoff.
Print Mag published 100 of the best book covers of 2024.

On the Atlas of Type website, I’ve added a tag that filters for early-access typefaces. I’ve also started gathering variable fonts with exotic axes, suggestions are greatly appreciated!

Recent releases #20

2024-12-03T00:00:00Z

A look at the type releases of the past week.

Arillatype.Studio released At Chrome, a sharp, modern sans-serif font that captures the bright, intelligent, yet warm and breathing essence of present and future technology designed by Pedro Arilla.
Atipo released Nudica Mono, the monospaced counterpart to Nudica, a typeface released earlier this year.
Bea Korsh released the initial version of Henmania, a display typeface where ingrown strokes form torqued, forward-leaning stencils.
Black Foundry released Ampere, a sans serif designed by Ben Harley and Solenn Bordeau.
Blackletra released Dorival UI, a uniwidth sans loosely inspired by DIN 1451 (1931) and optimized for user interfaces, designed by Daniel Sabino and Lucas Gini.
Blaze Type released Eternal Collection, a display serif superfamily designed by Matthieu Salvaggio and Malo Haffreingue.
Commercial Type published Williamson Italic, a condensed display slab serif designed by Paul Barnes, in the foundry’s early-access section, the Commercial Type Vault.
Fuerte Type released Impura, a synthesis of the Blackletter genre designed by Fermín Guerrero.
Nouvelle Noire released NN Arosa, a sans serif that draws its inspiration from the charm and craftsmanship of classic Swiss tourism posters, designed by Edgar Walthert.
Pizza Typefaces released Campingo Indoor, a blocky, all-caps companion to Campingo designed by Adrien Midzic.
Proof of Words released PoW Garnier, an interpretation of Joan M. Fleischmann’s types reshaped to the proportions of Times New Roman (Monotype, 1932), designed by Fanny Hamelin.
Sudtipos released Gothalian, a reverse-contrast Blackletter inspired by Henry Brehmer’s types from the 1890s, designed by Alejandro Paul.
Type of Feeling released Meraki, a serif typeface inspired by the Greek feeling of pouring passion, creativity, and love into your work, designed by Julio Zukerman (via Creative Boom).
Weltkern released TWK Continental, a sans with diverse historical influences designed by Guillaume Besson, on the newly-redesigned foundry website.

Updates and expansions:

Blackletra expanded Gal Gothic, a sans inspired by Franklin Gothic (ATF, 1904) designed by Daniel Sabino, with narrow and condensed widths.
FredsFonts added italics and expanded the character set for Empress, a flared serif derived from the lettering found around Hackney Village, designed by Fred Wiltshire. The typeface was originally named Vilaage.
Naipe Foundry updated Borogodó, a high-contrast sans designed by Álvaro Franca and Felipe Casaprima, with two additional weights.
Zetafonts updated Blacker Pro, an editorial serif designed by Cosimo Lorenzo Pancini and Andrea Tartarelli, with axes for width, weight, and optical size.

Catching up:

Alexandre Créquer released Large, a wide serif with an increased x-height (Nov 2024).
F37 Foundry released F37 Haggler, a condensed sans evocative of hand-painted signage and grocery store lettering designed by Rodrigo Fuenzalida (Nov 2024).
Zetafonts released Ouverture, a condensed Didone incorporating influences from University Roman (~1968), designed by Cosimo Lorenzo Pancini and Andrea Tartarelli (Nov 2024).

In other news:

Watch Tuscans, some intriguing questions over this singular ornamental type style, a presentation by Alejandro Lo Celso of PampaType, part of the Herb Lubalin Lecture Series.
PampaType previously published two articles by Teresita Schultz de Carabobo on the topic of Tuscan designs, under the name With hollow feet and harlequin hats: Tuscan letters, a prank of lapidary origin? (first part, second part).
Boom Promphan Suksumek visits the Klingspor Museum.

Recent releases #19

2024-11-26T00:00:00Z

A look at the type releases of the past week.

Blaze Type released Balete, a no-curves serif designed by John David Maza.
Brandon Nickerson released BN Mitchel, a blocky display sans with irregular outlines.
MuccaTypo released Seminario, an all-caps Art Nouveau flared serif designed by Matteo Bologna.
MuccaTypo also released a second modernist all-caps typeface designed by Bologna, named Charlock.
Paavola Type released PT Schimetrik, a neo-grotesque sans designed by Jani Paavola.
Spaghetype published on Future Fonts the initial version of Pétanque, a display sans serif with rational geometry and irrational pizzazz designed by Pauline Fourest.
The Designers Foundry released Slimak, a rounded display type influenced by 19th century fatfaces and featuring calligraphic details, designed by Karol Mularczyk.
Also from TDF, Granda is a grotesk sans with a contrasted italic and a reverse-contrasted reclined style at opposite ends of the slant axis, designed by Radek Łukasiewicz.
Working Title released Ovaal, an all-caps monospaced typeface designed by Luna Claes by repeating a single oval shape.

Updates and expansions:

Counter Forms updated Herbik, a warm, bouyant serif that explores the types of the Dutch Baroque, largely framed through the work of Miklós Kisoriginally designed by Daniel Veneklaas in 2023, to five weights and matching italics (via Typecache).
Element Type extended the Latin script coverage for Tuaf, an experimental typeface designed by İbrahim Kaçtıoğlu for very small sizes.
Klim extended Martina Plantijn, an interpretation of Plantin designed by Kris Sowersby, to support Vietnamese, the first typeface in the foundry’s catalog to feature it.
Linda Hintz expanded the character set for Tegner, a display typeface inspired by the lettering on a poster from 1911.
Font Spectrum added static instances to Electric Blue, a conjoined-pixel typeface designed by Daniël Maarleveld and Edgar Walthert.
Purple Haze, Font Spectrum’s other typeface on Future Fonts, similarly received static instances.

In other news:

Bijou Type has a new foundry website to showcase Dan Rhatigan’s typeface designs.
Currently seeking funding on Volume, Type Archived: A visual journey through typographic history by Richard Ardagh is a stunning visual tour of traditional typefounding, tracing the origins of typography and the printed word through artifacts housed at the Type Archive in London.
With Slanted’s Yearbook of Type #7 just off the presses, the list of typefaces featured in the book was made available on the YoT website.

Recent releases #18

2024-11-20T00:00:00Z

A look at the type releases of the past week.

205TF released the Milling collection of machining typefaces designed by Tanguy Vanlaeys and published on a new, streamlined foundry website.
29Letters released 29LT Idris, an Arabic typeface in the Naskh calligraphic style designed by Pascal Zoghbi, with a Latin companion designed by Linda Hintz. Along with weight and contrast axes, the variable font includes an extension axis to adjust the width of Arabic cups and baseline elongation, placing an Arabic calligrapher’s tool in the hands of modern digital typesetters.
Brandon Nickerson released BN Mishmash, a digitization of Kellie (~1970).
Briefcase Type released BC Exalt, a serif with a flexible x-height blending influences of Caslon’s old styles and broad-nib calligraphy, designed by Filip Kraus.
Eliott Grunewald released Harry, an interpretation of Too Much (VGC, 1974) (via Typecache).
Fabio Haag Type released Aconchego, a geometric sans designed by Sofia Mohr to evoke the sensation of coziness.
Lux Typo released Down, a sans inspired by vernacular lettering, designed by Greg Lindy.
Mass Driver published on Future Fonts the initial version of MD Thermochrome, a dot-matrix typeface designed by Rutherford Craze.
PFA Typefaces released Blei, a sans that evokes the distorsions introduced when stretching and squishing fonts, designed by Martin Aleith.
Plau released Massima, an homage to Futura by Carlos Mignot.
Tipotype released Morph, a collection of display sanses in a variety of stencil, inline and outline styles.
Tunera released Choso, an ornament typeface inspired by the symbols that adorn the façades of houses from the Canary Islands, designed by Ariel Martín Pérez.
Workhorse released Workhorse Gothic, an interpretation of condensed wood types by Adrian Kimball.

Updates and expansions:

Playtype released VentiQuattro, an expansion to seven weights of a serif typeface originally designed by Jonas Hecksher in 2009.
Production Type brought out of beta the typeface Mars, an interpretation of Venus (Bauer, 1907) designed by Alaric Garnier, expanded from the 2016 original to four widths across seven weights.
Revolver has produced a ministe for the recently-released Airport typeface.
Signal Type issued Exact, an interpretation of Times New Roman by Max Phillips, as a finalized retail typeface.
Typearture updated Gimme, the color font designed by Arthur Reinders Folmer that packs a box full of toys and board games, with a new Mahjong style.
Typozon updated Salvaje Display, a typeface inspired by the extraordinary appearance of birds-of-paradise designed by Cristian Vargas, for the launch of the new foundry website.

The Letters is a new foundry established by Mark Gowing in Syndey, Australia as a successor to Formist, from which it inherits the initial typeface offerings (via Proof&Co. Weekly).

Catching up with releases from the previous weeks:

F37 Foundry released F37 Arcade, a modular monospaced typeface inspired by arcade aesthetics and informed by Wim Crouwel’s grid-based work, designed by Alexandra Franks (Nov 2024).
Other recent releases from the foundry include F37 Lothian, a crisp serif with old-style structure and F37 Fatigue, a humanist sans with geometric undertones, both designed by Ryan Williamson and Rick Banks (Oct 2024).
Le Laïc released Harmider, a display, blocky typeface with shy serifs designed by Maciej Połczyński (Oct 2024).

In other news:

Double Acts in Pop: An Incomplete Survey, a specimen book showcasing the full Commercial Type catalog, structured around an essay by journalist Molly Lambert, who was invited by co-founders Paul Barnes and Christian Schwartz to tease apart the dynamics of some of the most iconic pop duos to understand what made these celebrated double acts flourish or flop.
Speaking of catalog-spanning specimen books, Emigre Fonts: Type Specimens, 1986–2024 provides a near-definitive anthology of the foundry’s remarkable story in print.
From Porto-based architect/publisher André Tavares, The Anatomy of the Architectural Book examines approaches to structuring, constructing and designing architectural books and traces how they have changed over time.
In his presentation Stencil work: scenes in a history, Eric Kindel surveys scenes of stencil work spanning six centuries, discussing and illustrating the stencil’s surprisingly varied use in the production of textual and graphic documents, marks, and messages. Tip: Vimeo provides RSS feeds for channels, and Type@Cooper is an excellent addition to your feed reader.
Erik van Blokland shares, from personal experience, advice on navigating type design contracts.

Recent releases #17

2024-11-12T00:00:00Z

A look at the type releases of the past week.

Alanna Munro released Stornoway, a sans serif with a contrast axis, on the newly-redesigned foundry website.
Blaze Type released Rondette, an inline display sans with ’70s influences designed by Fabrizio Falcone.
Also from Blaze Type, Intermedial Slab is a slab serif with a contrast axis designed by Karol Mularczyk.
Dinamo released Otto, an ahistorical text serif evolved from the types of Miklós Kis, designed by Sam de Groot and Laura Opsomer Mironov and launched along with the eponymous illustrated book.
Edition.studio released Phonk, a display typeface with Art Nouveau influences designed by Adrien Menard.
Metis Foundry released MF Defrag, a modular dot-matrix typeface designed (probably, but not explicitly) by Simon Bent.
NaN released NaN Rage, a “typographic universe” of seven matching typefaces that reference 19th-century wood types and early computer fonts.
Order released Vanity, a display typeface inspired by New Jersey license plates, designed by Emily Klaebe.
Positype released Boom Sans, a sans serif with an extensive range of widths and weights designed by Neil Summerour.
PSTL released Hoss Round Slab, the latest in the collection designed by Mark Caneso that includes Hoss Sharp and Hoss Round.
Revolver Type released Airport, an interpretation by Lukas Schneider of Matthew Carter’s alphabet for London Airport. A variant named Airport X provides a lower x-height.
Serpentype released Piz Grotesk, an interpretation of mid-century Swiss type, designed by Silvio Meier and Nando Schmidlin.
Sharp Type released Ceraph, an incised flared serif designed by Emma Piercy.
TypeType released TT Gertika, a typeface inspired by lettering on an American poster from the late ’30s, designed by Antonina Zhulkova and Anastasia Pogorelova.
W Type Foundry released Huemul Slab, an homage to Clarendon (Haas, 1953) and Rockwell (Monotype, 1933), designed by Diego Aravena.

Updates and expansions:

Claus Eggers Sørensen updated the transitional serif Playfair with Sub-Saharan Latin characters.
Compañía Tipográfica de Chile updated on Future Fonts Timáukel, a Dutch-taste-influenced serif by Raúl Israel, with a Black weight in upright and italic.
Dương Trần updated Thow, a workhorse serif taking cues from transitional and modern faces, with four new weights.
Extraset released ES Klarheit Grotesk Paneuro, an expansion of ES Klarheit Grotesk designed by Alex Dujet.
Rosetta released Skolar Sans Hebrew, an expansion by Eran Ben Barak of Skolar Sans.
Storm Type re-engineered Trivia Grotesk, an editorial sans originally designed by František Štorm in 2012, into a variable font with width and weight axes.
Zetafonts updated Bakemono, the proportional-to-monospaced family designed by Francesco Canovaro, with matching italics.

Catching up: in October, Noir Blanc Rouge released Dolores, a slab serif designed by Bastien Sozeau.

Cool new things:

GridType, an experimental type design tool by Katharina Nejdl, inspired by historical grid-based type design with stencils, such as the Plaque Découpée Universelle from the 1870s – a single stencil that allows you to draw all the letters of the alphabet.
All types of “a”, a collection of peculiar forms of the Latin lowercase letter “a” by David Březina.
Katalog polskich etykiet zapałczanych, a catalog of over 1000 Polish matchbox labels by Dominika Federowicz.

Recent releases #16

2024-11-06T00:00:00Z

A look at the type releases of the past week.

Brandon Nickerson released BN Binder, a blocky display typeface based on a VCG specimen from the ’70s.
CAST released Sorella, a typographic adaptation by Luis Castellón of the lettering produced by Angela Baroni for Beatae Mariae Virginis Officium (1740, Venice) (via Typecache).
Daytona Mess published on Future Fonts a first version of Transept, a dot-matrix typeface designed by Anne–Dauphine Borione.
DJR released Lentiform, a Lombardic typeface inspired by a plaque at the Leeds Industrial Museum, designed by David Jonathan Ross as the October offering of the Font of the Month Club.
TipoType released Formiga, a humanist sans designed by Lucas Pozzobon (via Identifont).

Updates and expansions:

A2-Type updated to seven weights GB., a typeface extrapolated from two letters printed in a Morgan Press Type catalogue and incorporating wood type and early sans serifs, originally designed by Henrik Kubel in 2022.
East of Rome updated Umiak, an interpretation by Lewis McGuffie of Corinna (Berthold, 1904) and its ’70s revival ITC Korinna, with an extended character set and a separate monospaced version.
Lift Type added Bouuuuuh Screamer to the Bouuuuuh anthology of all-caps, comics-inspired typefaces that’s only available for a month each year around Halloween, free of charge.
Lineto consolidated the LL Ruder Plakat collection designed by Hans-Christian Pulver, Anatole Couteau, and Arve Båtevik into their retail catalog. The collection is now comprised of the LL Ruder Plakat family in solid and outline styles, a compressed style named LL Ruder Plakat Maxi, and the variable LL Ruder Plakat Var with axes for controlling the vertical metrics. The foundry also published Emil Ruder: a collaboration with the industry, an essay by Tan Wälchli and Cornel Windlin that provides new details on the historical sources for the design.

From September: Central Type released Drat, an octagonal slab serif designed by Mark Butchko.

In other news:

Abyme published Essential forms: a survey of lettering standards by Charles Mazé, a companion text to the typeface Axo.
An interview with the researchers of the Missing Scripts Project on the type.today blog: “A fish would design an O differently”.
At the Writing as Visual Experience conference, David Březina’s presented Structural analysis of the visual appearance of scripts. More talks available on the WAVE website.
New from the Letterform Archive, NKF: Piet Zwart’s Avant-Garde Catalog for Standard Cables, 1927–1928 is the facsimile of a Dutch design classic.
Also keep an eye for a series of 20th-century type specimen facsimiles featuring designs by Lucian Bernhard, Aldo Novarese, and Roger Excoffon, to be published later this year.
Spotted in the bookstore: Pedro Arilla’s guide to evaluating typefaces, ¿Por qué es buena esta tipografía? Evaluación anatómica y contextual, published earlier this year by Campgràfic.

Recent releases #15

2024-10-30T00:00:00Z

A look at the type releases of the past week.

A2-Type released No Parking, a display typeface by Henrik Kubel modeled after vernacular lettering found on a sidewalk in New York City.
Blast Foundry released Big Issue, an editorial sans rooted in historical British grotesque type, designed by Barbara Bigosińska and Diana Ovezea.
Blaze Type released Indecisive Sans and Indecisive Mono, the proportional and monospaced flavors of a geometric sans designed by Fred Wiltshire.
Also from Blaze Type, Aman, a serif channeling Plantin (Monotype, 1913) and Times New Roman (Monotype, 1932), designed by Matthieu Salvaggio and Ferdinand Del Fabbro.
Maxitype released Maligne, a geometric sans inspired by early 20th century sign painting, designed by Maximage and Isia Yurovsky.
Pangram Pangram released Neue Corp, a sans by Maksym Kobuzan, Mat Desjardins, and Francesca Bolognini that combines features of Hamilton wood type and neo-grotesques such as Helvetica (Haas, 1957) and Univers (Deberny & Peignot, 1957).
Sharp Type released Hauss and Raum, a workhorse sans and its inktrap-dented display variant, designed by Justin Sloane and Huw Williams.
Sophia Tai released on Future Fonts the first version of Hetskelet, a typeface with a flared body and a sans inline.
Storm Type released Populus, an attempt at a more robust monolinear counterpart to Areplos, a semi-serif designed by Jan Solpera with František Štorm.
Grilli Type released GT Flaire, a humanist sans designed by Reto Moser with an axis that interpolates between monolinear and reverse-contrased, flared forms.
Displaay released Season, a collection designed by Martin Vácha that interpolates between sans and serif.

DSType added a section for early release typefaces. The typefaces featured, all designed by Pedro Leal and Dino dos Santos:

Habil, a pointed-pen calligraphic script referencing António Jacinto de Araújo’s Nova Arte de Escrever (1797).
Pulso, an editorial serif currently featuring text styles.
Rigor and Rigor Ionic, a grotesque sans and slab serif designed to bring together distinct historical sources into a cohesive system.

Updates and expansions:

Detail released Norm No.15, the third member of the Norm collection, a systematic exploration of the sans serif genre by Makoto Kamimura.
James Plattner updated the calligraphic serif Bitzer with six weights and a variable font.
MuirMcNeil released TwoSix IO, a typeface designed by Hamish Muir and Paul McNeil, featuring inline and outline styles complementary to the foundry’s TwoSix family.
The Northern Block released Nurom Next, a sans influenced by early grotesques, designed by Jonathan Hill and Tasos Varipatis as an evolution of Nurom (2017).
Spaghetype rounded up Monstera, an Art Nouveau-inspired display typeface by Pauline Fourest, with an extended character set and a variable font that interpolates between the solid and the outline style for its Future Fonts graduation.
Store Norske Skriftkompani updated Nora, a remix and elaboration of lettering alphabets created by the industrial designer Nora Gulbrandsen originally designed by Arve Båtevik in 2022, with additional weights and a variable font (via Typecache).
Very Cool Studio published an update on Future Fonts for Gosh, a Eurostile/Microgramma-inspired sans by Kyle Benson.
To mark the 101st anniversary of Italo Calvino’s birthday, Zetafonts extended the eponymous Calvino typeface with support for Arabic. Two faces derived from Calvino also received updates: Marcovaldo now has weights, and Visconte has optical sizes.

Catching up with a few releases:

Céline Hurka released Reverie, a single style monospaced typeface with floral ornaments, encapsulating the dreamlike state of summer. Another recent release is the expansion of Gauche, an irreverent sans designed in collaboration with Jan Egbers, to five weights for the Roman style.
Chill Type is a new foundry established by Vedad Siljak in Austria. The foundry’s inaugural release the display serif Bufano (via Proof&Co.)
MCKL published a first release of Gear, an octagonal athletic sans by Jeremy Mickel.
The Designers Foundry released Wulkan as a redraw and expansion in weights and optical sizes of Jan Estrada–Osmycki’s Wulkan Display (2019).

In other news:

Kelli Anderson’s Alphabet in Motion. An ABC Pop-up Book on How Letters Get their Shape blasted through its Kickstarter goal on its first day, and for good reason: the pop-up book and its companion publication look stunning.
Tim Brown’s Flexible typesetting, originally published with A List Apart in 2018, is now available for free.
Modern Pioneers in Typography and Design: Anna Simons, Edward Johnston, Rudolf von Larisch, F. H. Ehmcke by Inge Druckrey was published earlier this year with Edward Tufte’s Graphics Press. On November 10, Tobias Frere-Jones will be talking to the author in an event hosted by the Katherine Small Gallery in Boston, Massachusets.
Elliot Jay Stocks’ Typographic & Sporadic and Proof&Co.’s The Weekly are two great type newsletters with a curated, narrative perspective on recent releases, among a variety of type-adjacent topics.

Recent releases #14

2024-10-22T00:00:00Z

A look at the type releases of the past week.

Altiplano released Citizen Grotesk Poster, a display sans designed by Raphaël Verona that applies the methodical spirit characteristic of the International Style to move beyond the fantasy of purity, universalism, and neutrality.
Blaze Type released Systm, a modular / dot matrix typeface designed by Simon Helmstetter.
Also from Blaze Type, Collapse is a condensed serif designed by Axel “Keussel” Andre, loosely inspired by the type used in the opening titles for Neon Genesis Evengelion.
Brandon Nickerson released BN Sailor, a display typeface inspired by Adriana, a film typeface of unknown origin.
Bretagne type foundry released Chantier, a slab serif designed by Lucas Le Bihan blending features from Egizio (Nebiolo, 1955) and type used in poster specimens housed at the Brittany Museum in Rennes.
Lift Type released Melun, a geometric sans by Romain Oudin and Manuel de Lignières.
Parachute released PF Grecia, a calligraphic serif by Panos Vassiliou that takes inspiration from Darley, a National Geographic map typeface designed by Charles E. Riddiford in the 1930s.
Production Type released Paramount Rounded and Paramount Neo Rounded, the rounded counterparts of the two families from the Paramount geometric sans collection designed by Chi-Long Trieu in 2023.
Schick Toikka added a text variant to Items, a contemporary typeface informed by the pervasive serifs of the early digital period, designed by Florian Schick and Lauri Toikka. Fonts are available in three widths: Items Text, Items Text Condensed, and Items Text Wide (via Typecache).
Show Me Fonts released Marjoree, a uniwidth sans serif designed by Catalogtree and Bernd Volmer. Marjoree is available in monospaced and proportional spacing, and is supplemented by two modular display styles based on hexagon and pentagon tessellations.
Simplebits released Hubano, a typeface inspired by lettering found on a Cuban cigar box, designed by Dan Cederholm.
Skrr released Pompeji, a typeface inspired by graffiti on the walls of Pompeii, designed by Lisa Semrau.
Synthview released Artford, a sans serif by Jan Tonellato.
Tokotype released Frasa Display, the display counterpart of Gumpita Rahayu’s Frasa contemporary serif with characteristics that arise from the charms of Caslon and a touch of transitional style.
XYZ Type released Plumbago, a monospaced display typeface by Zrinka Buljubašić, Travis Kochel, and Chris Skillern inspired by Salt Lake City’s strict street grid and the style of lettering used for the streetcars that once ran on it.

Dalton Maag has debuted the Recast Collection, an initiative to produce faithful revivals of classic typeface designs. The initial set on offer includes:

Lubalin Recast Sans and Lubalin Recast Serif, interpretations by Yingtong Tan and Angel Kwong of ITC Avant Garde Gothic (ITC, 1970) and ITC Lubalin Graph (ITC, 1974), respectively.
Haas Recast, an interpretation by Eduardo Rennó of Helvetica (Haas, 1956).

To celebrate the foundry’s 30th anniversary, Typofonderie released five new typefaces:

Alembert, a typeface by Jean François Porchez inspired by Bâtarde and Coulée scripts from 17th- and 18th-century France.
Alyssa, a calligraphic typeface by Mark De Winne that pays homage to the iconic ATF Florentine, and follows designer Mark De Winne’s deepening fascination with the work of lettering masters Oscar Ogg, Arthur Baker and Helmut Salden.
Aukio by Léo Guibert, a high-contrast display typeface with details inspired by the calligraphic practice of the Nordic countries, referencing designs such as Karl–Erik Forsberg’s Carolus and Paul Shaw’s Swedish Modern Set.
Capek, a Blackletter sans-serif with sci-fi references, originally designed by Aurélien Vret in 2014.
Zingiber, a typographic distillation of Xavier Dupré’s handwritten style.

Catching up with releases from the past few weeks/months.

MuirMcNeil released three new typefaces designed by Hamish Muir and Paul McNeil:

Sans Norm, a mechanized companion to Sans Sans whose forms refer to utilitarian twentieth century geometric designs like DIN 1451, Isonorm and OCR-A.
Ubu, a modular geometric type system.
TwoSix, an adaptation of FF ThreeSix (FontFont, 2012) to the foundry’s Two Type system.

Other releases:

Detail debuted Norm, an ongoing study of grotesques as a visual phenomenon by Makoto Kamimura. The first families in the collection are Norm No.6 and Norm No.11 (Summer 2024).
F37 Foundry released F37 Atlantic, a typeface inspired by Herb Lubalin’s ITC Serif Gothic (ITC, 1972), designed by Rick Banks, Alfonso García, and Manuel von Gebhardi (Sept 2024).
Lipton Letter Design has a new website to showcase Richard Lipton’s designs, the latest of which is Ellery, a display typeface inspired by Oscar Ogg’s calligraphed book jackets from the ’40s for Atlantic/Little-Brown & Company.
LudwigType released Daphne, a version of Georg Salden’s Daphne (1970), possibly redrawn and/or reingeneered by Ludwig Übele (Sept 2024).
Mint Type released Scuto Sans and Scuto Soft, a pair of sans serifs designed by Oleh Lishchuk (Sept 2024).
muccaTypo released Primissima, a display typeface by Matteo Bologna (date unknown).
Range Left released Barbican, a typeface designed by Clément Cases, inspired by the eponymous brutalist landmark (Sept 2024).
After releasing them through Type Network earlier this year, Reber R41 have added several new typefaces to their Aldo Novarese Font Collection: Donatello, Estro, Eurostile, Inglesi Allungati, Orlando, and Ritmo.
Resistenza released Revolute, a stencil sans inspired by Resolut (Nebiolo, 1937) (Aug 2024).
Studio Type published two new typefaces designed by Jo De Baerdemaeker as part of the Typo Belgiëque project. ST Toone, released in September, and the earlier ST Guust are both inspired by poster faces from the type collection of Fonderie Typographique A. Vanderborght & Dumont, a 19th century foundry in Brussels.
Typografische released FH Oscar Pro, an typeface that expands on Fatish Hardal’s FH Oscar modeled on Akzidenz-Grotesk (Berthold, 1898) and Breite Grotesk (Bauer) (Oct 2024). Previously, Hardal published the contemporary serif FH Anorma (Aug 2024).

In other news:

Vying for coolest feature of LaPolice’s new website is a blinking dot relaying the RSS feed in Morse code, and a growing article archive from the magazine’s out-of-print issues. It currently includes a profile of A.V. Hershey, who created some of the first vector fonts, and a story of the Haas Foundry in Switzerland. What’s not out of print yet is the latest issue, Footnotes E, published in May.
At the Ottmar Mergenthaler Museum in the town of Bad Mergentheim in Germany, Doug Wilson finds a cache of historical images.
Veronika Burian in conversation with Adelina Shaidullina: “Type design is a collaborative activity”.
Recordings from ATypI 2024 talks in Brisbane are now available on YouTube.

P.S. Atlas of Type has just reached a new power of ten! The Atlas now features 10,000+ typefaces, more than 500 of which were released this year alone.

Recent releases #13

2024-10-15T00:00:00Z

A look at the type releases of the past week.

DDOTT released Aether, the proportionally-spaced counterpart to Aether Mono designed by Dominik Thieme.
Dinamo released Pelikan, an an unpolished sans with a special unicase feature baked inside, designed by Fabian Harb and Fabiola Mejía.
DSType released Miura Slab, a slab serif counterpart to the Miura collection designed by Pedro Leal and Dino dos Santos.
ECAL Typefaces released Arkbro, a variable typeface based on strict geometric principles and proportions designed by Noam Benatar (via Typecache).
Kontour has a new website, and has released Datei Grotesk, a sans that contextualizes the defining design features of legacy grotesque typefaces like Akzidenz, DIN 1451, Breite, Folio, Gerstner Programm, Haas Unica, Record Gothic, and Recta, among others, designed by Sibylle Hagmann.
Kostas Bartsokas published an update on Future Fonts for Canicule Display, with support for Greek.
LettError released LTR Very Bauble, a display typeface increasing in ornamentation along a variable ‘serif’ axis, designed by Erik van Blokland.
Out of the Dark released Play Extra, an extra-wide sans designed by Philipp Herrmann which began as a revival of Breite Fette Information (1956) (via Typecache).
Signal published the in-progress Łucja, a typeface extrapolated by Max Phillips from a few letters of what was later identified as a Polish cast of Hermes-Grotesk (1911).
Source Type released UN-11, Laurenz Brunner’s interpretation of the Selectric version of Univers, designed by Adrian Frutiger in 1966.
Zetafonts expanded Swanstone by Mario de Libero to multiple weights, with matching italics and a Cyrillic character set.
Also from Zetafonts, Milligram, a homage to Akzidenz-Grotesk (1898) designed by Cosimo Lorenzo Pancini, was updated to a range of five widths, support for Greek, and the tight-and-touching Milligram Macro version.

Radek Łukasiewicz launched the RadLuka type foundry, offering:

RL Aqva, a display typeface inspired by iconic humanist typefaces and the golden era of phototypesetting, taking cues from the likes of Revue (1968), Marvin (1969), or ITC Busorama (1970).
RL Limo, a typeface that borrows influences from Art Nouveau typography and draws inspiration from iconic typefaces like ITC Benguiat.
RL Sezon, a Grotesk type family inspired by early examples of the genre.

On to the obligatory catch-up section.

Back in September, Tekio released three prototypes by Jan Estrada-Osmycki:

Komuna, a fixed-width dot matrix typeface produced as a variable font.
Dioda, a typeface based on the Radio Shack logo.
Tekio Grotesk, an idiosyncratic sans drawn on an eight point grid which makes its rhythm, vertical and horizontal dimensions highly organised.

Other earlier releases:

Workhorse released Workhorse Saboneta, a calligraphic Blackletter with a weight axis, designed by Kevin Cantrell and Adrian Kimball.
En Travaux released Hardanger, a pixel typeface imitates the Norwegian embroidery of the same name by Agathe Millet.
Abstract Office released Rascal Script, an exuberant broad-brush connected script with wild calligraphic strokes and reckless speed designed by Benjamin Woodlock.

In other news:

Lettercarving for type designers, a book by Françoise Berserik to be presented on November 15 at KABK in The Hague, is available for purchase (via EvB).
The Jenson Roman, an upcoming book by Riccardo Olocco about the roman type used in Venice by Nicolas Jenson, can be preordered from Lazy Dog Press (via DR).
Launched at the beginning of the year, Adrian Kimball’s Script Directory is a collection of the world’s best script typefaces, inspired by Matthew Smith’s typefoundry.directory.
Steven Heller looks at the many fun tools made by Studio Schultzschultz in the article Experimental, Playful and Practical Lettering.

Recent releases #12

2024-10-09T00:00:00Z

A look at the type releases of the past week.

Black Foundry released Julia, a cursive typeface designed by Gaëtan Baehr.
Blackletra released Drummond, a serif typeface designed by Emerson Eller based on matrices for a beautiful face, sixteenth century French in style, resembling but not the same as the Median Romain used by Garamont from the Plantin-Moretus Museum in Antwerp.
Blast Foundry released Bizzarri, a serif typeface taking cues from vintage car aerodynamics designed by Diana Ovezea, after it graduated from Future Fonts.
Brandon Nickerson released BN Hellmade, an interpretation of ITC Honda (ITC, 1970).
Commercial Type updated Terza, a text typeface in three modes designed by Greg Gazdowicz, with a Display family adapted from Terza Reader.
Still by Commercial Type, Pennsylvania, a typeface by Christian Schwartz originally released with Font Bureau in 2000, was updated and expanded by Inga Plönnigs with sans and slab serif counterparts, and is now available in the Vault.
Also making a quiet appearance in the Commercial Type Vault is Popular, a slab serif originally designed by Schwartz in 2004, updated for release by TienMin Liao.
Contrast Foundry released CoFo Holz, a serif typeface inspired by wood type, designed by Nikita Sapozhkov (via Typecache).
Lechuga Type reissued Trust Sans, a humanist sans designed by Antonio Mejía Lechuga, originally published with Latinotype in 2019.
Letters from Sweden released Tid, an intepretation of Times New Roman (Monotype, 1932) by Göran Söderström and Stefania Malmsten (via Typecache).
LiebeFonts released LiebeHeide Fineliner, the vector version of Ulrike Rausch’s LiebeHeide bitmap color font.
Lineto released LL Sinaloa, originally designed by Rosmarie Tissi in 1972, along with a variation named LL Sonora. These revised digitizations were created by Tissi in collaboration with Céline Odermatt.
Olga Umpeleva updated the pseudo-pixel typeface Heaven Can Wait with Bold and Bold Italic weights.
Overlap Type released Parch, a variable font inspired by the deterioration of vinyl signs in the California sunshine, designed by Kel Troughton.
P22 has a new website, selling fonts from Hamilton Wood Type and the Lanston Type Company, as well as from its own P22 Type Foundry. (I’ll be adding the typefaces to the Atlas soon.)
Plain Form updated Petit Frère, a sans serif designed by Lucas Descroix, with matching italics.
Superior Type released Svatopluk, a sans serif designed by Vojtěch Říha.
Tipografies released Glucosa, a condensed sans designed by Jordi Embodas and Gerard Sierra (via Typecache).
TypeType released TT Biersal, a typeface inspired by a German poster from the ’30s, designed by Marina Khodak and Alina Gabidulova.
Dương Trần released on Future Fonts the initial version of Thow, a workhorse serif taking cues from transitional and modern faces.
Zetafonts updated Bogart, a Cooperesque typeface designed by Francesco Canovaro with a range of condensed weights, as well as an initial version of Bogart Arabic designed by Cosimo Lorenzo Pancini and Aziz Bouyabrine.
Zetafonts also updated Barnum, a Clarendon typeface by Pancini, with matching italics.

Catching up: Earlier in September, Manic Type released Banger by Jamie Chang, a thorny, prickly, and potentially explosive blackletter.

In other news:

Slanted’s Yearbook of Type #7 is available for pre-order, with the release scheduled for November 2024.
Also on pre-order is Plain Text, a a printed publication for exploratory type design from Plain Form.
From Unit Editions, Woman at Work (ed. Adrian Shaughnessy), a book dedicated to the work of Margaret Calvert, a pioneer of design for public service, a groundbreaking typographer and recipient of this year’s New York Type Directors Club Medal, is currently gathering backers.
Over on Kickstarter, Tim Brookes is crowdfunding Endangered Alphabet Calligraphy: Saving Culture Through the Art of Writing.

Recent releases #11

2024-10-01T00:00:00Z

A look at the type releases of the past week.

Arillatype released At Umami, a rounded sans inspired by Japanese visual culture designed by Pedro Arilla and Julián Moncada.
ArrowType published on Future Fonts an update to Kyrios, a curious, slightly psychedelic blackletter family designed by Stephen Nixon, to include a weight axis, Blackletter uppercase, and an extended character set.
Brandon Nickerson released BN Kossell, an interpretation of a ’70s display typeface.
Displaay released Booton, an uniwidth sans for user interfaces designed by Daniel Quisek.
DJR released Job French Clarendon by David Jonathan Ross as the September offer of the foundry’s Font of the Month Club.
Erkin Karamemet released EK Baumer Grotesk, a neo-grotesque sans designed in collaboration with Gregor Maria Sahl (via Typecache).
Identity Letters updated the design of Glance Sans and Glance Slab, two stencil-like typefaces designed by Moritz Kleinsorge.
Power Type released Artific, a sans serif designed by Teguh Arief.
Skritur updated with matching italics Brito, a sans serif by Fañch Le Henaff, Yoann De Roeck, and Malou Verlomme originating from ’90s designs.
Suitcase released Icona Serif, a neutral serif typeface designed by Tomáš Brousil to complement Icona Sans (via Typecache).
TypeTogether reissued Chaco, a signage typeface originally designed by Rubén Fontana in 2008.

Dinamo extended Diatype into a global type family, covering several writing systems:

Diatype Arabic, designed by Wael Morcos, Khajag Apelian, and Lana Abou Soufeh.
Diatype Armenian, designed by Gor Jihanian.
Diatype Cyrillic, designed by Olga Umpeleva.
Diatype Devanagari, designed by Kimya Gandhi.
Diatype Georgian, designed by Ana Sanikidze.
Diatype Greek, designed by Panagiotis Haratzopoulos.
Diatype Hebrew, designed by Yanek Iontef and Daniel Grumer.
Diatype Latin, designed by Johannes Breyer, Fabian Harb, Elias Hanzer, Erkin Karamemet, Renan Rosatti, Andree Paat, and Đức Cao (Vietnamese).
Diatype Thai, designed by Boom Promphan Suksumek.

Earlier in September, CoType released the Lock collection designed by Mark Bloom and Diana Ovezea, which explores the balance between broad-nib calligraphy and industrial design. (Despite having added it to the directory, it seems I accidentally omitted it from the weekly news.)

In other news:

Boom Promphan Suksumek visits LƯU CHỮ, Vietnam’s graphic & type archive.
A new book by Itemzero, Paper, Paper, Paper explores paper manufacturing, transformation and handling techniques.
James Grieshaber launched a Kickstarter campaign to help fund The Virgin Wood Type Bible

Recent releases #10

2024-09-25T00:00:00Z

Back from vacation with a look at the type releases of the past two weeks.

Atipo released Rawest, a geometric sans.
Brandon Nickerson mantains the weekly cadence with BN Rambunk, an interpretation of Implode (1960s), and BN Danimal, a slightly slanted display sans.
DJR released Forma DJR Mono, the monospaced counterpart to Forma DJR designed by Ruggero Magrí and David Jonathan Ross.
East of Rome published on Future Fonts the initial version of Matka, a rustic display sans designed by Lewis McGuffie, as well as an update to the grotesk sans Kapow, changing its name to Tugev in the process.
Emtype released Micrograph, a sans serif designed by Eduardo Manso.
Extraset released ES Park, a slab serif designed by Xavier Erni.
Francis Chouquet released Jazzman, a Midcentury-style unicase display typeface.
Grilli Type released GT Pantheon, a sharp serif designed by Tobias Rechsteiner and Noël Leu.
Interval Type released Factor A Mono, the monospaced companion to Factor A designed by Ilya Naumov.
James Plattner published on Future Fonts the initial version of Bitzer, a condensed serif typeface informed by flat brush calligraphy.
JTD updated on Future Fonts the condensed grotesk Enfilade by James Hultquist-Todd to a variable font.
Lazydogs released LD Elly, a serif typeface by Bente Baseler (via Typecache).
Luis Bandovas updated on Future Fonts the geometric sans Subito with an italic style.
Luzi Type released Zeist, a geometric sans by Luzi Gantenbein.
Mass Driver updated MD Nichrome, a typeface referencing the typography of sci-fi paperbacks from the ’70s and early ’80s designed by Rutherford Craze, with an extended character set and gothic alternate forms.
OH no released Camelion, a humanist sans by Sandrine Nugue.
Plau released Firula, a brush script typeface by Rodrigo Saiani (via Typecache).
Poem released Nouveau Quellstift, the rounded version of Nouveau, designed by Jérôme Knebusch.
Process Type added italics to Stratum 1 & 2, as well as an extended character set. Maria Doreuli and Egor Golovyrin designed the Cyrillic script and George Triantafyllakos the Greek. Eric Olson also designed a narrower variant of the typeface, available as Stratum 1 & 2 Condensed.
R Typography released Montris Mono, the monospaced member of the Montris family designed by Rui Abreu (via Typecache).
Sharp Type added a display variant to the Sharp Serif collection in the form of Sharp Serif Display, a stencil typeface designed by Lucas Sharp.
Sudtipos released Cosmos Deco, an Art Deco sans designed by Edgar Capula.
Tulsey Type released Chokecherry, a lively sans designed by Chris Skillern with support for Latin and Cherokee scripts.
Typemates released Altona by Albert-Jan Pool, Julia Uplegger, and Antonia Cornelius. Julia Uplegger also designed Alison Head and Alison Text, which together with Altona form a superfamily of contemporary Didones.
TypeType added a monospaced variant to TT Hoves Pro.

Blaze Type has a series of releases and updates:

Rules Gothic, a contrasted gothic sans designed by Matthieu Salvaggio, Léon Hugues, Guido Ferreyra, and Malo Haffreingue.
Santiag, a contemporary intepretation of the reverse-contrast Western genre by Clément Cases.
Holise, a condensed serif typeface originally designed by Inès Davodeau in 2021.
Caryotype, a display typeface designed by Vicente Granger.
Kyle Mono by Alexander Rütten and Olivia Wood, the monospaced companion to Kyle. The latter was also updated from semi-proportional to fully proportional.

CAST have released a collection of modernist typeface revivals named Alfabeti Modernisti. The collection includes:

AM Assab by Alessandro Bombieri.
AM Augusta by Riccardo Olocco.
AM Lombardia by Carlotta Albiero and Luciano Perondi.
AM Majella by Valentina Casali.
AM Panama by Giulio Galli.
AM Serie 610, also by Riccardo Olocco.
AM Tirana by Leo Philp.
AM Tripoli also by Alessandro Bombieri.
AM Udine by Michele Patanè.

Ivy Foundry has a new website to showcase Jan Maack’s typefaces. New releases include:

IvyBodoni, an homage to the modern serif designs of the ’60s and ’70s.
IvySoft, an unpretentious, rounded sans balancing work and play.

Delve Fonts added a section called Procepts for experimental and in-progress fonts. The current offering includes:

H-AND-S, a hand symbol typeface by Jean-Benoît Lévy of Studio AND.
Hexcess, a condensed, grid-based hexagonal Blackletter by Delve Withrington.
Feint, an variable font with a cipher axis in the form of a stencil sans, also by Delve Withrington.

Throughout August, Store Norske Skriftkompani released a few typefaces, all designed by Arve Båtevik:

Arkitekt, a geometric typeface based on Norwegian functionalist architecture.
Skandia Narrow and Skandia Condensed, two new widths for the Skandia typeface.
Jazz Mono, the monospaced member of the Jazz family.

Capitalics released in the past few weeks:

ADHD, a variable font inspired by the work of Armin Hofmann.
Acus, a contrasted sans inspired by hand-painted enamel signs.
Realise, a Scotch Roman with octagonal details.

Still in the late August to early September ballpark:

Famira Fonts released Jupette, a sans serif inspired by the midcentury French Riviera designed by Hannes Famira.
Helena Zhang released Departure Mono, a monospaced pixel font.
Signal released Glammo, a typeface that blends references to techno, Akira, and the Designers Republic designed by Max Phillips.

Other things that are new:

Watching letters, an essay by Aleksandra Samuļenkova on the role of typography and orthography in the formation of national identities.
Rutherford Craze interviewed by Dan Reynolds in Mass-Driver: Craft and technology.
Dossier Jannon — Definitive Edition, a concatenation of documents around Jean Jannon’s work by historian Sébastien Morlighem in collaboration with Klim.
A notebook designed by Atelier Carvalho Bernau for Typotheque, who just this weekend celebrated 25 years.

On the website, I’ve added a tag for typefaces with minisites.

Recent releases #9

2024-09-10T00:00:00Z

A look at the type releases of the past week.

Brandon Nickerson released BN Zipline, an uppercase-only display slab serif.
CAST released Scotus Sans, a humanist sans by Giulio Galli, Riccardo Olocco, and Luciano Perondi (via Typecache).
Production Type released Gamuth Sans, the latest addition to the Gamuth collection designed by Max Esnée.
TypeType released TT Modernoir by Antonina Zhulkova and Toma Streltsova.
Typofonderie released Caslonian, an old-style serif designed by Jean François Porchez based on various metal cuts of Caslon.

Timothy Donaldson launched the Shapes for Cash foundry, operating from Cornwall, United Kingdom. The initial offering includes:

Amadeo, a marker typeface with calligraphic brush qualities.
Cowgirl, a light, reverse-contrast slab serif.
Explorers, a collection of twenty metrics-compatible fatfaces.
Hipsterpotamus, a chunky typeface without counters.
Pointyhead, a thorny Blackletter design.

Recent releases #8

2024-09-04T00:00:00Z

A look at the type releases of the past week.

From Black Foundry, the alpha release (basic Latin character set) of Numero.02, a gothic sans by Solenn Bordeau referencing a historical American design. Bordeau also shares credit with Ben Hartley for Cæsura, a bold display serif.
Blaze Type released Sizek, a display typeface by Sandro Bonomo that takes inspiration from digital glitches. Meanwhile Pahin, a calligraphic flared serif designed by Maksym Kobuzan, was expanded to three optical sizes.
Brandon Nickerson released BN Pooly, a display typeface inspired by Rodger.
Contrast Foundry published an update on Future Fonts for CoFo Meteor, a serif typeface by Anna Khorash and Liza Rasskazova in the vein of De Vinne.
David Jonathan Ross updated Megabase as the August offering of the DJR Font of the Month Club.
Delve Fonts released Peasy, a sans serif designed by Peter Cho.
Linda Hintz updated Tegner on Future Fonts with small caps, a lowercase, and an extended character set.
Anna Khorash published an update on Future Fonts for Invert, an experimental typeface that interpolates between shapes and counter-shapes.
Lineto released LL Geigy Duplex VIP, a new addition to the LL Geigy collection designed by Robert Huber.
Nondescript debuted Pearl on Future Fonts; a serif to be set at very small sizes designed by David Sudweeks.
Type Forward released Em One, a geometric sans by Luboslav Boyanov, Mirela Belova, and Stan Partalev.
Tightype published the expansion to six weights of Bull-5, a typeface designed by David Einwaller that references an unidentified typewriter font.

Earlier in August:

The Northern Block released Heltar, a neo-grotesque sans by Jonathan Hill (via Creative Boom).
Studio René Bieder released SUSE, a brand typeface designed by René Bieder for the eponymous software company, made available as open-source on GitHub.

To watch & read:

Paul Shaw’s talk at the Letterform Archive: Liberty Is Desirable: Nationalism, Patriotism, and Jingoism in 19th Century Type Specimens.
The typography of books, an essay by John D. Berry for Typofonderie.

Recent releases #7

2024-08-27T00:00:00Z

A look at the type releases of the past week.

CAST released Sole Serif Rounded by Giulio Galli and Luciano Perondi, a softer version of the newspaper typeface Sole Serif (via Typecache).
Public Type released Cina Sans, a neo-grotesque sans by Michael Cina.
Displaay expanded Matter and Haffer into collections of proportional, semi-mono, and monospaced variants. More details in the announcement.

Jessica Walsh established a new type foundry named Type of Feeling. The initial offering includes typefaces by several designers:

from Cristi Bordeianu: Conforto, a geometric sans and Elysian, a transitional serif with contemporary details.
from Laura Csocsán: Jubel, an exuberant ultrabold sans and Satori, a geometric sans based on the interplay of circles and straight angles.
from Sanchit Sawaria: Onsra, a mixed-width, uppercase-only sans and Serein, a light, high-contrast sans.
from Muhittin Güneş: Ssonder, a mixed-width serif.

On the website, I’ve added a new tag called Design process. It lists all typefaces for which a link with background information is available. (More such links to be added soon.)

I’ve also implemented sorting by column for to all tables on the website.

Recent releases #6

2024-08-20T00:00:00Z

A look at the type releases of the past week.

Dalton Maag released Fraise, a humanist sans by Pablo Bosch inspired by Roger Excoffon’s Antique Olive.
Joc by Sabina Kipară has graduated from Future Fonts and has been reissued with Type-Ø-Tones.

Along with Joc, Type-Ø-Tones has also soft-launched this August:

Unicaster by José Manuel Urós, an unicase sans based on unidentified type from the 60s.
Fabulosa by Laura Meseguer, a ‘fat face’ influenced by Ed Benguiat’s Caslon.
DINosaur Sharp by José Manuel Urós with Pilar Cano and Ferran Milan, an evolution of DINosaur with straight terminals.

In other news: A font with built-in syntax highlighting, a clever use of color font technology.

On the website, I’ve added a new facet to navigate typefaces and foundries: Typefaces by distributor and Foundries by distributor.

Pro tip: like with other lists on the website, you can use the Roll dice button in the top-right corner for some surreptitious serendipity. If you’re on a desktop device, hold down the Ctrl key (Windows) or Command key (MacOS) while clicking to open the random link in a new tab rather than navigating away.

Recent releases #5

2024-08-13T00:00:00Z

A look at the type releases of the past week.

Brandon Nickerson released BN Arora, an interpretation of Dante (Schelter & Giesecke, 1900).
Office of Personal Responsibility released on Future Fonts the initial version of OPR Forum, a serif informed by Renaissance constructed letterforms by Maximilian Inzinger.
Sharp Type released Sharp Roman, a typeface by Lucas Sharp.
Superior Type released Mixtape, a Bauhaus-inspired geometric sans by Rostislav Vaněk.
TypeType released TT Paplane, a display typeface inspired by folded paper planes by Marina Khodak and Antonina Samokhina.

In other news:

Black Foundry released a new Arabic design for Finder, a sans for multilingual user interfaces, that better harmonizes with the other scripts.
Also from Black Foundry, a new version of the cinema-inspired Trente Cinq introduces a weight axis.
Daytona Mess updated Baleze Display on Future Fonts with a second, thinner pixel style.
Anne-Dauphine Borione is also the recipient of the 2024 Gerard Unger Scholarship for Dargon, a contemporary take on the uncial style.
Auroc by Lewis McGuffie graduated from Future Fonts and was added to the East of Rome catalog.

Recent releases #4

2024-08-06T00:00:00Z

A look at the type releases of the past week.

Brandon Nickerson released BN Social, an interpretation of a 70s geometric sans.
CAST released Kornel, a seriffed typeface for longform text by Radek Łukasiewicz.
David Jonathan Ross released Roslindale Compressed along with an Extra Condensed width as the July offering for the Font of the Month Club. The mini-site for Roslindale was also enriched with more research into its precursor, De Vinne (~1892).
Monokrom released Diplöe, a humanist sans by Frode Helland and Kostas Bartsokas.
Universal Thirst added support for the Latin script to Splinter by Namrata Goyal and Frederik Berlaen in the latest Future Fonts update.

Missed it the first time around: ALT.tf released ALT Klarinet, a stencil sans by Giulia Boggio, at the beginning of July.

In other news, Letterform Archive launched a Kickstarter campaign for reprinting the sold-out W. A. Dwiggins: A Life in Design by Bruce Kennett. The campaign reached its funding goal in less than a week.

In the Atlas, the new Chromatic type tag collects more than two hundred typefaces that can produce multi-color effects using color font technology, or by layering separate styles or variable font instances.

Recent releases #3

2024-07-30T00:00:00Z

A look at the type releases of the past week.

Badson Type Foundry, the type design arm of Badson Studio, launched with four new typefaces in the catalog: Grigio Serif, Porter Sans, Ginny Sans, and Armond, all by Kyle Read.
Blaze Type released Daimito by Karol Mularczyk.
Brandon Nickerson released BN Kendall.
Dalton Maag released Perenelle Sans and Perenelle Serif by Robert Pratley.
Element published Tuaf by İbrahim Kaçtıoğlu on Future Fonts.
Fig Grotesk by TienMin Liao graduated from Future Fonts.
TypeTogether have updated Tablet Gothic by Veronika Burian, José Scaglione, Tom Grace, and Yorlmar Campos as a two-axis variable font and increased character set.

Acknowledgments: some news from this edition via Typecache, Proof&Co..

In other news: I’ve added a new tag on the website for Typewriter fonts, collecting around fifty typefaces inspired by fonts available to typewriters, modeled by the technical constraints imposed by the medium, or evoking the physical appearance of typewritten text.

Also, a shuffle from Type Atlas to Atlas of Type for a modicum of disambiguation from Ondrej Jób’s ongoing typo-photographic project, with apologies for lack of due diligence.

Recent releases #2

2024-07-23T00:00:00Z

A look at the type releases of the past week.

29Letters added support for Arabic to their 29LT Azahar collection in the form of 29LT Azahar Display AL and 29LT Azahar Text AL by Naïma Ben Ayed.
Blast Foundry released Vanilla Sans by Rafał Buchner and Barbara Bigosińska.
Brandon Nickerson released BN Sammy.
DualType debuted Luska by Gen Ramírez and Zrinka Buljubašić on Future Fonts.
FDI Type Foundry released FDI Kromograph by Ralf Herrmann, a color font companion to FDI Lettograph.
Interval Type released Oceanic Text Mono by Ilya Naumov, the latest addition to the Oceanic collection.
Mark Simonson Studio relased Proxima Nova Arabic by Khajag Apelian and Wael Morcos.
NaN released the NaN Druid collection by Anna Khorash and Reymund Schröder, comprised of NaN Druid Serif and NaN Druid Sans.
W Type Foundry released Human Max by David Súid.
Zetafonts released Ux Sans by Francesco Canovaro.

Recent releases #1

2024-07-16T00:00:00Z

Welcome to the inaugural edition of Type Atlas news! As with everything on the website, this will probably go through a few iterations. For now, keeping it on the shorter side.

Here are some typeface releases from the past week:

Arillatype.Studio released At Koba by Jon Zabalegui.
Black Foundry released Blaacck by Jérémie Hornus and Solenn Bordeau.
Blaze Type released Silvana Text by Siri Lee Lindskrog, a counterpart to Silvana Display (2022).
Brandon Nickerson released BN Bobbie and BN Alphabyte.
Lift Type released Raïm by Valerio Monopoli.
Lux Typo released Sulfite by Greg Lindy.
Mark Simonson Studio released Proxima Nova Devanagari by Vaibhav Singh and Alessia Mazzarella.
Nouvelle Noire released Pivot Grotesk by Anton Studer.
Pangram Pangram released Editorial Sans by Andrea Biggio, Mathieu Desjardins, and Francesca Bolognini.
Playtype released Symphony by Jonas Hecksher.
Raoul Gottschling released Kleber.
Simplebits released Dragönsteel by Dan Cederholm.
Sudtipos released Gintona by Eduardo Dulín.
Ultra Kuhl released Porteron by Jan Weidemüller.
VZWO Type released VZWO Choreo Banner by Viktor Zumegen.

PS: If you’re feeling adventurous, you can already subscribe to the Atom feed.