Yearbook of Type 2019/20

Year

bOOk

OF TYPE Fancy Edition #

2019/20

Yearbook of Type

slanted

Content

Introduction

P. 5 A Essays & Tutorials

P. 7

White, Black. Gray! Why Sketching Matters

By Stefan Willerstorfer P. 8

The Training of a Neural Network for Recognizing and Classifying Fonts

By Lilo Schäfer P. 12

Color Is the New Bold

By Mark van Wageningen P. 14

What Is New Typography and How Do You Put It Forth?

By Benjamin Wurster P. 18

Behind the Letters—Type Foundries in Focus: Interview with Cadson Demak P. 21

A Futuring: Frugality, Online Dating, and Some Rain

By Ian Lynam P. 24

Celebrating Women in the Type Industry: FEMME TYPE Interview with Amber Weaver P. 28

Build Your Own Variable Font Animation

By Rainer Erich Scheichelbauer P. 30

Enhancing the On-Screen Reading Experience With Variable Fonts

By Bianca Berning P. 32

Ciao—Communicating Auditive Intonations Through a Typeface

By Massimiliano Audretsch P. 36

C Index Typefaces

P. 357 D Index Designers

P. 375 E

Index Foundries P. 387

F

Index OpenType Features P. 393

G Imprint

P. 399

Yearbook of Type 2019

Content

B Typefaces

P. 39

By Pedro Amado

Introduction

Experimental Is the New Black

In a post-digital, information-overloaded mediascape, designers have to push harder for their work to stand out. After all, we have all previous centuries of graphic and type design available at the grasp of our fingertips.

Choosing the right font to use or deciding on a style for the next typeface we’re designing, is becoming increasingly difficult. Should we create a classic typeface with well-established features and risk blending into the scenery? Or opt for a more experimental newcomer typeface and risk lacking the necessary robustness? Should we design an original display typeface or opt for a classical text font revival?

In search of new ways to demonstrate the quality of our work, while still being original, creative, or different, we often turn to unexpected choices.

More regularly than not, we push to be weird or defy established aesthetics.

While the young are trying to break established conventions, older generations are wondering what’s wrong with the old ways, misunderstanding and trashing the new. It probably sounds familiar, I know, we’ve all been there. It seems to be some sort of feature engraved in our human nature. Especially whenever new technologies come into play.

We are currently witnessing the development of flexible design tools and variable formats that empower designers to create complex and vast design spaces faster and more easily than ever. With the help of these, the boundaries will be pushed further, again and again.

Specimen books, such as this one you’re holding, are outstanding devices that can help us navigate the current “design scape.” There’s a unique visual and editorial quality to them that cannot be described objectively. Sure, they must present the typefaces, the designers, and foundries, the history or the research behind the works, but their main task is to serve as a visual demonstration to push the envelope, to seduce, to sell.

To the “young guns” in this cyclical world, who are once more challenging the conventions of the type design field with highly experimental typefaces I say: go for it! Challenge tradition and shatter conventions. Experiment beyond the weird, design the next uncanny. It will, in turn, honor the classics and reveal the true beauty of our time. This book is a testimony to our future selves.

5

Pedro Amado is an Assistant Professor at the Faculty of Fine Arts of the University of Porto, Portugal, lecturing Creative Coding, Web Design, and Typography. He is a member of the i2ADS research institute, country delegate of the ATypI—Association Typographique Internationale, and a founding member of the ATIPO and the Typography Meeting international conference.

Yearbook of Type 2019

Essays & Tutorials A Yearbook of Type 2019

willerstorfer.com

White, Black. Gray!

Why Sketching Matters

By Stefan Willerstorfer

Many of us know a situation like this: You prefer one solution over another, but it is not until you have to explain it to someone that you become fully aware of the specific reasons why.

8

Usually this happens to me when I talk to my students. This time it was the invitation to a design conference in Vienna focusing on sketching. When I was pondering a catchy title to my talk, I recalled that the reduction to black and white is something that sets type design apart from other design areas— something that makes type design so challenging. While writing some potential titles (containing black and white) with pencil on paper, it clicked: there it was, written in gray (!) and I knew my talk would focus around that color. And here is why.

White and black are the colors a type designer deals with during the design process—white as the color of the paper, black as the color of the letters. By designing a letter, not only is the black shape defined but the white shape, the letter’s counters and surroundings as well. (And both are equally important to the quality of a typeface.) The letter’s outline defines the border between black and white. This border is a hard one: there is no soft transition; there are no shades of gray. The shape is either black or white. Therefore it is very important where exactly the border is located. But this is a decision that cannot be made at the beginning of the development process.

You cannot already know where precisely the line between black and white should be drawn.

Now the color gray comes into play. Gray helps at the beginning of the development process to define a softer boundary and allows one to postpone the exact definition of the hard border. Sketching a letter is carried out in steps, gradually getting closer to the letter’s shape. Figure 1 explains this process exemplarily. In the first sketch (1) the pencil imitates the broad nib pen and approximately marks out the area the letter is going to occupy. No outline is defined, just an area. Only in the next step (2) the outline is drawn. This is much easier by now—the occupied area serves as a means of orientation for

White, Black. Gray!

the letter’s proportions. The color is then darkened in steps (3 and 4) by further shading. However, the color stays gray and is not turned into black.

Figure 2 (left) shows early sketches of the Acorde family, all drawn as explained above. The advantage of keeping the sketches gray (instead of turning them black) is that the contrast between gray and white is much lower. Letters in a sketch are always far away from being perfect. Due to the gray color, our eyes are less critical and much more forgiving. If the color was black (instead of gray) our eyes would rather focus on the imperfect details of the sketch than on the general appearance of the proposed design. This would not support the design process at this stage (the moment of defining accurate details takes place at a much later time). Sketching different weights and widths helps to find the ideal proportions of the letters.

On the right (of figure 2) early development stages of Acorde’s Italics are shown. The first two lines are not sketched but written with the broad nib pen—writing serves as a starting point for the sketches. They are drawn on thin, transparent paper which is placed on top of the writing. This way the sketching process is supported by the proportions already defined by the broad nib pen. Although the sketches have to formally move away from the calligraphic quality, the spontaneity and dynamics of writing are largely preserved during the further development.

The scans of the sketches then serve as a basis for the definition of the letters’ outlines during the digitization process. The exact definition of the letterforms is a lengthy process that demands a lot of patience and endurance. The advantage of the gray color is not available any more. Now the definition of the exact border between black and white is demanded. A lot of revisions are needed in order to come to the final shapes of the letters. This process can take up a rather large amount of time (up to years). Figure 1 (right) shows the final digital version of the letter a in the Regular A style of the Sindelar family.

9

Figure 1: The four versions of the a on the left represent the various stages of the sketching process. The a on the right is the final digital version of the a in the Regular A style of the Sindelar family.

Yearbook of Type 2019

ianlynam.com

A Futuring: Frugality, Online Dating, and Some Rain

By Ian Lynam

24

Licensing a typeface often begins with having a project in mind for a specific typeface, because it involves a certain amount of financial investment. As a graphic designer, I feel like this is a fairly common perspective.

Designing a typeface often starts with a set of ideas and at the same time questions whether it is worth devoting months of your life to a project before figuring out if graphic designers might use the resultant typeface and make a typeface financially viable and worthwhile. As James Edmondson of Future Fonts and OH no Type Co. puts it, “Type design is essentially 2 % ideas and 98 % labor.”

This is where Future Fonts diverges from traditional models. The foundry’s premise is that they offer type in development to customers, with initial releases being more affordable and later iterative versions costing a bit more, with the accumulating capital and interest pushing the type designers involved to bring their typefaces to a high level of finish.

Because the type designs are so affordable when initially offered, the Future Fonts model encourages customers to “invest now” and figure out an appropriate project later, theoretically anyway … most Future Fonts releases are so aesthetically pleasing that they demand to be used straight away, or at least that is my experience as a licensee of certain Future Font releases.

This is my experience with the foundry: I will license something and some small project will pop up and I will wind up using one of their releases for it—a logo for a political group here, a band logo there, or for a birthday card or a social media post.

The typefaces accumulate value as they develop, as the type designer sets their own price for an update. As a casual investor in the stock market, seeing an investment accrue capital gains totally ticks another box for me— I got in when it was cheap.

A Futuring 25

Seeing type families like Edmondson’s own Obviously emblazoned with a 600.– USD price tag for the entire still-in-progress family incurs another voice in my head: I wish I had gotten on that when it was cheap! The results of the process being both so valuable and so nuanced strikes a number of chords— regret, befuddlement, anticipation, and a heaping tablespoon of envy, if I’m being honest.

Future Fonts launched in Portland, Oregon in 2018, the brainchild of rural Pennsylvania native Travis Kochel and the Illinois-born Lizy Gershenzon, with the aforementioned James Edmondson contributing to the foundry’s branding, social media, community building, and initial curation of type designers represented by Future Fonts. Gershenzon and Kochel run the digital product design studio and type foundry Scribble Tone and designed and built the Future Fonts website from the ground up—from UI / UX through to the development and updates. After meeting in Chicago, the duo ventured to Wellington, New Zealand, and then to their current base in the aptly-nicknamed “Puddletown” (Portland has an average of 154 days of rain every year) and, “Portland really reminded us of a lot of the things we liked about New Zealand,” in their words.

The foundry represents a broad array of designers from all over the world including Elena Schneider, Erik Marinovich, Inga Plönnigs, Ro Hernández, Teo Tuominen, and releases from now-established foundries like OH no and stalwarts such as Kris Sowersby’s Klim Type Foundry. Future Fonts offerings reflect Gershenzon’s desire to offer a mix of display typefaces and solid workhorse typefaces with personality, or in Edmondson’s vernacular, “workhorses with funk.”

What is offered differs wildly from Gershenzon and Kochel’s original idea of building an open source environment for pay-as-you-go type development inspired by aspects of Kickstarter as much as a general affinity for Internet culture.

Yearbook of Type 2019

bberning.com

Enhancing the On-Screen Reading Experience with Variable Fonts

By Bianca Berning

In the book All Art is Propaganda: Critical Essays, George Orwell described the process of writing as follows: “When you think of a concrete object, you think wordlessly, and then, if you want to describe the thing you have been visualizing, you probably hunt about until you find the exact words that seem to fit it.”

32

As designers and developers we have a number of tools at hand to help bring the authors’ ideas and intentions to life, from static images and graphics to videos and animations or GIFs. But a considered typographic concept is what will really invite the reader to immerse themselves in the text.

Think of typography as the anatomy of a piece of written communication: it is concerned with the function, structure, and system of all parts; its appearance (shape, size) and position, materials, and the relationships between those. It brings the pieces together to a functioning whole. Good typography is indispensable in helping the reader enjoy every aspect of the content in front of them.

Static Fonts and the Web Until the digital age, typography had evolved alongside our means of communication, with typographers primarily concerned with creating as good a reading experience as possible. But printed text is inflexible; its typography, materials, and production processes were based on an estimate of the average reader, their age, eye sight, physical attributes, reading habits, and reading abilities.

Variable Fonts To improve the online reading experience, OpenType Font Variations,1 better known as variable fonts, have been introduced in a revision of the OpenType font format specification. The concept behind the technology is that variable fonts can package and deliver all styles of a typeface family much more efficiently than static fonts, the obvious benefits being improved web performance and greater typographic flexibility.

On-Screen Reading with Variable Fonts

Since we started designing for screens, we not only had to consider the reader and their environment but also the medium itself, which has become an unpredictable variable. Unlike designing for print, we can no longer anticipate exactly how our content will be rendered.

Unfortunately, the digital typographic landscape hasn’t appropriately responded to this new challenge. In fact, with few exceptions, web typography is less accommodating than print typography.

There are two reasons why reading on screen is not given the attention it deserves: First: The line between graphic design, UX, web design, and web development is increasingly blurred, with fewer professionals having knowledge of, or a sensibility for, microtypography and the history of letterforms. Without this knowledge, naive decisions are made around readability, legibility, typographic voice, and aesthetics.

Second: Comprehensive typographic hierarchies often demand a number of styles of a typeface family to be used, which contributes negatively to the page load time. Unfortunately, when it comes to choosing between good web performance and sophisticated web typography, the latter has often gotten the short end of the stick. Even the biggest type aficionados among us have to design within these tight confines.

The reality is that, in some cases, online experiences fail to match the typographic sophistication we are used to from printed text. Fortunately, new technologies give us the opportunity to solve these challenges and be more flexible in how we respond to both the reader and their environment, but these resources remain largely untapped currently.

Five fonts each with a single weight of a static font, combined into a single variable font file.

Yearbook of Type 2019

33

Axes A typeface family is defined as a group of typefaces that are connected to each other, usually through common design characteristics. The most common parameters that link typefaces within a family are weight and width; those variables are called axes in variable font technology.

Typefaces

See all typefaces online at yearbookoftype.com, sorted by categories and linked to the foundries’ website.

B

Enter the code: yot2019GO!

Yearbook of Type 2019

St.Gallen St. Gallen St.Gallen St. Gallen St.Gallen St. Gallen St.Gallen St. Gallen St.Gallen St. Gallen St.Gallen St. Gallen St.Gallen St. Gallen NN Allegra

Design: 2019, Jost Hochuli → p. 379

Language support: Latin Extended OpenType features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, Standard Ligatures, Discretionary Ligatures, Small Caps, Capitals to Small Caps, Superscript, Subscript, Ordinals, Contextual Alternates, Contextual Ligatures, Fractions, Numerator, Denominator, Arrows, Stylistic Alternates

NN Allegra

Allegra is a versatile workhorse designed for complex editorial and branding projects, websites, and signage systems. The font family includes seven upright weights with matching Italics (14 in total) and covers a very wide range of European languages. The Regular, Book, and Medium weights are purposefully close to each other in color, and all three are equally suitable for continuous text. This way, the designer can influence the color of the text by choosing from these main three weights.

Trial version available: Yes Web font format available: Yes

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→ P. 358

Foundry: Nouvelle Noire, Switzerland, nouvellenoire.ch → p. 390

NN Allegra Black Italic Yearbook of Type 2019

51

NN Allegra is a typeface of seven weights plus Italics: Light, Light Italic, Regular, Italic, Book, Book Italic, Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic, Black, and Black Italic

8,381 km OC BeIJing LAtvia ROme Antiga

Language support: Latin OpenType features: Standard Ligatures

Antiga

What happens when Roman and Art Nouveau heritage get together?

Antiga. Combining an old style typeface with an elegant, modern touch, Antiga is ideal for magazines and newspaper headlines, or even book covers! With a delightful and versatile amount of ligatures and diacritics, Antiga will give your text a unique personality.

Trial version available: No Web font format available: Yes

Design: 2018, Rafael Serra → p. 384

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→ P. 368

Foundry: FAEL, Portugal, fael.pt → p. 389

Antiga Regular Yearbook of Type 2019

59

Antiga is a typeface of a Regular weight

HALI

Saint-JĂŠrĂ´me

FAX

Canada  IQUA

★ QuĂŠbec

LUIT

Gatineau WINNI

đ&#x;?             Trois-Rivières

PEG

Vancouver Augmento

Language support: Latin Extended OpenType features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Standard Ligatures, Superscript, Subscript, Ordinals, Contextual Alternates, Fractions, Numerator, Denominator, Arrows, Stylistic Alternates, Stylistic Sets, Mark Positioning

Augmento

Augmento™ is a large contemporary font family available in three widths, six weights, 36 styles, 550 + glyphs each, and tons of OpenType features. Tana Kosiyabong meticulously designed this typeface right smack on the sweet spot between formal and casual.

The rounded rectangular structure gives Augmento™ the corporate, trustworthy look, while the quirky stems add the fun, playful feel.

This unique, versatile type family is excellent for various applications such as posters, packaging, editorials, and web design.

Trial version available: Yes Web font format available: Yes

Design: 2018, Tana Kosiyabong → p. 380

Augmento is a family of three widths: Condensed, Normal, and Extended, each in six weights plus Italics: Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Normal Regular, Normal Italic, Normal Medium, Normal Medium Italic, Extended Bold, Extended Bold Italic, Extended Black, and Extended Black Italic

Augmento Condensed Black Yearbook of Type 2019

77

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→ P. 358, 368

Foundry: R9 Type+Design, Canada, r9typedesign.com → p. 391

Swiss Alps

The beauty of glaciers and meadows The Swiss Alps extend over the Eastern Alps and the Western Alps.

They cover 65 % of Swizerland’s landmass and make them one of the most alpine countries.

H

Beausite

Dufourspitze (4,634 m) Weisshorn (4,505 m) Matterhorn (4,478 m)

Language support: Latin OpenType features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Standard Ligatures, All Caps, Superscript, Subscript, Ordinals, Fractions, Numerator, Denominator, Stylistic Alternates, Stylistic Sets, Optical Size

Beausite

Beausite is a typeface system that applies contrast onto a neogrotesque skeleton. Beausite Classic revisits the neo-grotesque archetype with a contemporary design and 19 stylistic sets pushing the concept to its extreme.

Beausite Fit offers a stylish look in text, thanks to a contrast level that remains readable in small sizes. Beausite Slick works well for intermediary sizes. Beausite Grand is the starting point of the family intended for headlines.

Trial version available: Yes Web font format available: Yes

Design: 2018, Yassin Baggar → p. 376

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→ P. 359

Foundry: Fatype, Switzerland, fatype.com → p. 389

Beausite Grand Black Yearbook of Type 2019

85

Beausite is a family of four styles: Classic, Fit, Grand, and Slick. Classic in ten weights plus Italics: Ultra Light, Ultra Light Italic, Thin, Thin Italic, Light, Light Italic, Clear, Clear Italic, Regular, Italic, Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic, Black, Black Italic, Ultra Black, Ultra Black Italic. Fit, Grand, and Slick in six weights plus Italics: Fit Thin, Fit Thin Italic, Fit Light, Fit Light Italic, Grand Regular, Grand Italic, Grand Medium, Grand Medium Italic, Slick Bold, Slick Bold Italic, Slick Black, and Slick Black Italic

Hamburg ◣ ◗➍❝▮● Stuttgart №5✗↑ L übeck ♡☺←Ê52 Blow

Language support: Latin Extended OpenType features: Tabular Lining, Proportional Lining, All Caps, Superscript, Subscript, Ordinals, Contextual Alternates, Fractions, Numerator, Denominator, Ornaments, Arrows, Stylistic Alternates, Stylistic Sets, Slashed Zero, Randomize

Blow

Blow is a dynamic sans serif in five weights. Rooted in medieval style and bonded with modern grotesque typefaces, Blow shifts between smooth curves and firm forms. Each alphabet and figure offers numerous alternates in three steps, taking the concept a bit further every time. All alternates are accessible via a contextual randomize feature or OpenType Stylistic Sets. Tabular support, Ordinals, Slashed Zeros, and All Caps Alternates ensure that Blow will work in various fields.

Trial version available: Yes Web font format available: Yes

Design: 2019, Yanik Hauschild → p. 379, Gabriel Richter → p. 383

Blow is a typeface of five weights: Thin, Light, Regular, Medium, and Bold

Blow Bold Yearbook of Type 2019

91

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→ P. 359, 368

Foundry: übertype, Germany, ubertype.de → p. 392

45° 49' .57" N, 6 ° 51' .52" O 36 ° 27' .21" S, 148 ° 15' .49" O Mont Blanc

Mount Kosciuszko

Cardillac

Design: 2018, Dieter Hofrichter → p. 379 Foundry: Hoftype, Germany, hoftype.com → p. 389

Language support: Latin Extended OpenType features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, Standard Ligatures, Discretionary Ligatures, Historical Ligatures, All Caps, Small Caps, Capitals to Small Caps, Superscript, Subscript, Ordinals, Contextual Alternates, Fractions, Numerator, Denominator, Arrows, Stylistic Alternates, Stylistic Sets, Historical Forms

Cardillac

Cardillac, named after E. T. A. Hoffmann’s literary figure, refers back to classical Didonesque, yet presents unique details which set it apart from historic models by adding a new flavor. Its clarity, noble appearance, and cool elegance predestine it for magazines and newspapers.

Trial version available: Yes

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→ P. 365

Web font format available: Yes

Cardillac Black Italic Yearbook of Type 2019

105

Cardillac is a typeface of seven weights plus Italics: Extra Light, Extra Light Italic, Light, Light Italic, Regular, Italic, Medium, Medium Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Black, and Black Italic

BUSH WICK

Brooklyn

NYC 11221 / 11206 11237/ 11207 Dekalb

Language support: Latin OpenType features: Standard Ligatures

Dekalb

Dekalb was conceived in 2013, after a day of photographing signage, murals, and graffiti around Dekalb and Wyckoff Avenues in Bushwick, Brooklyn. The initial sketches of the letterforms were made into a single Ultra weight font that Pablo A. Medina used as the primary display typeface while designing Sneaker News Magazine.

He later expanded Dekalb into an eight-style family, complete with shaded styles, mimicking sign painting motifs commonly seen in the neighborhood.

Trial version available: No Web font format available: Yes

Design: 2017, Pablo A. Medina → p. 381

Dekalb is a family of two styles: Normal and Shade, each in three weights: Normal Light, Normal Regular, and Shade Ultra. Light and Regular plus Obliques

Dekalb Shade Ultra Yearbook of Type 2019

127

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→ P. 360, 369

Foundry: Design is Culture, United States of America, designisculture.com → p. 388

URW DIN Arabic

↑ Hotel ↑Hotel ↑Hotel ‫↑فندق↑ فندق↑ فندق‬

→ Airport →Airport →Airport ‫→مطار → مطار → مطار‬

↗Metro

↗Metro ↗Metro ‫↗المترو↗المترو↗المترو‬

Language support: Latin, Arabic OpenType features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, Standard Ligatures, Discretionary Ligatures, Small Caps, Capitals to Small Caps, Superscript, Ordinals, Fractions, Localized Forms, Required Ligatures, Terminal Form, Initial Form, Isolated Form, Medial Form

URW DIN Arabic

The digital outline fonts, DIN 1451 Fette Engschrift and Fette Mittelschrift were created by URW in 1984 and are the basis for all DIN font families. They have since become so popular that we have developed a complete Arabic DIN family, together with Boutros Fonts. The Arabic characters have been designed to harmonize with the Latin URW DIN and come in 24 individual styles, which consist of eight weights from Thin to Black and three different widths: Regular, Semi Condensed, and Condensed.

Trial version available: No Web font format available: Yes

Design: 2018, Arlette Boutros (Boutros Fonts) → p. 376

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→ P. 360

Foundry: URW Type Foundry, Germany, urwtype.com → p. 392

‫أ أ ب ببب ت تتت ث ثثث ج ججج ح ححح خ خخخ د د ذ ذ رر زز‬

‫س سسس ش ششش ص صصص ض ضضض ط ططط ظ ظظظ ع ععع‬

‫غ غغغ ف ففف ق ققق ك ككك ل للل م ممم ن ننن ه ههه وو ي ييي ال الال‬

URW DIN Arabic Condensed Bold Yearbook of Type 2019

129

URW DIN Arabic is a family of three widths: Condensed, Semi Condensed, and Normal, each in eight weights: Condensed Thin, Condensed Extra Light, Condensed Light, Semi Condensed Regular, Semi Condensed Medium, Normal Demi, Normal Bold, and Normal Black

It can be seen from outer space

↘ ≈ ↙ The Great Barrier Reef

* * ↗ ≈ ↖ It has an area of 348,700 km2

Faktum

Language support: Latin Extended OpenType features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, Standard Ligatures, Discretionary Ligatures, Superscript, Subscript, Ordinals, Contextual Alternates, Fractions, Numerator, Denominator, Arrows, Slashed Zero, Localized Forms

Faktum

Faktum is an exploration into the geometric Sans genre, inspired by mid-century modern architecture and interior design. Especially the combination of clear lines, organic curves, and geometric shapes, highly popular among designers and architects of the second third of the 20th century, gave the impetus for a design with clear modernist roots and a strong contemporary finish. The family comes in 16 weights including Italics; featuring a wide range of alternate characters and OpenType features.

Trial version available: Yes Web font format available: Yes

Design: 2018, René Bieder → p. 376

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→ P. 360

Foundry: Studio René Bieder, Germany, renebieder.com → p. 391

Faktum Extra Bold Italic Yearbook of Type 2019

155

Faktum is a typeface of eight weights plus Italics: Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Italic, Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic, Extra Bold, and Extra Bold Italic

DUBAI doo-BAY � capital of United Arab Emirates

Halunke

Design: 2019, Elena Schneider → p. 383

Language support: Latin Extended OpenType features: – Trial version available: No

Halunke

What looks like the aura of your migraine actually started out while experimenting with geometric Arabic pattern designs. Halunke is an expressive display typeface with two styles but no curves.

Web font format available: Yes

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→ P. 369

Foundry: FutureFonts, United States of America, futurefonts.xyz → p. 389

Halunke Italic Yearbook of Type 2019

181

Halunke is a typeface of a Regular weight plus Italic

Sandoll Jeongche 630, 630i

OpenType features: Standard Ligatures, Superscript, Subscript, Swashes, Fractions, Numerator, Denominator, Ornaments, Stylistic Alternates, Stylistic Sets, Localized Forms, Arrows Trial version available: No Web font format available: No

Design: 2019, Chorong Kim → p. 380, Soohyun Park → p. 382, Wujin Sim → p. 384, Mieon Song → p. 384 Foundry: Sandoll, Inc., South Korea, sandoll.co.kr → p. 391

abcdefghijklmnopqrstuvwxyzfiæåçéñöûß ABCDEFGHIJKLMNOPQRSTUVWXYZÆÇØ 1234567890@.,!?’)]§*“”»«/–½©€$£¥&→☞

Sandoll Jeongche 630, 630i

Language support: Latin Extended, Cyrillic, Greek, Korean

→ P. 361, 365

The structure of Jeongche 630 is extracted from Korean traditional pen writing, while the styles of the strokes are inspired by East Asian traditional chirography.

Jeongche 630 is aimed to be used for poems and traditional epics, so the detailed adjustment was made based on such usability. 630 is mostly used where classical expression is required, such as museums, exhibitions, historical books, modern classic novels, and traditional fairy tales.

Sandoll Jeongche 630i Yearbook of Type 2019

195

Sandoll Jeongche 630, 630i is a typeface of a Regular 630 weight plus Italic 630i

BURKINA ↓↓↓FASO↓↓↓

Unité, Progrès, Justice Shopping in Burkina Faso:

1#Le Salon International de l’Artisanat de Ouagadougou 2#Nènèkaflè 3#Gafreh 4#Marche aux Bestiaux

569CFA +226 Ouagdougou Kommune

Language support: Latin Extended OpenType features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, All Caps Trial version available: Yes

Kommune

Kommune is a display typeface inspired by the vernacular shopand promotion letterings of Burkina Faso. Originally designed as a stencil typeface for the solo show and accompanying catalog of Burkina Faso born Architect Francis Kéré (famous for his Laongo Opera Village and communal school buildings) at the Pinakothek der Moderne in Munich, it is now also available in a new version as a normal typeface.

Web font format available: Yes

Design: 2019, Verena Gerlach → p. 378

Kommune is a family of two styles: Normal and Stencil, each in two Heights: Normal and Small, each in two widths: Normal and Wide, each in four weights: Normal Thin, Normal Small Regular, Stencil Bold, and Stencil sMALL Black

kOMMUNE Stencil thin Small Yearbook of Type 2019

203

abcdefghijklmnopqrstuvwxyzfiæåçéñöûß 1234567890@.,!?’)]§*“”»«/–©€$£¥&→�

→ P. 361, 369, 374

Foundry: Laïc: Type Foundry, Poland, laic.pl → p. 389

ZZZZZ

The Isle of Skye ‹ Skíð ›@‹ Skíð › ‹ Skíð ›Ω‹ Skíð ›

GAELIC 57'307 °/ 6'230 ° Luke

Language support: Latin Extended

Design: 2019, Hidetaka Yamasaki → p. 386

Trial version available: Yes

abcdefghijklmnopqrstuvwxyzfiæåçéñöûß ABCDEFGHIJKLMNOPQRSTUVWXYZÆÇØ 1234567890@.,!?’)]§*“”»«/–½©€$£¥&∞

Luke is a typeface of three weights: Thin, Medium, and Thick, each with four inline fillings: Thin 100, Medium 200, Medium 300, and Thick 400

Luke Thin 300 Yearbook of Type 2019

→ P. 369, 374

Web font format available: Yes

213

Foundry: The Northern Block, United Kingdom, thenorthernblock.co.uk → p. 391

OpenType features: Standard Ligatures, Discretionary Ligatures, Superscript, Ordinals, All Alternates, Fractions, Numerator, Denominator, Stylistic Alternates, Stylistic Sets, Mark Positioning, Font Variations, Capital Spacing, Contextual Alternates, Scientific Inferiors

Luke

Luke is a contemporary adaptation of historic English Blackletter. This modern and versatile type family offers a wide range of styles—from Thin to Thick contours, and with half-filling to complete—allowing it to work best for both text and display purposes. Details include twelve styles and 641 glyphs. Luke supports 37 languages, covering South, East, and Western Europe.

㊎ Michikusa

Language support: Latin, Japanese

Design: 2017, Morisawa Inc. → p. 382

Web font format available: No

OpenType features: Standard Ligatures, Discretionary Ligatures, Stylistic Alternates, Slashed Zero, Continuous and Flowing Lines, Arrows, Ornaments

Michikusa

As contemporary Mincho style, Michikusa consists of tight skeleton and soft elements. A wide variety of alternative glyphs represent beautiful continuous brush strokes. With unique OpenType features, you can call flowing lines that harmonize with the context in vertical typesetting.

Trial version available: No

abcdefghijklmnopqrstuvwxyzfiæåçéñöûß ABCDEFGHIJKLMNOPQRSTUVWXYZÆÇØ 12345678900@.,!?’)]§*“”»«/–½©€$£¥&⇨♤

→ P. 366

Foundry: Morisawa Inc., Japan, en.morisawa.co.jp → p. 390

あいうえおがぎぐげごタチツテトヤユヨ 安以宇愛三大花鳥風月考書体光開駅輪導鷹 12345678900@.,!?’)]§*“”»«/–½©€$£¥&☞〄

Michikusa Regular Yearbook of Type 2019

225

Michikusa is a typeface of a Regular weight

Alphabet City Battery Park City Чайнатаун East Village Financial District Greenwich Village Гарлем Lower East Side Manhattan Valley NoHo Peter Cooper Village Randall’s Island Μπρούκλιν Stuyvesant Town ‫جزيرة ستاتن‬ Upper East Side Waterside Plaza Yorkville Noir No1

Design: 2019, Jonas Hecksher → p. 379 Foundry: Playtype, Denmark, playtype.com → p. 390

OpenType features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, Standard Ligatures, Discretionary Ligatures, Small Caps, Capitals to Small Caps, Superscript, Subscript, Ordinals, Titling Alternates, Contextual Alternates, Fractions, Numerator, Denominator, Arrows, Stylistic Alternates, Stylistic Sets, Slashed Zero, Localized Forms, Required Ligatures, Terminal Form, Initial Form, Medial Form

Noir No1

Language support: Latin Extended, Cyrillic, Greek, Arabic

Trial version available: Yes Web font format available: Yes

abcdefghijklmnopqrstuvwxyzfiæåçéñöûß ABCDEFGHIJKLMNOPQRSTUVWXYZÆÇØ 12345678900@.,!?’)]§*“”»«/–½©€$£¥&→❤

→ P. 362

Noir No1 is a modern geometric with edgy elegance. Its relation to Noir Text from 2005 is clearly visible in the geometric shapes of the letters and the classic approach to the style that links back to Futura. With Noir No1 the design has been tightened. This refinement has increased legibility in small sizes and longer text parts. Furthermore, the language support has been extended and the design has been translated into Arabic type expression that follows the geometric essence.

‫أ أ ب ببب ت تتت ث ثثث ج ججج ح ححح خ خخخ د د ذ ذ رر زز‬ ‫س سسس ش ششش ص صصص ض ضضض ط ططط ظ ظظظ ع ععع‬ ‫غ غغغ ف ففف ق ققق ك ككك ل للل م ممم ن ننن ه ههه وو ي ييي ال الال‬

Noir No1 Black Italic Yearbook of Type 2019

247

Noir No1 is a typeface of nine weights plus Italics: Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Italic, Medium, Medium Italic, Demi Bold, Demi Bold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Black, and Black Italic

pacific surfliner h

c

San Diego—San Luis Obispo

c

��� � � c

�

c

U.S.Highway 101

Santa Barbara—Los Angeles—San Francisco Santa Barbara

Language support: Latin Extended OpenType features: Standard Ligatures, All Caps, Small Caps, Swashes, Contextual Alternates, Ornaments, Arrows, Required Ligatures, Font Variations Trial version available: Yes Web font format available: Yes

Santa Barbara

Santa Barbara is the new high octane typeface, for lovers of sign painting and pinstriping. Beside the mixed regular and caps figures, this font contains a wild bunch of extra styles, such as “dry brush” and “shade.” All weights roll with alternative swash letters, for a more crafted impression. Pinstripes, catchwords and a few weirdos perfect this red-hot old school font in a single shot.

Design: 2019, Stefan Krömer → p. 381, Gunnar Link → p. 381

Santa Barbara is a family of six styles: Caps, Catchwords, Pinstripes, Skript, Sans, and Weirdos. Caps in four weights: Regular, DryBrush, Shade, and Shade Solo.

Sans in two weights: Caps and Shade. Skript in five weights: Regular, Dry Brush, Shade, Shade Solo I, and Shade Solo II

Santa Barbara Sans Shade Yearbook of Type 2019

313

abcdefghijklmnopqrstuvwxyzfiæåçéñöû ABCDEFGHIJKLMNOPQRSTUVWXYZÆ ÇØ 1234567890@.,!?’)]§*“”»«/–½©€$£¥&u

→ P. 363, 371, 373

Foundry: Typonauten, Germany, typonauten.de → p. 392

® Großglockner → [Wildspitze] ∆ Weißkugel 3,739 Großvenediger? ¾ HINTERE SCHWÄRZE ↗ 3,599 Simil@un Hohe Geige 21 % № 5 Rainerhorn , 3 507»Zuckerhütl« TURNERKAMP † strokeWeight

Language support: Latin Extended

Design: 2019, Schultzschultz → p. 384

Web font format available: Yes

OpenType features: Proportional Lining, Standard Ligatures, All Caps, Superscript, Subscript, Ordinals, Fractions, Numerator, Denominator, Arrows, Stylistic Alternates, Stylistic Sets, Mark Positioning

strokeWeight

strokeWeight is inspired by the aesthetics of computer vector graphics. strokeWeight is the name of a processing programming function to set the thickness of a stroke. The single Bézier curve that describes a stem as a centerline with a particular stem thickness represents the basic idea of this typeface. The unconventional corners and stem endings derive from the concept.

Trial version available: Yes

abcdefghijklmnopqrstuvwxyzfiæåçéñöûß ABCDEFGHIJKLMNOPQRSTUVWXYZÆÇØ 1234567890@.,!?’)]§*“”»«/–½©€$£¥&→

→ P. 363

Foundry: Schriftlabor, Austria, schriftlabor.at → p. 391

strokeWeight 20 rotate -12 Yearbook of Type 2019

327

strokeWeight is a typeface of four weights: 20, 40, 60, and 80, each in five rotations: rotate -12, rotate -6, Normal, rotate 6, and rotate 12

Beirut ‫بريوت‬

Achrafieh ‫األرشفية‬ Dar Mreisse ‫عني املريسة‬

Medawar ‫املد ّور‬ Bachoura ‫الباشورة‬ Minet El Hosn ‫ميناء الحصن‬

Moussaitbeh ‫املصيطبة‬

‫اجلمهورية اللبنانية‬

Capital of Lebanon 29LT Zarid Super Family

Design: 2019, Khajag Apelian → p. 376, Ramiro Espinoza → p. 378, Jan Fromm → p. 378, Pascal Zoghbi → p. 386

Language support: Latin, Arabic OpenType features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, Standard Ligatures, Discretionary Ligatures, Superscript, Subscript, Ordinals, Fractions, Stylistic Sets, Localized Forms, Required Ligatures, Mark Positioning, Terminal Form, Initial Form, Isolated Form, Medial Form Trial version available: Yes Web font format available: Yes

29LT Zarid Super Family

Each type style present in 29LT Zarid Super Family has a unique functionality and a defining characteristic, whilst sharing the same essential skeleton. The super family offers a vast amount of weights and styles that strongly exist individually but combine perfectly when jointly typeset. It offers a great typographic solution for graphic designers working on projects with a complex hierarchical requirement and removes the hassle of combining different fonts from different typefaces.

29LT Zarid Super Family is a family of five styles: Sans, Slab, Serif, Text, and Display. Sans, Slab, and Serif in eight weights plus Slanteds: Sans Thin, Sans Thin Slanted, Sans Extra Light, Sans Extra Light Slanted, Sans Light, Sans Light Slanted, Slab Regular, Slab Slanted, Slab Medium, Slab Medium Slanted, Serif Semi Bold, Serif Semi Bold Slanted, Serif Bold, Serif Bold Slanted, Serif Black, and Serif Black Slanted. Text in four weights plus Slanteds: Light, Light Slanted, Regular, Slanted, Medium, Medium Slanted, Bold, and Bold Slanted. Display in four weights: Light, Regular, Medium, and Bold

29LT Zarid Serif Black Yearbook of Type 2019

355

abcdefghijklmnopqrstuvwxyzfiæåçéñöûß ABCDEFGHIJKLMNOPQRSTUVWXYZÆÇØ 1234567890@.,!?’)]§*“”»«/–½©€$£¥&

→ P. 364, 367, 368, 372

Foundry: 29Letters, Lebanon, 29lt.com → p. 388

C

Enter the code: yot2019GO!

Index Typefaces

See all typefaces online at yearbookoftype.com, sorted by categories and linked to the foundries’ website.

Yearbook of Type 2019

Sans Serif

Adelle Sans Devanagari & Arabic → p. 44 / 45

Aalto Sans → p. 40 / 41

Acme Gothic → p. 42 / 43

R13&gKdsH

R13&gKdsH

NN Alena → p. 48 / 49

NN Allegra → p. 50 / 51

Allgemein Grotesk → p. 52 / 53

R13&gKdsH

R13&gKdsH

R13&gKdsH

Allium → p. 54 / 55

Antipol → p. 60 / 61

BVH Anto → p. 62 / 63

R13&gKdsH

R13&gKdsH

R13&gKdsH

Arlette & Arlette Thai → p. 64 / 65

Artifex Hand CF → p. 68 / 69

Astro → p. 72 / 73

R13&gKdsH

R13&gKdsH

R13&gKdsH

Augmento → p. 76 / 77

Beatrice → p. 80 / 81

Beatrice Display → p. 82 / 83

R13&gKdsH

R13&gKdsH

R13&gKdsH

Aa Aa अ

Aa Aa Aa

Aa Aa Aa

358

Aa Aa Aa

Aa Aa Aa

yearbookoftype.com, code: ybt2019GO!

Bitum → p. 86 / 87

Blimone → p. 88 / 89

R13&gKdsH

R13&gKdsH

R13&gKdsH

Blow → p. 90 / 91

BLS → p. 92 / 93

Brinnan → p. 96 / 97

R13&gKdsH

R13&gKdsH

R13&gKdsH

Aa Aa Aa

Sans Serif

Beausite → p. 84 / 85

Aa Aa Aa

Aa Aa Aa Brucker → p. 98 / 99

Burt → p. 100 / 101

Cast → p. 106 / 107

R13&gKdsH

R13&gKdsH

R13&gKdsH

Cerebri Sans Pro → p. 110 / 111

Fzn Comic New Arial → p. 114 / 115

Aa

R13&gKdsH

R13&gKdsH

R13&gKdsH

Conductor → p. 116 / 117

Coordinates → p. 118 / 119

Corsa Grotesk → p. 120 / 121

R13&gKdH

R13&gKdsH

R13&gKdsH

Aa Aa Aa Yearbook of Type 2019

359

Aa Aa Centra No.1 → p. 108 / 109

Display

Aa Aa Aa PF Marlet → p. 218 / 219

Maruder → p. 220 / 221

Massimo Grafia → p. 222 / 223

R13&gKdsH

R13&gKdsH

R13&gKdsH

Aa Aa BD MicronFont → p. 226 / 227

Modny → p. 230 / 231

Neubau Pro → p. 238 / 239

RgKdsH

R13&gKdsH

R13&gKdsH

Night → p. 242 / 243

Nomada Type Collection → p. 248 / 249

Pasto → p. 264 / 265

R13&gKdsH

R13&gKdsH

R13&gKdsH

Pieches → p. 266 / 267

Plaax → p. 268 / 269

Plaquette → p. 272 / 273

R13&gKdsH

R13&gKdsH

R13&gKdsH

Poblet → p. 274 / 275

Polygon X → p. 276 / 277

Preissig Calligraphic → p. 278 / 279

R13&gKdsH

R13&gKdsH

R13&gKdsH

Aa

Aa Aa Aa

370

Aa Aa

A

Aa Aa Aa

yearbookoftype.com, code: ybt2019GO!

Recoleta → p. 286 / 287

Rockbox → p. 294 / 295

R13gKdsH

R13&gKdsH

R13&gKdsH

Samzara → p. 310 / 311

Santa Barbara → p. 312 / 313

Schijn → p. 314 / 315

R13&gKdsH

R13&gKdsH

R13&gKdsH

Scope → p. 316 / 317

Segno → p. 318 / 319

Staff → p. 322 / 323

R13&gKdsH

R13&gKdsH

R13&gKdsH

Temeraire → p. 328 / 329

Texel → p. 330 / 331

LUCRA Textura → p. 332 / 333

R13&gKdsH

R13&gKdsH

R13gKdsH

Aa Aa Aa

Display

Raspail → p. 284 / 285

Aa Aa Aa

Aa Aa Aa

Aa A Utile Display → p. 340 / 341

VJ18VF → p. 346 / 347

R13&gKdsH

R13&gKdsH

Yearbook of Type 2019

A

Aa ZAP → p. 352 / 353

R13&gKdsH

371

Aa Aa

Stencil / Blackletter

Evanston Tavern → p. 148 / 149

Kommune → p. 202 / 203

Polygon X → p. 276 / 277

R13&gKdsH

R13&gKdsH

R13&gKdsH

Aa

A Aa

Texel → p. 330 / 331

Aa R13&gKdsH

Blackletter Luke → p. 212 / 213

LUCRA Textura → p. 332 / 333

R13&gKdsH

R13gKdsH

374

Aa A

yearbookoftype.com, code: ybt2019GO!

Index Designers D Yearbook of Type 2019

Index Designers

Abreu, Rui r-typography.com Gliko Modern → p. 168 / 169 Staff → p. 322 / 323

Alameddine, Azza type-together.com Adelle Sans Devanagari & Arabic → p. 44 / 45

Amado, Pedro pedamado. wordpress.com VJ18VF → p. 346 / 347

Anggara, Deni degarism.com Blimone → p. 88 / 89

Baggar, Yassin fatype.com Beausite → p. 84 / 85

Baldinger, André baldingervuhuu.com BVH Anto → p. 62 / 63 BVH Eddi → p. 140 / 141

Balius, Andreu typerepublic.com Poblet → p. 274 / 275

Bastide, Raphaël raphaelbastide.com Avara → p. 78 / 79

Belova, Mirela Mont → p. 232 / 233

376

Apelian, Khajag debakir.com 29LT Zarid Super Family → p. 354 / 355

Bagdasaryan, Gayaneh brownfox.org Bitum → p. 86 / 87

Bent, Simon studio-io.com Texel → p. 330 / 331

Bieder, René renebieder.com Faktum → p. 154 / 155 Magnat → p. 214 / 215

Bouchouchi, Walid akakir.com Avara → p. 78 / 79

Boutros, Arlette boutrosfonts.co URW DIN Arabic → p. 128 / 129

Bouville, Thomas 205.tf Kelvin → p. 200 / 201

Brenner, Armin new-letters.de Rois → p. 296 / 297

Bruce, Juan type-together.com Noort → p. 250 / 251

Campbell, Derek blkbk.ink Extra Mile → p. 150 / 151 Golden Plains → p. 170 / 171 Retro Grade → p. 290 / 291

Cano, Pilar type-together.com Arlette & Arlette Thai → p. 64 / 65

Cisterna, Jorge latinotype.com Recoleta → p. 286 / 287

De Franceschi, Riccardo Valnera → p. 344 / 345

Clarke, Fiona bonezdesignz.com Night → p. 242 / 243

Delobel, Sébastien ateliertelescopique. com Af Unida → p. 338 / 339

Collin, Juliette 205.tf Salmanazar → p. 306 / 307

Correia, Joana novatypefoundry.com Artigo Display → p. 70 / 71 Laca → p. 206 / 207

Chang, Jamie thenorthernblock.co.uk Moret → p. 234 / 235 Cortat, Matthieu 205.tf Yorick → p. 348 / 349 Charvát, Jan jancharvat.cz Burt → p. 100 / 101

Descroix, Lucas lucasdescroix.fr Grandmaster → p. 172 / 173

Dietzel, Livius litcreate.com Graphit → p. 174 / 175

Dornhecker, Fabian laboldevita.com Samzara → p. 310 / 311

Einwaller, David Morion → p. 236 / 237

377

Davenport, Connor sharptype.co Garnett → p. 164 / 165

Index Designers

Burian, Veronika type-together.com Adelle Sans Devanagari & Arabic → p. 44 / 45 Protipo → p. 280 / 281

Yearbook of Type 2019

Index Designers

Wongsunkakon, Anuthin cadsondemak.com Thonglor → p. 334 / 335

Yamasaki, Hidetaka thenorthernblock.co.uk Luke → p. 212 / 213

Zhukov, Maxim Omnes → p. 260 / 261

Zichittella, Kara zeitype.com Rockbox → p. 294 / 295

386

Zoghbi, Pascal 29lt.com 29LT Zarid Super Family → p. 354 / 355

Index Foundries E Yearbook of Type 2019

Index Foundries

205TF France 205.tf Andersen → p. 56 / 57 Kelvin → p. 200 / 201 Plaax → p. 268 / 269 Salmanazar → p. 306 / 307 Yorick → p. 348 / 349 29Letters Lebanon 29lt.com 29LT Zarid Super Family → p. 354 / 355 AinsiFont France ainsifont.com Af Unida → p. 338 / 339 Antipixel Argentina antipixel.com.ar Pasto → p. 264 / 265 Binnenland Switzerland binnenland.ch Formale Grotesque → p. 160 / 161 BLKBK Inc. Canada blkbk.ink Extra Mile → p. 150 / 151 Golden Plains → p. 170 / 171 Retro Grade → p. 290 / 291

388

Bonez Designz United Kingdom bonezdesignz.com Night → p. 242 / 243

Brownfox Russia, Kazakhstan, Germany brownfox.org Bitum → p. 86 / 87 Bureau Sebastian Moock Germany genzschantiqua.de Genzsch Antiqua → p. 166 / 167 BVH Type France bvhtype.com BVH Anto → p. 62 / 63 BVH Eddi → p. 140 / 141 Cadson Demak Thailand cadsondemak.com BLS → p. 92 / 93 Thonglor → p. 334 / 335 Calligrafiction Germany calligrafiction.de DIN Neue Roman → p. 130 / 131 CAST Foundry Italy c-a-s-t.com Valnera → p. 344 / 345 character type foundry Germany charactertype.com NewsSans → p. 240 / 241

Connary Fagen, Inc. United States of America connary.com Artifex CF → p. 66 / 67 Artifex Hand CF → p. 68 / 69 Criteria CF → p. 122 / 123 Darden Studio United States of America dardenstudio.com Omnes → p. 260 / 261 Degarism Studio Indonesia degarism.com Blimone → p. 88 / 89 Design is Culture United States of America designisculture.com Dekalb → p. 126 / 127 Detail Type Foundry Japan detail.tf Astro → p. 72 / 73 Dezcom United States of America dezcom.com Dez Now Sans → p. 152 / 153 Dominique Kerber Switzerland schriftgestaltung.ch @domikerber Cast → p. 106 / 107 FaceType Austria facetype.org Plaquette → p. 272 / 273

FutureFonts United States of America futurefonts.xyz Halunke → p. 180 / 181

Jonas Pelzer Germany jonaspelzer.com Scope → p. 316 / 317

Fatype Switzerland fatype.com Beausite → p. 84 / 85 UCity → p. 336 / 337

Hanken Design Co. Philippines hanken.co Cerebri Sans Pro → p. 110 / 111

Fazan Fonts Croatia fazanfonts. nakonjusmo.net Fzn Comic New Arial → p. 114 / 115

Hoftype Berlin hoftype.com Cardillac → p. 104 / 105 Shandon Slab → p. 320 / 321

Kimmy Design United States of America kimmydesign.com Evanston Alehouse → p. 146 / 147 Evanston Tavern → p. 148 / 149

FBAUP Portugal fba.up.pt VJ18VF → p. 346 / 347

Hurme Design Finland hurmedesign.com Hurme FIN → p. 188 / 189

Fontador Germany fontador.de Quador → p. 282 / 283

HvD Fonts Germany hvdfonts.com Graphit → p. 174 / 175

Fontfabric Bulgaria fontfabric.com Mont → p. 232 / 233

JAM Type United Arab Emirates jamtype.com Koya Sans → p. 204 / 205 Ludema → p. 210 / 211 Jan Fromm Germany janfromm.de Capito → p. 102 / 103

FSdesign Switzerland segno.ch Segno → p. 318 / 319

Jeremy Tankard Typography United Kingdom typography.net Brucker → p. 98 / 99 Hawkland → p. 184 / 185

Yearbook of Type 2019

Kontour United States of America kontour.com Utile Display → p. 340 / 341 La Bolde Vita Germany laboldevita.com Samzara → p. 310 / 311 Laïc: Type Foundry Poland laic.pl Kommune → p. 202 / 203 Maruder → p. 220 / 221 Latinotype Chile latinotype.com Breton → p. 94 / 95 Recoleta → p. 286 / 287 Utily Sans → p. 342 / 343 Latinotype México Mexico latinotype.com Gabriela → p. 162 / 163

389

Frere-Jones Type United States of America frerejones.com Conductor → p. 116 / 117 Empirica → p. 142 / 143 Mallory → p. 216 / 217

Index Foundries

FAEL Portugal fael.pt Antiga → p. 58 / 59

Index Foundries

Typedifferent Switzerland typedifferent.com BD MicronFont → p. 226 / 227 TypeMates Germany typemates.com Halvar → p. 182 / 183 Mikkel → p. 228 / 229 Typerepublic Spain typerepublic.com Poblet → p. 274 / 275 TypeTogether Czech Republic type-together.com Adelle Sans Devanagari & Arabic → p. 44 / 45 Arlette & Arlette Thai → p. 64 / 65 LFT Etica Mono → p. 144 / 145 Noort → p. 250 / 251 Protipo → p. 280 / 281 Temeraire → p. 328 / 329 typic Austria typic.at ZAP → p. 352 / 353

392

Typogama Switzerland typogama.com Brinnan → p. 96 / 97 Typonauten Germany typonauten.de Santa Barbara → p. 312 / 313

übertype Germany ubertype.de Blow → p. 90 / 91 Massimo Grafia → p. 222 / 223 URW Type Foundry Germany urwtype.com URW DIN Arabic → p. 128 / 129 URW Dock → p. 134 / 135 Olivine → p. 258 / 259 Velvetyne Type Foundry France velvetyne.fr Avara → p. 78 / 79 Wiescher-Design Germany wiescher-design.de Polygon X → p. 276 / 277

Yearbook of Type 2019

F

Index OpenType Features

Imprint

Yearbook of Type 2019 Publisher Slanted Publishers, slanted.de Creative Direction Lars Harmsen Art Direction Julia Kahl Graphic Design and Managing Editor Clara Weinreich Graphic Design Assistantce Laura Gäbert Proofreading and Translation Isabella Krüger, Lies Wolf Microsite Kolja Buscher, koljabuscher.de Fonts Suisse Neue + Suisse Int’l, Swiss Typefaces, swisstypefaces.com Printing & Book Binding Kösel GmbH & Co. KG, koeselbuch.de Cover Material PEYDUR neuleinen 135 g / sm peyer graphic gmbh, peyergraphic.ch Paper Inside: Holmen TRND 2.0, 80 g / sm, holmenpaper.com Endpaper: SURBALIN seda 115 g / sm, tiefschwarz, peyer graphic gmbh, peyergraphic.ch Spot Colors HKS Warenzeichenverband e. V. Stuttgart / Germany, hks-farben.de HKS 13 N, HKS 33 N, HKS 43 N, HKS 54 N, HKS 97 N

© 2019, Slanted Publishers, Karlsruhe, slanted.de, as well as the authors ISBN: 978-3-948440-01-5 Slanted Publishers was founded in 2014 by Lars Harmsen and Julia Kahl. They edit and pub­lish the award-winning blog and print magazine Slanted, giving an inside view into the interna­tional design and creative scenes.

In addition to the blog and magazine, Slanted initiates and creates design-related projects and publications.

With Thanks to Christian Absalon, Pedro Amado, Massimiliano Audretsch, Bianca Berning, Diana Girrbach, Ian Lynam, Sofia Orfanidou, Matthias Riedl, Lilo Schäfer, Rainer Erich Scheichelbauer, Klaus Schneider, Hans-Georg Trentz, Mark van Wageningen, Amber Weaver, Stefan Willerstorfer, Anuthin Wongsunkakon, and Benjamin Wurster.

With Special Thanks to our Sponsors Glyphs, glyphsapp.com University of Arts and Design Karlsruhe (HfG), hfg-karlsruhe.de Specimen Fact Sources: Wikipedia, wikipedia.org Opengeography, opengeography.org We do not take any responsibility for the substance of facts on the type specimen pages.

Photo Credits P. 379, Yanik Hauschild, photo: © Mats Kubiak P. 382, Oleg Morović, photo: © Hassan Abdelgha P. 384, Roland Stieger, photo: © Franziska Messner-Rast P. 385, Oleg Šuran, photo: © Darko Škrobonja P. 385, Andreas Uebele, photo: © Joachim Baldauf P. 385, Ekke Wolf, photo: © Marisa Vranjes All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy or any storage and retrieval system, without permission in writing from the publisher.

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Bibliographic information published by the Deutsche Nationalbibliothek. The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliographie, detailed bibliographic data is available online at dnb.d-nb.de

At a time when it has never been easier to design, publish, and distribute typefaces, standing out as a designer is now evermore challenging. For typeface users in particular, staying up to date with the latest font trends and innovations and having to choose the right font for a project, has hardly been more difficult.

The Yearbook of Type is a practical guide that helps users navigate the diverse, ocean-like, typographical landscape in order to choose a font that is right for them, and one that fits their project needs. The reader is introduced to the world of typography through a series of articles showcasing sketches, background knowledge, technical information, instructions, and descriptions as well as the latest trends in contemporary typeface design.

Each individual typeface is presented on a double-page spread. Featured on the left-hand side is a specimen page, whilst the right-hand page provides detailed information about the corresponding designer and foundry, in addition to an overview of the typefaces’ characteristics. This is supplemented by an extensive index which clearly displays the fonts according to classification, as well as presenting the font designers, publishers, and explanations of OpenType features. Thanks to an online microsite, the fonts presented in the book can be directly accessed in order to either download test versions or to buy them.

The Yearbook of Type’s unique typographical and editorial language helps to offer a better understanding of the zeitgeist.

Feel inspired. Start working with these lovely new fonts!

ISBN: 978-3-948440-01-5