The following article appears in the Fall 2016 issue of Print, currently on newsstands. Subscribe today—and don’t miss the chance to enter our Type & Lettering Awards!
The inevitable debate begins whenever somebody remarks, “Wait—why are people still making typefaces?” From there, the responses come in rapid succession. They range from the baffling—“We have enough already! Who needs more?”—to the rather limiting, albeit humorous, “Can’t we just use Helvetica or Univers for everything?”
We can never have enough typefaces. And the fonts released up to this point in 2016 are a treasure trove of delights. Seeking to suss out some highlights, Print polled an array of experts to get their take on the best of the best so far.
These experts considered craft, aesthetics, concept, function, technology, utility and versatility during the judging process, and they also judged beauty—or the lack thereof. The final results are by no means conclusive nor are they complete since there’s still time left in 2016. But the exercise shows that amazingly talented typographers continue to deliver the goods to a marketplace of designers as hungry as ever for new typography.
So the next time somebody asks that familiar question—“Why do we need another typeface?”—simply reply, “Why not?”
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The Experts
To pull together this list, we contacted typographers and designers in the trenches, along with educators, writers and critics. The following contributed their thoughts and votes, trusting their eyes and personal tastes. (For the scoop on our methodology, scroll to the bottom of this page.)
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Sean Adams, executive director, ArtCenter Graduate Graphic Design
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Jason Alejandro, designer and educator, art director at JK Design
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Alan and Amanda Altman, A3 Design
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Doug Bartow, principal and design director, id29
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Peter Biľak, Typotheque.com, Fontstand.com, WorksThatWork.com, TPTQ-Arabic.com
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Curtis Canham, author, A-holes: A Type Book, #yayforaholes
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Michèle Champagne, designer and founder of A-B-Z-TXT, a school for 21st-century typography
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Kevin Finn, founder and creative director, TheSumOf, founder ofOpen Manifesto
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Kyle Gallant, designer and co-founder, Ligatures YYZ
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Mitch Goldstein, designer, assistant professor, Rochester Institute of Technology School of Design
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Alex Haigh, founder and creative director, HypeForType
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Allan Haley, writer and consulting typographer
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Indra Kupferschmid, typographer, professor of typography, HBKsaar
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Rob Mientjes, type designer, Tiny Type Co., designer of books, websites, apps
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Andrew Novialdi, graphic design and lettering artist
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Amy Papaelias, design educator, founding member, Alphabettes.org
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Mads Jakob Poulsen, creative director, Poulsen Projects
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Andy Pratt, executive creative director, Favorite Medium
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Theo Rosendorf, author, Typographic Desk Reference, creative director,Type Fanatic
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Michael Stinson, creative director, TypeEd and Ramp Creative
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Scott Stowell, proprietor, Open, author, Design for People
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Ian Varrassi, associate creative director, MODE
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Terrance Weinzierl, type designer, Monotype
Disclaimer: The personal opinions expressed by this panel do not necessarily reflect those of their employers. And now … the type!
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Operator
A double-threat, Operator Mono is a monospaced (fixed-width) face that’s great for coding, and its “natural width” companion Operator is suitable for a broad range of design uses. Not only did its breadth and utility earn it compliments, but its promotional video adds to its allure.
Foundry: Hoefler & Co., New York CityReleased: FebruaryDesigners: Designed by Hoefler & Co. by Andy Clymer, Jordan Bell and Troy Leinster; artistic direction by Jonathan HoeflerFoundry Notes:
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Operator is inspired by typewriter faces, and offers the authorial voice of typewriting, with nine weights (from Thin to Ultra), featuring small caps and an especially piquant italic
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Operator Mono was designed with the command-line editor in mind, where developers and programmers spend their days
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The face includes ScreenSmart variations specifically designed for web and mobile applications.
“With a history steeped in old-school typewriter fonts, it has a touch of nostalgia with a modern twist.”—Alan and Amanda Altman“Fixed-width typewriter fonts compromise on form by compressing and expanding characters, resulting in odd-looking glyphs such as overly cramped ‘M’s and ‘W’s. Operator has the look of typewriting but without these formal anomalies. [It] will work as well in your code editor as in your love letter.”—Theo Rosendorf
Action Condensed
This isn’t your average condensed typeface, and it proves that big things come in small packages. This fully duplexed beauty will come i
n handy the next time you need different grades for your website’s link styles.
Foundry: Commercial Type, New York City and LondonReleased: JanuaryDesigners: Erik van Blokland, assisted by Dave FosterFoundry Notes:
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Action Condensed was designed for the screen, without an overtly neutral personality
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Each of the family’s four weights has three grades on the same width, allowing text to change weight on rollover without disrupting the layout
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It works as well on a poster as it does in a web browser or on a mobile phone.
“Like all of Commercial Type’s work, this family is familiar (and warm) enough to be super useful but inventive (and sturdy) enough that I don’t think, Why did anybody bother to make this? And I’m on board with anything that does such a specific job but ends up being right for so many others.”—Scott Stowell“Incredibly simple yet beautiful. … Each [weight] is drawn ‘on precisely the same set of character widths’ so text never reflows as a result of switching grades in the design. Wow, that’s a useful feature.”—Doug Bartow
Classic Grotesque
If you’re looking for a fully loaded sans, look no further. This face loads everything you need into one package. It’s classic. It’s a grotesque. It’s not your run-of-the-mill sans serif. What more could you want?
Foundry: Monotype, Woburn, MAReleased: AprilDesigner: Rod McDonaldFoundry Notes:
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Classic Grotesque has all the attributes of the early grotesque fonts of the 20th century
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A revival of the original, it now includes 42 completely new weights—seven weights each of normal, condensed, compressed and extended designs, from light to extra bold, each with a cursive italic complement
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It has a total of 56 styles
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Its neutral appearance and excellent features make it suitable for nearly all imaginable applications.
“There are so many great new sans serif typefaces, but how can you go wrong when using Classic Grotesque? It saves the wonkiness of Monotype Grotesque but refines the forms to be legible in text—so much warmer than that chilly Helvetica or Univers.”—Sean Adams
Equitan Sans and Equitan Slab
Versatile, expansive and utilitarian, the Equitan Sans and Equitan Slab typefaces are suitable for a variety of needs, with a look and feel that stands out from the herd of faces designers have been using—or overusing—for decades. Fun fact from the foundry: The name Equitan is an anagram of antique.
Foundry: Indian Type Foundry, Ahmedabad, IndiaReleased: FebruaryDesigner: Diana OvezeaFoundry Notes:
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Together, Equitan Sans and Equitan Slab make up an astounding 28-font super family ready for use in branding projects, editorial and packaging design
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The initial inspiration for this family came from Palmer & Rey’s 1884 “rather magical” 48-point Antique, with its oversized serifs and closed apertures
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Ovezea wanted to make a type family that is both sturdy and flavorful, with balanced low-contrast letterforms.
“While I’m usually not one to get excited about another neo-grotesque super family that promises to provide a new voice in an already crowded chorus, Equitan Sans and Equitan Slab do just that. If typography really is [the] soul of any reading experience, then it’s time to move beyond the easy or default choices (I’m looking at you, Helvetica and Open Sans). Equitan offers just enough quirkiness (check out that lowercase ‘y’ and double-story ‘g’) without compromising readability.”—Amy Papaelias
Triade
Want something bold, muscular and attention-grabbing … and just maybe backslanted? That’s just scratching the surface of Triade’s features, all of which will make your layout stand out from the rest. Thanks to an x-height that’s tall and confident, Triade has the oomph and personality to stop readers in their tracks.
Foundry: Coppers and Brasses, MontrealReleased: JanuaryDesigner: Étienne Aubert BonnFoundry Notes:
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Triade is a family of three styles in a single heavy weight: Triade Upright, Triade Slantedand Triade Backslant
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The Slanted and Backslant versions were manually optimized to match the weight and contrast of the Upright version
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The character set supports over 200 languages
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Diacritics and punctuation are available in two styles—heavy and thin—through OpenType features
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Some special symbols are available in an ornamented variant through OpenType features.
“Triade is a very heavy grotesque of the quirky, hand-drawn variety.”—Michèle Champagne“Triade rocks leather jackets and listens to hip hop. It would look good as a letterpress poster in big bold colors, neo–Alan Kitching style.”—Andrew Novialdi