Canopy by @approx.type
Canopy is unapologetically a one-weight display typeface with a severe amount of flair and ornamentation. Originally designed for the exhibition ‘Hieroglyphs – Symbolist Drawings 1890-1910’ at the National Gallery of Denmark in 2018, it embodies the Symbolists’ fascination with dreams, mysticism and the natural world.
Its shapes are “pregnant with meaning”, as the Symbolists would’ve put it. Rounded counters flow seamlessly into flared serifs, contrasted by flat tops and bottoms adding a slight bit of rigour and control to an otherwise organic expression. These shapes draw loose inspiration from the lettering on the cover of ‘Praktisk Tegnekursus’ (1900), a technical manual for painting and drawing favoured by many artists of the time.
This one-weight-wonder is now available to license via Approximate Type 🌐 approxtype.com. Trials can be acquired via 📧 [email protected]
Original commission:
@peter_folkmar & @smkmuseum
Assisted by:
@maximilianinzinger@reidar.online
Viadukt by sascha.bente
For quite some time I’ve been thinking about (and working on) a typeface that reflects my appreciation for decorative form language while also serving functions of a simple grotesque. 💅🏻📏
Viadukt m i g h t be my answer to that. Initially startet in 2019, the typeface does not really reference one existing design or historical source in particular. It can instead be seen as an experiment exploring what happens when swashes and ornamental gestures – which we might potentially associate with Art Nouveau – subtly find their way into a rational system of the grotesque or sans serif genre. Viadukt literally bridges (hehe) the gap between decoration and function. Hence its name.
It can be used for both body copy and display purposes, as its details blend well in text and, when used at larger sizes, create a unique typographic image. As stylistic alternates, it includes a stylistic set in which all diagonals of the letterforms can be converted into curved strokes: The Jugendstil Diagonals. 🪄📐
Now available for trial and license: saschabente.com/viadukt
Scenary by @lucas.bihan@formagari
Scenery is a new typeface by Lucas Le Bihan. It comes in a total of 16 styles and eight weights, with matching italics. With its rounded corners and geometric construction, Scenery evokes simple pleasures and will find its way into a variety of settings.
Design: @lucas.bihan
Spacing & kerning: Igino Marini
Mastering: @bordeausolenn
Images: @lisa_cpgn
Dote by @fantasia.type
Dote is a rounded serif typeface that echoes the American spirit of the late 19th century, or the Central European flavour of the 1920s, or the Scandinavian line of the mid-20th century, or the Italian touch of the1930s. Its roots are not clear. Indeed, if history in general, and that of typography in particular, is made up of migrations, appropriations, often inexplicable misunderstandings, Dote typeface is the living witness of these evolutions.
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One of the main exponents of the Sachplakat style is Lucien Bernhard, who in the 1910s designed Bernhard Antiqua, a forerunner of the Svezia and Sarotti Heimansskrift in some ways. Issued by Flinsch and later Bauer in nine styles Ber-nhard Antiqua was influenced not only by the aesthetics of the alphabet designed by Peter Behrens around 1907 for AEG but also by the typeface Windsor designed in 1905 by Elisha Pechey.
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As printer, bookbinder and type designer, Pechey seems to import into the English context what had happened in the typographic fement around American newspapers in the late 19th and early 20th century. Indeed it was in 1900 that E. J. Kitson designed the Post Oldstyle Roman for the Saturday Evening Post. Into this ping pong of references comes the typeface Dote, which, starting with the typeface Svezia, becomes the last thread added to this web of names, alphabets and migrations that is typographic history.
HAL Timezone Extension by @haltypefaces
Timezone is a low-contrast, serif typeface, aesthetically inspired by early digital fonts, freshly transitioned from the photo-type era. A robust text font with high visibility and slightly rounded edges: the Uprights are sturdy and durable, while the Italics are more playful and dynamic, reminiscent of classical, antique serif faces. The full family spans six weights across 18 styles, including a complementary monospaced subfamily. Covering both Latin and Cyrillic scripts, Timezone also features small caps for all styles and languages, including numerals. No matter the size, task, or altitude: Timezone never sleeps.
@studiohanli@alescieux@sashakulikov_
Spread by @bold_decisions
Spread is a Scotch Roman with DNA coming from large mid-century agencies, back when campaigns were nothing more than an illustration and good slogans. Its width makes it an economic font for longer text setting but ultimately its power lies in saying it loud. It features a range of alternates and OpenType features to provide your workflow with fun and flexibility.
ABC Publisher by @abcdinamo
Publisher is a typewriter-inspired design, re-upholstered for modern print and screen use. While embracing the genre’s mechanical honesty and authorial voice, Publisher’s letters are proportionally spaced to ensure beautiful moments of long, untiring reading.
The typewriter genre traces its roots to early monospaced designs such as Courier, defined by mechanical constraints and functional clarity. Later came proportional interpretations like ITC American Typewriter, which introduced a warmer, more expressive tone.
Next to the classic typewriter-style Slab, we have the clean and elegant Sans companion. And between those, we have the playful Mix, a hybrid style that combines the best of both worlds.
All three subfamilies share the same underlying skeleton and design DNA, which means that you can mix and match them effortlessly across your work without tumbling into design-chaos.
Credits:
Design: Michelangelo Nigra, Fabian Harb, Marc Rouault
Engineering: Hugo Jourdan, Roberto Arista
Campaign: Johannes Breyer, Melanie Schmidt
Illustrations: Melanie Schmidt
AVEC by Hugh Morse @morsetype / @sociotype.foundry
A serifless Roman inspired by the expressive European humanist lettering of the short-lived Graphie Latine movement of the late 1950 and early 60s, and in particular the work of Spanish designer Enric Crous-Vidal.
Four subfamilies: Text, Curve, Sharp & Stencil combine Roman proportions with sharp glyphic and elegant cursive qualities, to express Latin energy and strong graphic texture.
Each subfamily contains 7 weights + Italics (14 styles), with accompanying variable fonts on full subfamily purchases.
Avec is available to purchase exclusively via @sociotype.foundry
Credits:
@morsetype@joeleadbeater_@michele.ptn@niccccarter@hambly_freeman@sociodesign
Jt Javel by @ferdinanddelfa
JT Javel carries the refined qualities of a classic text typeface, blending the elegance of Renaissance masters with contemporary adjustments for both print and screen typography. The project began while Ferdinand was studying at the École Estienne in Paris. Initially, what started as a loose of Robert Granjon’s italics interpretation, gradually expanded into a much broader exploration of the text serif typefaces. This study led to a design that not only respects historical craftsmanship but also embraces the flexibility of a variable font format. JT Javel’s structure is based on the warm and lively qualities of Renaissance type, but it has been carefully redrawn to work well in today’s reading environments. During its development, Ferdinand focused on clear proportions, a steady rhythm, and a gentle balance between crisp and softer shapes.
The typeface includes a rich set of typographic features, from elegant swashes and small caps to refined ligatures and multiple numeral styles, allowing designers to fine-tune both character and functionality. Jt Javel has a flexible character that works easily in many settings, from book typography to screen.
Jt Javel by @ferdinanddelfa
Campaign by @lineline3000
Technical support @nika.langosz@edwardjulyy
Oktika by Niklas Herrmann @herrnikla
A lively companion with a grounded presence on the page, Oktika offers disciplined elegance shaped by its carved clarity. Drawing from classical broad nib calligraphy and the precision of stone carving, it distills their inherent beauty into a contemporary design that carries great warmth in all its sharpness.
First developed as a semester project with the mentorship of Kai Bernau, Oktika is now available as a versatile family on ECAL typefaces.
Berna by @andreabiggio
NEW: Berna, a versatile neo-grotesque typeface that merges modernist principles with Swiss tradition, reinterpreted through a contemporary and functional lens. Berna balances geometric precision with expressive curves and shapes.
The family designed by @andreabiggio includes 16 styles (8 uprights and 8 italics) + a variable font. Extensive OpenType features and stylistic sets offer a broad range of alternatives.
Named after the asteroid 1313 Berna, which itself was named in honour of the Swiss city of Bern.☄️
Images by @dissguido
Motion by @foolishmofo
