Yearbook of Type 2021/22

Year

YEAR b ooooooooooooooook B OOK OF TYPE of Type

Groovy Edition #5

2021/22

slanted Yearbook of Type 2021 / 22

Content

Introduction

by Veronika Burian

P. 5 A Essays & Tutorials

P. 7

Design of Diacritical Marks

By Murat Çil P. 8

Zoom in, Zoom Out— Type Design at ECAL / University of Art and Design Lausanne

By Matthieu Cortat P. 14

Typeface! Classification?

By Eva Kubinyi P. 18

C Index Typefaces

P. 409 D Index Designers

P. 431 E

Index Foundries P. 447

F

Index OpenType Features P. 455

G Imprint

P. 463

Yearbook of Type 2021 / 22

Content

B Typefaces

P. 23

Introduction by Veronika Burian

Introduction

Digging for Gold

Johannes Gutenberg would probably marvel with awe at the plethora of options displayed in this compendium of contemporary typefaces. Could he have imagined what opportunities his inventions would kick off and ultimately produce this sea of options? Probably not. Who could have foreseen the technical sophistication and ease we have available at our fingertips today, almost 600 years ago? But how to navigate this seemingly unlimited offering, with new fonts being added almost by the hour?

Graphic designers have a responsibility to the reader when choosing typefaces. They sit between content and reader and, for better or worse, they shape the way the public interacts with information. It’s no small task and should be taken seriously. Context is everything. Only by this synergy can a typeface’s full effect develop as a whole. Its quality and appropriateness can best be judged in relation to content, function, and target audience that is external to the typeface. Therefore don’t be shy and ask type foundries for a testing license or use services that allow installing demo or temporary versions of fonts to verify your choice in the actual layout. You’ll be surprised!

This also gives you a better grip at evaluating the font’s quality.

Humanity seems to have a common sense when it comes to the notion of quality in general. For philosopher John Locke quality is an idea of a sensation or a perception. For business guru Philip Crosby it is conformance to requirements and fashion mogul Giorgio Armani defines quality as being the difference between style and fashion. The typographer Dario Zuffo even claims that the question of the quality of type, typography, and graphic design is the question of general quality of life. Most professional type designers, myself included, would agree that strength of aesthetic excellence, refinement of shapes, consistency of features and color, re-usability, and technical performance are trademarks of high caliber (type)designs.

Seasoned designers usually recognize quality with relative ease, for the newcomers the process is a bit more tricky. However, there exist some clear give-aways of poor font quality. These include dark spots, absence of optical corrections, uneven letter spacing, inconsistent stroke width, contrast, or modulation, missing and unfitting diacritical marks, and a general lack of design consistency.

A font selection process that is fully aware of the complexities that go beyond decorative issues can only help to achieve better design, and it will hopefully guide graphic designers through a journey of type discovery.

Selecting the right typefaces does make a difference—it sets the tone for our communication and relationship with the world.

5

Veronika Burian is a product and type designer running the international indie foundry TypeTogether with partner José Scaglione since 2006. She is one of the organizers of the Alphabettes mentorship program, part of the GRANSHAN project, co-curator / organizer of TypeTech MeetUp, and guest lecturer at the Faculty of Architecture and Design NTNU in Norway.

Yearbook of Type 2021 / 22

Essays & Tutorials A Yearbook of Type 2021 / 22

gurupstudyo.com

Design of Diacritical Marks

By Murat Çil

Diacritical marks are often called accent marks. The etymological origin of the word diacritic is based on the word diakritikós, derived from the word diakrinō which means distinguishing in Ancient Greek. Diacritical marks are marks that distinguish the phonetic and / or semantic values of words by being placed below, above, or integrated into letters. They may be small marks in form of letters or other marks that have their own unique forms.

8

Following the etymological introduction, I would like to focus on the basic problem: The design of diacritical marks … I will not be discussing the designs of the diacritical marks such as the distance of marks to the main glyph, structural harmony, optical alignment and so forth. I will not be discussing clichés and common parameters like these. These are not enough to solve the basic problem, no matter how well designed they might be. Because these are not solutions to the fundamental problem. These are the accepted parameters of dogmatic approaches. I want to emphasize on the ignored functions of the diacritical marks and therefore the lack of attention to their designs.

How strange is it that the designs of the diacritical marks almost have not changed for 2,000 years while the ox head has evolved to the Carolingian minuscule and then to geometric Sans Serif. The marks have changed in structure, were often altered for calligraphic convenience rather than typographic or linguistic reasons.

1

2

3

Design of Diacritical Marks

In my introduction, I mentioned “the basic problem.” What I mean by the basic problem is that diacritical marks have not been standardized throughout centuries and as a result, typographical problems have emerged. It is of course impossible to expect any form of standardization for diacritical marks when letter anatomies are changing and will continue to change. As Neville Brody said, as long as our desire to discover the secret of letters continues as type designers, we will continue to design new typefaces and therefore letters will continue its transformation. But the status of the diacritical marks is different from that of the basic glyphs. The standards I am discussing are not tiny, cute, devilish standards with details on the scale of one-tenth of a millimeter. What I am discussing are standards that will emphasize the phonetics and semantic values of diacritical marks, making the text color (typographical gray) more balanced and increasing the level of comfort while reading. I am talking about standards that remove diacritical marks from the status of letters’ accessories and make them feel like real letters.

Therefore, I want to discuss two ignored functions of diacritical marks in current design. The first ignored function is their phonetic and semantic value and the second one is texture of typography.

4

1, 2: First Cedilla examples from the Visigothic alphabet Ceda (Zeta), en.wikipedia.org/wiki/ Visigothic_script 3: Cedilla, evolved from Ceda in the Visigothic alphabet. This letter is known to be acknowledged for the first time with the name “cedilla” in the Spanish-English dictionary in 1599 4: An alternative design proposal for the Cedilla typeface: Kalender, 2020

Various usages of diacritical marks. From left to right: Acute, Cedilla, Umlaut, Dot, Breve, Stroke, Ogonek. Typeface: Senkron

9

The stages of evolution of the letters A–a, Lyn Davies, A is for Ox: A Short History of the Alphabet.

The Folio Society, 2006

Yearbook of Type 2021 / 22

ecal.ch

Zoom in, Zoom Out— Type Design at ECAL / University of Art and Design Lausanne

By Matthieu Cortat, Head of the Program

14

After five years of activity, ECAL Master Type Design has made its own place in the European type education landscape, renewing this flagship discipline of Swiss graphic design. Our approach is rooted in that history, with a twentyfirst-century perspective.

For us, characteristic style is not everything. Neither are counter-forms.

Neither are concepts. Neither is history. Neither is originality. Neither are technical constraints. Neither are variable fonts.

A letterform, whether it is a lettering or a typeface, is not a piece of art, not a crafted fancy design item, not a mathematically-engineered workable tool: it is all of that at the same time, at varying degrees. Just like any other art school, our production is the outcome of our students minds, tastes, and way of working, which we lead and help to develop. This brings forth a large variety in creations, from 3D-animated experimental forms to straightforward black and white dry text fonts; from book design, including text editing and the commissioning of photographers, to studies of script systems. This variety is probably what shapes our identity as a type education program. Our students do not have to make fonts for their diploma. On the contrary, we always encourage them to resist the frequent tendency among type designers to circle around black and white vectors. Type design is part of graphic design: colors, shades of gray, grids, contrasts, textures, photographs, illustrations, are all interacting with the letter. The passionate type nerds we all are sometimes forget that fact. Acknowledging it helps us to get rid of the blind spots.

← Results of a one-week workshop with stone cutter Andreas Lindegger. Students had the occasion to draw and cut letters on stone without a computer. → In 2017, Thibault Brevet tutored a workshop about robotic 3D calligraphy. Students coded the movements of a robotic arm to cut letterforms in foam with a hot wire, experimenting type design within a non-WYSIWYG system.

Yearbook of Type 2021 / 22

Zoom in, Zoom Out 15

Two Different Years ECAL Master Type Design is a two-year program, with a progression in both pedagogy and expectations.

The first year is quite hectic for many students, with an intense workload. Several classes led by renowned professionals help them explore different fields related to type design.

Alice Savoie asks them to take a historical model, and to question the notion of revival, tribute, or inspiration, to produce a text font. Kai Bernau focuses on tools and how they shape letterforms: students are invited to build a DIY instrument to draw letterforms. They also develop a type family in different optical sizes. The class of Bruno Maag is a crash course on custom font. The whole group of students has to produce a workable typeface with several cuts within a few months, for a real client. This includes team organization, file sharing, ego management, and get students to build themselves a workflow enabling them to make a living out of type design. The classes of Radim Peško and me are more experimental, letting the students explore display forms around the idea of translation. Here, we focus more on methodology rather than outcome. To open up the perspective of our type lover students, Marie Lusa and Julia Born ask them to conceive graphic identities, posters, and publications, editing texts as well as images: for us, a typeface is made to live out of type specimens and Instagram posts. As engineered software, a digital typeface requires a certain amount of technical elements, including coding and mastering, topics that our students discover with Chi-Long Trieu. In the second semester, an invited professor guides the class through the creation of letterforms for a different script than Latin. Past sessions included Cyrillic (with Maria Doreuli and Krista Radoeva), Armenian (with Hrant Papazian), Arabic (with Kristyan Sarkis), and Greek (with Gerry Leonidas). It is also an occasion for discussing the current situation of different scripts, the questions of cultural appropriation, westernization, and politics within a globalized type market.

typ-o.eu

Typeface! Classification?

By Eva Kubinyi

As existing classification systems are outdated, a research team at the FH Aachen—University of Applied Sciences created a Mobile App with a new approach for teaching identification and classification of typefaces, beyond national norms. The project typ/o was presented to the public at ATypI 2020, and is now online: typ-o.eu

18

We live in fast-paced times—the constant progress of computer technology triggers the process of type design and generates an overwhelming quantity of thrilling new typefaces. In this ever-changing context, teaching typography becomes more and more challenging. Previous typeface classification systems are outdated and new ways of conveying knowledge are required.

This is why a research team, under the direction of Professor Eva Kubinyi and Robin Coenen, has developed the mobile app typ/o, which is geared towards a new teaching concept.

The basic idea is to motivate students to investigate typography with curiosity, using contemporary digital tools. For this purpose, typ/o is conceived as a new, playful, and interactive self-learning offer. Its goal is not to automatically identify individual fonts, but to facilitate the learning of how to recognize their underlying formal principles. In the “Learn” section of the app, basic information about how typefaces are grouped into categories and subcategories is conveyed, whereas in the “Identify” section, users can compare typefaces found in everyday life with the models shown and undertake a formal step-by-step identification. As a result, users increase their typographical knowledge, and build up a typographical reference system.

This Happened Thus Far—on Typeface Classifications The typ/o project is based on an extensive research about typeface classifications. The scope has been limited to Latin script. Since the first typeface

Typeface! Classification?

classification, established by Francis Thibaudeau and published 1924 in the Manuel français de typographie moderne, there have been numerous approaches. Historic and contemporary propositions from the 20th and 21st century have been collected and compared by the research team. Existing “official” classifications like Vox ATypI 1962 1, DIN 16518:1964 2, British Standards BS 2961:1967 ³ have been considered. These classification systems are taught to students, but they are rarely used in practice. Critical voices arose as soon as they were published, questioning the historical approach (instead of structural analysis). The concept of a “Non-Latin” category is completely outdated from from today’s point of view. Although attempts for new approaches have been undertaken, including AI and studies based on measurements of formal details, there is no contemporary international terminology or classification system one can rely on. As a result, contemporary resources like websites of foundries, blogs, or literature about typography mainly use their own terminology and subdivisions. Many typographers and graphic designers have even given up hope and state that typeface classification is an impossible task.

An important theoretical foundation in teaching typography is the principle of form, based on writings from Gerrit Noordzij (especially his groundbreaking The Stroke—Theory Of Writing, first published in 1985), and theorized

by Indra Kupferschmid and Hans Peter Willberg amongst others. Especially in text typefaces, one can distinguish between dynamic, static, and geometric letterforms. Seeing and understanding these underlying formal principles helps to make a better use of type. This approach bears a strong didactic potential and should be considered for typeface classification. The German DIN committee “Schriften” is actually working on a new typeface classification, including subcategories according to formal principles.

Overview of the typ/o app typ-o.eu

Yearbook of Type 2021 / 22

19

New Perspectives—a Three-Level Framework typ/o takes advantage of typographical terms and group divisions from current international practice. Rather than proposing a new classification system, the project suggests a new method. Defining common terms (with international correspondences) and using multiple tags seems to be a more appropriate and contemporary approach than establishing a new matrix or

Typefaces

The specimens on the left pages were designed on the theme of music.

The soundtrack of the book is available here as a playlist:

B

See all typefaces online at yearbookoftype.com, sorted by categories and linked to the foundries’ websites. Enter the code: YOT5GROOVY

Yearbook of Type 2021 / 22

ZaPP Late Night ❉ Fantasy The ✣ Discussion & A Touch of Jazz ❊ ❋ ☛ (Pla�in' Ki�da �uff, Par� 2) ☚

Ahsing

Language support: Latin Extended OpenType features: Proportional Oldstyle, Tabular Lining, Standard Ligatures, Discretionary Ligatures, Superscript, Subscript, Swashes, Contextual Swashes, Contextual Alternates, Fractions, Numerator, Denominator, Ornaments, Arrows

Ahsing

Inspired by a wide range of sources and styles, Ahsing is a single weight typeface that aims to explore new design solutions. With a bold form a strong contrast and pronounced diagonal axis, this design hints both at past typeface styles while being unique and original in its appearance. Thanks a large range of features and an expanded character set, this single font provides a versatile and distinctive solution for setting titles or any large text that need to catch your viewer’s attention.

Test version available: No Web font format available: Yes

Design: 2019, Michael Parson → p. 440

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

→ P. 421

Foundry: Typogama, Switzerland, typogama.com → p. 452

35

Ahsing is a typeface of a Regular weight

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‫غالية بنعلي‬ ‫هيمتين‬ ‫يا مسافر وحدك‬ ‫راحوا الحباييب‬ ‫بسمة نيروز‬

‫مغنية تونسية‬ ‫‪Anaqa‬‬

Language support: Arabic OpenType features: Stylistic Sets, Localized Forms, Required Ligatures, Mark Positioning, Terminal Form, Initial Form, Isolated Form, Medial Form

Anaqa

Anaqa (the Arabic word for sophistication or fashion) is an Arabic family designed specifically to be an effective counterpart to Latin typefaces of the Humanist Sans genre, now most commonly used in corporate communications and UX / UI design. This objective was quite efficiently helped by the calligraphic nature of the Arabic script.

Test version available: No Web font format available: Yes

Design: 2019, Kourosh Beigpour → p. 432, Patrick Griffin → p. 435

‫أ أ ب ببب ت تتت ث ثثث ج ججج ح ححح خ خخخ د دذذ ررزز 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 ـة ة وو ي ييي ال الال‬

→ P. 410

Foundry: Canada Type, Canada, canadatype.com → p. 448

، ‫ عادي‬، ‫ خفيف‬:‫أناقة هو خط عريب بخمس أوزان‬

43

‫ وضخم‬، ‫ نصف ضخم‬، ‫متوسط‬

Yearbook of Type 2021 / 22

♠ ♣♥♦ nhà hát Opera

E Carta Nueva

nsemble

Design: 2020, My-Lan Thuong → p. 443

Language support: Latin Extended, Vietnamese OpenType features: Proportional Oldstyle, Proportional Lining, Standard Ligatures, Discretionary Ligatures, All Caps, Superscript, Subscript, Swashes, Contextual Swashes, Contextual Alternates, Fractions, Stylistic Alternates, Stylistic Sets, Optical size

Carta Nueva

Carta Nueva is the typographic interpretation of a mid-19th century pointed-nib calligraphy model from Barcelona. Downward strokes establish a consistent beat, while upward strokes are quiet moments of rest and disappear upon contact with stems. Around this tempo, the nib winds, loops, and arabesques.

This lively twirl is accentuated most in the ornamental uppercase letters.

Test version available: Yes Web font format available: Yes

abcdefghijklmno pqrstuvwxyzæåçéñöûß ABCDEFGHIJKLMN OPQRSTUV W XYZÆÇØ 1 2 34 5 6 7 8 9 0 @.,!?’)]§*“”»«/–½©€ $£¥ &↯☼

→ P. 427

Foundry: Sharp Type Co., United States of America, sharptype.co → p. 451

a ă â b c d đ e ê g h i k lmn o ô ơ p q r s t u ưv x y ằ ẻ ổ ỵ AĂÂBCDĐEÊGHIKLMN OÔƠPQRST UƯVXY 1 2 34 5 6 7 8 9 0 @.,!?’)]§*“”»«/–½©€ $£¥&↲☾

81

Carta Nueva is a family of five styles: Display, Large, Medium, Deck, and Small

Yearbook of Type 2021 / 22

hljómleikar versenymű концерт $ 68.– ⁄ € 57.–

plåt ticket Centima Pro

Language support: Latin Extended, Cyrillic OpenType features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, Standard Ligatures, Discretionary Ligatures, Superscript, Subscript, Ordinals, Fractions, Numerator, Denominator, Slashed Zero

Centima Pro

Centima Pro is an enhance development of Centima—a geometric sans serif typeface, released back in 2011. Centima Pro family consists of two sub-families: Sans and Serif. Centima Sans, an upgraded version of Centima with careful refinements to glyph shapes and extension of glyph amounts, enables support of Cyrillic languages. A new extended sub-family Centima Serif has been added to the Centima Pro family. The typeface is released in OpenType format with some OpenType features.

Test version available: No Web font format available: Yes

Design: 2020, Ramiz Guseynov → p. 435

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

Centima Pro is a family of two styles: Sans and Serif, each in three weights plus Italics: Serif Light, Serif Light Italic, Serif Regular, Serif Italic, Serif Bold, Serif Bold Italic, Sans Light, Sans Light Italic, Sans Regular, Sans Italic, Sans Bold, and Sans Bold Italic Yearbook of Type 2021 / 22

87

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

→ P. 411, 420

Foundry: TipografiaRamis, United States of America, tipografiaramis.com → p. 451

Sandoll DunggulrimColor Pop

Design: 2020, Jooyeon Kang → p. 437, Jinhee Kim → p. 437, Suhyun Lee → p. 438, Heewon Seo → p. 442, Boomi Park → p. 440, Junseok Sung → p. 442

OpenType features: – Test version available: No Web font format available: Yes

117

Foundry: Sandoll, The Republic of Korea, sandoll.co.kr → p. 451

Language support: Latin, Korean

→ P. 422 Sandoll DunggulrimColor Pop

Sandoll DunggulimColor Pop is the colored version of Sandoll Dunggulim, and is one of the very first color fonts of Sandoll. Sandoll Dunggulim seems round handwriting and can be read well in any sizes, because of the combination of straight skeletons and its balanced design. Emphasizing the borders of each types, Sandoll DunggulimColor Pop makes the characteristics of Dunggulim more lively.

Yearbook of Type 2021 / 22

U nderground H ip-Hop Independent L ITTERÆR  cultural philosophical 1980 NO L@BEL ↳ POLITICAL RAP Everett

Design: 2021, Nolan Paparelli → p. 440

Language support: Latin Extended OpenType features: Tabular Lining, Proportional Lining, Standard Ligatures, Discretionary Ligatures, All Caps, Superscript, Subscript, Ordinals, Titling Alternates, All Alternates, Contextual Alternates, Contextual Ligatures, Fractions, Numerator, Denominator, Arrows, Stylistic Alternates, Stylistic Sets, Slashed Zero, Localized Forms, Required Ligatures, Mark Positioning, Font Variations

Everett

Everett emerged during Nolan Paparelli’s studies at ECAL and since then ever evolved. Initially inspired by the work of photographer Daniel Everett, it quickly began to become more personal and resulted in the designer’s own take on the Swiss Sans Serif genre. Everett is a contemporary, versatile grotesque typeface featuring an organic drawing and a particular digital flavor. Strong typographic details add a high tension while keeping a reading comfort, finding the right balance between a font that is graphic yet fluid.

Test version available: Yes Web font format available: Yes

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

→ P. 411

Foundry: WELTKERN, Switzerland, type.weltkern.com → p. 452

131

Everett is a typeface of ten weights plus Italics: Hairline, Hairline Italic, Thin, Thin Italic, Ultra Light, Ultra Light Italic, Light, Light Italic, Regular, Italic, Medium, Medium Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Black, Black Italic, Super, and Super Italic

Yearbook of Type 2021 / 22

JiMi HENDRiX DURWOOD C. SETTLES PRESENTS IN PERSON ∙ 2 BIG SHOWS

EXPERIENCE

SOFT MACHiNE SAT. AUG. 17TH, 1968, 3PM & 8PM ATLANTA MUNICIPAL AUDITORIUM Tickets on Sale Now $ 4.00 $ 5.00 $ 6.00

VANILLA FUDGE AMBOY DUKES Hybryda

Language support: Latin Extended OpenType features: Discretionary Ligatures, Contextual Alternates, Contextual Ligatures, Arrows, Stylistic Alternates, Stylistic Sets, Slashed Zero

Hybryda

Hybryda (Polish for hybrid) is a display typeface that tries to combine letters which could be considered sans serif with ones that seem to be slab serif. The connecting element—high contrast.

Combining retro feeling with a contemporary approach. Hybrid— something that has two different types of components performing essentially the same function.

Test version available: Yes Web font format available: Yes

Design: 2020, Maciej Połczyński → p. 440

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

→ P. 420

Foundry: Laïc: Type Foundry, Poland, laic.pl → p. 450

167

Hybryda is a typeface of a Regular weight

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Hátíðninemi Hátíðninemi Hátíðninemi Hátíðninemi Hátíðninemi Hátíðninemi Hátíðninemi Hátíðninemi LP (long playing) [12-inch disc, 3 ​ 3 ⅓ rpm] Igual

Language support: Latin Extended OpenType features: Tabular Lining, Proportional Lining, Standard Ligatures, All Caps, Superscript, Subscript, Ordinals, All Alternates, Fractions, Alternative Fractions, Numerator, Denominator, Stylistic Alternates, Stylistic Sets, Localized Forms

Igual

In the UI version, all weights occupy the same width and are adjustable with variable font technology.

Its aesthetics stem from monospace typography, however, Igual UI has different widths between letters, but not between weights.

This way, the legibility of large letters, such as m or w, is not sacrificed. The standard version has proportional widths, ideal for use in branding and overall communication, but always with the same mechanical, precise and rational aesthetic.

Test version available: Yes Web font format available: Yes

Design: 2020, Henrique Beier → p. 432

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

→ P. 412

Foundry: Fabio Haag Type, Brazil, fabiohaagtype.com/en → p. 449

169

Igual is a family of two styles: Normal and UI, each in eight weights plus Italics: Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Italic, UI Medium, UI Medium Italic, UI Bold, UI Bold Italic, UI Extra Bold, UI Extra Bold Italic, UI Black, and UI Black Italic Yearbook of Type 2021 / 22

MAC MILLER Rapper + Music Producer alias � Larry Fisherman [Discography] Circles (2020) That’s Life (2019) GOOD AM (2015) Watching Movies with the Sound Off (2013) Swimming (2018) * January 19th, 1992 – † July ➒th, 2018 Kanton Gothic

Design: 2020, Fabian Dornhecker → p. 433

Language support: Latin Extended OpenType features: Standard Ligatures, Discretionary Ligatures, Case-sensitive Forms, Subscript, Superscript, All Alternates, Numerator, Denominator, Fractions, Contextual Alternates, Localized Forms, Mark Positioning, Slashed Zero, Proportional Lining, Tabular Lining, Stylistic Sets, Arrows

Kanton Gothic

Kanton Gothic is a workhorse family, heavily inspired by the work of Morris Fuller Benton. Compared to its role models, it has an overall friendlier appearance, higher contrast, more balanced proportions, and eye-catching pointed endings.

Those characteristics get more visible on both ends of the weight axis—meaning you can use Kanton Gothic for big and impactful headlines as well as for body copy in editorial designs.

Test version available: Yes Web font format available: Yes

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

→ P. 412

Foundry: La Bolde Vita, Germany, laboldevita.com → p. 449

183

Kanton Gothic is a typeface of seven weights plus Italics: Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Italic, Medium, Medium Italic, Bold, Bold Italic, and Poster

Yearbook of Type 2021 / 22

DANCE ALL NIGHT LONG Cabaret Voltaire DEVO Tangerine Dream The Art of Noise Ultravox Cluster Kraftwerk Yello

Kommune

Foundry: Laïc: Type Foundry, Poland, laic.pl → p. 450

OpenType features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, Standard Ligatures Test version available: Yes

Kommune

Design: 2020, Verena Gerlach → p. 434

Language support: Latin Extended

Web font format available: Yes

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

187

Kommune is a family of two styles: Normal and Inline. Normal with a lower case extension in eight weights: Thin, Light, Regular, Medium, Semi Bold, Bold, Extra Bold, and Black

→ P. 412, 423

Kommune is a reverse-contrast typeface. In its lighter weights it combines elegant hairlines with

by Brutalism inspired round corners and heavy horizontals.

Yearbook of Type 2021 / 22

1989 ® Eurovision Song Contest Lausanne, [ S UISSE ] Winner → Riva Country– Yugoslavia Song » Rock Me Lausanne

Language support: Latin Extended OpenType features: – Test version available: Yes Web font format available: Yes

Lausanne

Lausanne is an extraordinarily sophisticated sans serif font with an ultra-organic aesthetic. It’s very legible in small sizes and full of refined details in display sizes.

It was designed with the intention of responding to historical sans serifs like Helvetica. Lausanne brings to this intention the particularities of digital typography.

Such as the duality and versatility of a text and display character.

Design: 2021, Nizar Kazan → p. 437

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

→ P. 412

Foundry: WELTKERN, Switzerland, type.weltkern.com → p. 452

195

Lausanne is a typeface of eleven weights plus Italics: 300, 300 Italic, 350, 350 Italic, 400, 400 Italic, 450, 450 Italic, 500, 500 Italic, 550, 550 Italic, 600, 600 Italic, 650, 650 Italic, 700, 700 Italic, 750, 750 Italic, 800, and 800 Italic

Yearbook of Type 2021 / 22

MONKEES More of the monk ee s

Альбом выпущен 1967 Одиночки 1966 + 68 1. “I’m a Believer” 2. “I’m Not Your SteppinG Stone” 3. “Mary, Mary” Lurk

Foundry: CSTM Fonts, Russia / Spain, type.today/en/designer/cstmfonts-cstm-fonts → p. 449

Lurk

Lurk collection was designed in 2019 especially for Yury Dud’s YouTube channel. 18 styles of the font are not just Bold, Light, Extended, and Condensed styles we’re used to, but a wide range of tones: neutral, harsh, smooth, noisy, discreet, etc. Such a tool allows for telling different stories in the same single typographic language, and makes it possible to utilize very little additional graphics—all it takes is a typeface. The collection consists of Lurk A and Lurk B. Each is equipped with its own specific set of tones, classified in an elementary, fact-based way.

Language support: Latin, Cyrillic OpenType features: Proportional Lining, All Caps, Stylistic Sets, Slashed Zero Test version available: No Web font format available: Yes

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

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

→ P. 412, 423, 429

Design: 2020, Ilya Ruderman → p. 441, Yury Ostromentsky → p. 440, Nikita Kanarev → p. 437

209

Lurk is a family of two styles: A and B. A in ten weights: 01, 02, 03, 04, 05, 06, 07, 08, 09, and 10. b in nine weights: 01, 02, 03, 01-03, 04, 05, 06, 07, and 08 Yearbook of Type 2021 / 22

Jazz meets the World Джаз встречает мир

erliner B Jazztage • 1964 25.09.1964 Philharmonie

και ακόμα περισσότερο

Miles

Davis Magmatic

Design: 2020, Cyrus Highsmith → p. 436, June Shin → p. 442

Language support: Latin Extended, Cyrillic, Greek OpenType features: Tabular Lining, Superscript, Subscript, Ordinals, Fractions, Numerator, Denominator, Slashed Zero, Required Ligatures, Font Variations

Magmatic

Magmatic is a massive sans serif series from Cyrus Highsmith and June Shin. Its nuts-and-bolts character remains steady through an extensive range of widths and weights. The design was loosely inspired by Japanese Shōwa era typefaces found on shipping labels, machinery, and buildings.

Test version available: Yes Web font format available: Yes

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

→ P. 412

Foundry: Occupant Fonts, United States of America, occupantfonts.com → p. 450

Magmatic is a family of five widths: Compressed, Condensed, Normal, Wide, and Extended, each in six weights: Compressed Thin, Condensed Extra Light, Normal Light, Normal Medium, Wide Bold, and Extended Black Yearbook of Type 2021 / 22

215

αβγδεζηθικλμνξοπρσςτυφχψωάέήίόώϊϋΰ ΑΒΓΔΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧΨΩΆ Έ Ή Ί Ό Ώ Ϊ Ϋ 12345678900@.,!?’)]§*“”»«/–½©€$£¥&

ФУЗИОН Minimal, Techno, House, Drum and Bass, Dubstep, (Progressive) Trance + Goa Flugplatz Müritz Airpark, Lärz, Deutschland seit 1997

Theater, Kunst & Performances

Fusion Festival

TR MatchStencil ExtWide

OpenType features: Tabular Lining, Proportional Lining, Standard Ligatures, Superscript, Subscript, Ordinals, Fractions, Numerator, Denominator, Stylistic Alternates, Slashed Zero, Case Sensitive Forms Test version available: Yes Web font format available: Yes

Design: 2020, Peter Mohr → p. 439 Foundry: Typerotation, Germany, typerotation.com → p. 452

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

TR MatchStencil ExtWide

Language support: Latin Extended, Cyrillic

→ P. 427

What does a typeface look like that can be used to label a spaceship?

Inspired by science-fiction visuals and user interfaces, TR MatchStencil ExtWide is strongly positioned in game design and cinematic titling. It is suitable for corresponding scenic and graphic designs as well as for UX / UI designs. The typeface appears pragmatic and unagitated. TR MatchStencil ExtWide is part of the superfamilies TR Match and TR MatchStencil, each in five widths: Condensed, SmCondensed, Normal, Wide, and ExtWide.

абвгдеёжзийклмнопрстуфхцчшщъыьэюя АБВГДЕЁЖЗИЙКЛМНОПРСТУФХЦЧШЩЪЫЬЭЮЯ

TR MatchStencil ExtWide is a typeface of twelve weights plus Italics: Air, Air Italic, Extra Thin, Extra Thin Italic, Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Black, Black Italic, Extra Black, and Extra Black Italic Yearbook of Type 2021 / 22

227

12345678900@.,!?’)]§*“”»«/–½©€$£¥&�

Black

Rebel Motorcycle Club

S pook

K Novecento Slab Rough

Language support: Latin Extended OpenType features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, All Caps, Superscript, Ordinals, All Alternates, Fractions, Numerator, Denominator, Stylistic Sets, Slashed Zero, Localized Forms Test version available: Yes Web font format available: Yes

Design: 2020, Jan Tonellato → p. 443

Novecento Slab Rough

Novecento Slab Rough adds a letterpress / analog effect to its slab serif parent. Each letter has a slightly different texture and gives you a truly realistic effect.

Even accented variants of any base character are all different. This font has also a built-in feature that automatically displays a texture variant for the second occurrence of a letter or a number when they appear close to each other. For instance: AA OO TT ÜÜ. But also: AOA NON TXT etc.

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

265

Novecento Slab Rough is a family of four widths: Condensed, Narrow, Normal, and Wide, each in eight weights: Condensed Ultra Light, Condensed Light, Narrow Book, Narrow Normal, Medium, Demi Bold, Wide Bold, and Wide Ultra Bold

→ P. 420, 424

Foundry: Synthview Type Design, France, typography.synthview.com → p. 451

Yearbook of Type 2021 / 22

29LT Okaso

Language support: Latin Extended, Arabic

Design: 2020, Pascal Zoghbi → p. 444, Linda Hintz → p. 436

Test version available: Yes Web font format available: Yes

abcdefghijklmnopqrstuvwxyzæåçéñöûß ABCDEFGHIJKLMNOPQRSTUVWXYZÆÇØ 1234567890@.,!?’)]§*“”»«/–½©€$£¥& ‫أ أ ب ببب ت تتت ث ثثث ج ججج ح ححح خ خخخ د دذذ ررزز 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 ـة ة وو ي ييي ال الال‬

→ P. 414, 424

Foundry: 29Letters / 29LT, Spain, 29lt.com → p. 448

OpenType features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, Standard Ligatures, Superscript, Subscript, Ordinals, Contextual Alternates, Contextual Ligatures, Fractions, Numerator, Denominator, Stylistic Alternates, Stylistic Sets, Localized Forms, Required Ligatures, Mark Positioning, Terminal Form, Initial Form, Isolated Form, Medial Form

29LT Okaso

29LT Okaso is a vibrant geometric typeface with distinctively brave letterforms. It incorporates a carefully studied balance between solid forms and dynamic contours that gives it a lively atmosphere within a corporate and serious oddity. The Arabic character set is inspired by a unique set of letters found in vernacular Aljamiado manuscripts.

The Latin is drawn as a companion to it with alternating square and round letterforms to echo the active nature of the Arabic scripts and its lively flow.

279

29LT Okaso is a typeface of seven weights: Extra Light, Light, Regular, Medium, Bold, Extra Bold, and Black

Yearbook of Type 2021 / 22

Bitter BittEr

sym pho ny sweet

P22 Posies

Language support: Latin OpenType features: – Test version available: No Web font format available: Yes

P22 Posies

P22 Posies is a six-font system for creating multi-colored initial caps in the spirit of illuminated manuscripts. Four layer fonts can be built upon each other to create any chromatic effect you desire. The Posies Initial font combines all four layers to allow easy one-color dropcaps, while the Solid font features the unadorned Roman capitals for setting companion titling text.

Design: 2020, Robby Woodard → p. 444

abcdefghijklmnopqrstuvwxyz

→ P. 424

Foundry: P22 Type Foundry, United States of America, p22.com → p. 451

297

Posies is a family of six styles Letter flowers stems Solid, initial and contour

Yearbook of Type 2021 / 22

Ragtag Display

Language support: Latin OpenType features: Font Variations Test version available: Yes Web font format available: Yes

Ragtag Display

Ragtag is an adventurous display font that’s fun, graphic, and loud. Each letter across it’s three glyph sets is unique and designed so it composes beautifully with all others—but can also stand on its own. It was inspired by the scattered team at remote studio / foundry In-House International.

Ragtag also marks the launch of the studio’s foundry, focusing on bold display typefaces. Ragtag was designed at In-House International

by Alexander Wright with art direction by Michu Benaim. Rodrigo Fuenzalida developed for .otf Design: 2020, Alexander Wright → p. 444

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890.,!?’*“”/&

→ P. 425

Foundry: In-House International, United States of America, weareinhouse.com → p. 449

Ragtag Display is a typeface of a Regular

309

weight

Yearbook of Type 2021 / 22

Jazz spacey

Indie beautiful

COSMO PYKE Cosmo Pyke is a London artist and multi-instrumentalist.

lazy

Hip-Hop a fusion of styles

Blues Review Mono

Language support: Latin Extended

Design: 2020, Sophie Wietlisbach → p. 444

Web font format available: Yes

OpenType features: Standard Ligatures, Tabular Oldstyle, Tabular Lining, Superscript, Subscript, Fractions, Stylistic Alternates, Stylistic Sets and Test version available: Yes

Review Mono

Review Mono is a monospaced text typeface. Inspired by the spirit of the classical book typeface Garamond, Review Mono offers a typewriter version with a contemporary take on the historical style.

Available in Regular and Cursive, it is particularly suitable for smaller sizes.

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

→ P. 426

Foundry: ECAL Typefaces, Switzerland, ecal-typefaces.ch → p. 449

327

Review Mono is a typeface of a Regular weight plus a Cursive

Yearbook of Type 2021 / 22

LADY G AGA

TELEPHONE

🐉

�

� Poker Face Bad Romance &SHALLOW

Sinistre

Design: 2020, Jules Durand, a.k.a Lazy Dog → p. 434

Language support: Latin OpenType features: Standard Ligatures, Discretionary Ligatures, All Caps, Ornaments, Stylistic Alternates, Stylistic Sets, Historical Forms

Sinistre

Sinistre is a free interpretation of old Celtic lettering; “half uncial and a little bit gothic,” it borrows its ornamental aesthetic from medieval times. S† Caroline represents the less decorative style of the type family. Carolus Magnus is a secret ornamental cut available on request related to medieval fantasy artwork.

Test version available: Yes Web font format available: Yes

abcdefghijklmnopqrstuvwxyzæåçéñöûß ABCDEFGHIJKLMNOPQ RSTUVWXYZÆÇØ 1234567890@.,!?’)]§*«/–½©$£¥&�

→ P. 425

Foundry: Collletttivo, Italy, collletttivo.it → p. 448

351

Sinistre is a typeface of a S† Caroline weight

Yearbook of Type 2021 / 22

Арабская музыка: Эти 4 музыканта, которых вы должны знать Arabic Music: These four Musicians You Must Know

→

☑

←

Mashrou’ Leila—Cavalry ‫مشروع ليلى—معاليك‬ Bu Kolthoum—Zamilou ‫بو كلثوم—زمّلوا‬ Amr Diab—Nour El Ein ‫عمرو دياب—نور العين‬ Elissa—Krahni ‫ا ليسا—كرهني‬ Name Stingerder Schrift

Foundry: Zetafonts Foundry, Italy, zetafonts.com → p. 452

Design: 2020, Cosimo Lorenzo Pancini → p. 440, Francesco Canovaro → p. 432, Andrea Tartarelli → p. 443, Maria Chiara Fantini → p. 434

Test version available: Yes

Language support: Latin Extended, Cyrillic, Arabic

Stinger

In the crowded panorama of contemporary grotesque typefaces, all aiming to stark geometric perfection, Stinger stands out with its bold choices and strong personality: subverting the traditional relationship between thick verticals and thin horizontals made it perfect for eye-catching advertisements.

From the calligraphy-inspired terminals to the logo-ready sculptural approach, each variant manages to look striking without forgetting readability and flexibility lessons of modern reverse-contrast.

OpenType features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, Standard Ligatures, Discretionary Ligatures, All Caps, Small Caps, Capitals to Small Caps, Superscript, Subscript, Ordinals, Numerator, Denominator, Stylistic Alternates, Stylistic Sets, Slashed Zero

abcdefghijklmnopqrstuvwxyzæåçéñöûß ABCDEFGHIJKLMNOPQRSTUVWXYZÆÇØ 12345678900@.,!?’)]§*“”»«/–©€$£¥&⇅☑ ‫أ أ ب ببب ت تتت ث ثثث ج ججج ح ححح خ خخخ د دذذ ررزز س سسس‬

→ P. 415, 425

Web font format available: Yes

‫ش ششش ص صصص ض ضضض ط ططط ظ ظظظ ع ععع غ غغغ‬

Stinger is a family of four widths: Slim, Normal, Fit, and Wide, each in five weights plus Italics: Slim Thin, Slim Thin Italic, Slim Light, Light Italic, Regular, Italic, Fit Bold, Fit Bold Italic, Wide Heavy, and Wide Heavy Italic Yearbook of Type 2021 / 22

363

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

Hawaii Toast 📚 Song ☺

Alexander Marcus Name THEMOOCK der Schrift

Design: 2021, Sebastian Moock → p. 439

Language support: Latin OpenType features: Arrows, Stylistic Sets, Font Variations Test version available: Yes Web font format available: Yes

THEMOOCK

We like to play with typography because we enjoy curves. We drink #Espresso and write our name barefoot in the white sand.

THEMOOCK is a playful grotesque font designed for the web. It was developed as a variable font.

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

→ P. 416

Foundry: Bureau Sebastian Moock, Germany, sebastianmoock.de → p. 448

375

THEMOOCK is a typeface of a Regular weight

Yearbook of Type 2021 / 22

TASH SULTANA •

Terra Firma

…

The new album out Feb. 19th •

Pretty Lady Greed Willow Tree P22 Tuscaloosa

Language support: Latin Extended OpenType features: Standard Ligatures, Fractions Test version available: No Web font format available: Yes

P22 Tuscaloosa

Tuscaloosa is a hybrid Script that includes Tuscan (bifurcated) serif treatments. The design of Tuscaloosa began as a set of organically-formed initials, the Tuscan serifs being reminiscent of shoots and leaves bursting forth.

Tuscaloosa also derives inspiration from the late Victorian era, when the development of newspaper and poster advertising led to extremes of weight in the main strokes. The font is intended to convey an aura of excitement and fun that characterized those times!

Design: 2020, Ted Staunton → p. 442

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

→ P. 425

Foundry: P22 Type Foundry, United States of America, p22.com → p. 451

383

P22 Tuscaloosa is a typeface of a Regular weight

Yearbook of Type 2021 / 22

C

Enter the code: YOT5GROOVY

Index Typefaces

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

Yearbook of Type 2021 / 22

Sans Serif

1903 → p. 24 / 25

Adelle Sans Thai → p. 30 / 31

Águila → p. 32 / 33

R13&gKdsH

R13&gKdsH

R13&gKdsH

Anaïs → p. 40 / 41

Anaqa → p. 42 / 43

Arlonne Sans Pro → p. 50 / 51

R13&gKdsH

‫ج‬٥‫ضعمش‬

R13&gKdsH

LFT Arnoldo → p. 52 / 53

BVH Baldinger → p. 62 / 63

Bananas → p. 64 / 65

R13&gKdsH

R13&gKdsH

R13&gKdsH

Bedow → p. 68 / 69

Billie → p. 72 / 73

Bouba Round → p. 76 / 77

R13&gKdsH

R13&gKdsH

R13&gKdsH

Bree Cyrillic & Greek → p. 78 / 79

Case → p. 82 / 83

Catalpa → p. 84 / 85

R13&gKdsH

R13&gKdsH

R13&gKdsH

Aa Aa Aa

Aa ‫ات‬

Aa

Aa Aa Aa

410

Aa Aa Aa

Aa Aa Aa

yearbookoftype.com, code: YOT5GROOVY

Cerco → p. 88 / 89

Colville → p. 96 / 97

R13&gKdsH

R13&gKdsH

R13&gKdsH

Dédale → p. 104 / 105

Dialogue → p. 106 / 107

Diery → p. 108 / 109

R13&gKdsH

R13&gKdsH

R13&gKdsH

Dolce Noir → p. 114 / 115

Everett → p. 130 / 131

Fabbrica → p. 132 / 133

R13&gKdsH

R13&gKdsH

R13&gKdsH

Aa Aa A

Sans Serif

Centima Pro → p. 86 / 87

Aa Aa Aa

Aa Aa Aa Fracktif → p. 136 / 137

Fraktion Sans → p. 138 / 139

R13&gKdsH

R13&gKdsH

R13&gKdsH

Freigeist → p. 140 / 141

Galeana → p. 144 / 145

Garaje → p. 146 / 147

R13&gKdsH

R13&gKdsH

R13& gKdsH

Aa Aa Aa

Yearbook of Type 2021 / 22

411

Aa Aa Aa Fabrikat Normal → p. 134 / 135

Serif & Slab Serif

Aa Aa Aa Foundry Tiento → p. 376 / 377

Winslow Book → p. 396 / 397

Winslow Title → p. 398 / 399

R13&gKdsH

R13&gKdsH

R13&gKdsH

CSTM Xprmntl → p. 400 / 401

Zénith → p. 406 / 407

R13&gKdsH

R13&gKdsH

Aa Aa

Slab Serif Centima Pro → p. 86 / 87

Circe Slab → p. 92 / 93

Constant → p. 98 / 99

R13&gKdsH

R13&gKdsH

R13&gKdsH

Hybryda → p. 166 / 167

Molto → p. 238 / 239

Novecento Slab Rough → p. 264 / 265

R13&gKdsH

R13&gKdsH

R13&gKdsH

420

Aa Aa Aa

Aa Aa Aa yearbookoftype.com, code: YOT5GROOVY

Relaate → p. 322 / 323

Winden → p. 394 / 395

Aa Aa Aa

R13&gKdsH R13&gKdsH

R13&gKdsH

Slab Serif & Display

Puchiflit → p. 304 / 305

Display 1903 → p. 24 / 25

Ahsing → p. 34 / 35

Ana → p. 38 / 39

R13&gKdsH

R13&gKdsH

rg kdsH

Anti → p. 44 / 45

Apparel → p. 46 / 47

BVH Bart → p. 66 / 67

R13&gKdsH

R13&gKdsH

R13&gKdsH

BHV → p. 70 / 71

Catalpa → p. 84 / 85

Civilitate → p. 94 / 95

Aa Aa Aa

Aa Aa Aa

R13& gKdsH R13&gKdsH Yearbook of Type 2021 / 22

R13&gKdsH

421

Aa Aa Aa

Display & Monospace

Aa Aa Aa Winslow Title → p. 398 / 399

CSTM Xprmntl → p. 400 / 401

Zénith → p. 406 / 407

R13&gKdsH

R13&gKdsH

R13&gKdsH

Cubio Mono → p. 100 / 101

Dolce Noir → p. 114 / 115

R13&gKdsH

R13&gKdsH

R13&gKdsH

Garaje → p. 146 / 147

Iki Mono → p. 170 / 171

Mona mono → p. 240 / 241

R13&gKdsH

R13&gKdsH

R13&gKdsH

Puchiflit → p. 304 / 305

Review Mono → p. 326 / 327

R13&gKdsH

R13&gKdsH

Monospace Adelle Mono → p. 28 / 29

Aa

Aa Aa

426

Aa Aa

Aa Aa

yearbookoftype.com, code: YOT5GROOVY

Aa

Goldich → p. 150 / 151

R13&gKdsH

R13&gKdsH

TR MatchStencil Condensed → p. 224 / 225

TR MatchStencil ExtWide → p. 226 / 227

Pitot Family → p. 288 / 289

R13&gKdsH

R13&gKdsH

R13&gKdsH

Avril → p. 60 / 61

Carta Nueva → p. 80 / 81

Aa Aa

Laima → p. 192 / 193

Aa R13&gKdsH

Stencil & Script

Eklektyk → p. 122 / 123

Aa Aa A

Script

Aa R13&gKdsH Civilitate → p. 94 / 95

Aa R13&gKdsH

Yearbook of Type 2021 / 22

Aa A a R13&gKdsH

R13&gK d sH

Gorgonzo → p. 152 / 153

Hawkes → p. 160 / 161

R13&gKdsH

R13&gKdsH

Aa Aa

427

Artina → p. 56 / 57

Script & Blackletter

Hemon → p. 162 / 163

Nesquik Script → p. 254 / 255

R13&gKdsH

R13&gKdsH

Unzyale → p. 384 / 385

Winslow Title → p. 398 / 399

R13&gKdsH

R13&gKdsH

Aa Aa A

Aa

Blackletter Guglia → p. 156 / 157

Aa

Aa

R13&gKdsH

428

R13&gKdsH

CSTM Xprmntl → p. 400 / 401

yearbookoftype.com, code: YOT5GROOVY

Aa Salden → p. 342 / 343

R13&gKdsH

Civilitate → p. 94 / 95

Dialogue → p. 106 / 107

Aa

Aa

Aa R13&gKdsH

R13&gKdsH

Diery → p. 108 / 109

Dolce Noir → p. 114 / 115

Guglia → p. 156 / 157

R13&gKdsH

R13&gKdsH

R 13& g K dsH

Literata → p. 204 / 205

Lurk → p. 208 / 209

Monterchi → p. 242 / 243

R13&gKdsH

R13&gKdsH

R13&gKdsH

Nesquik Script → p. 254 / 255

Next Display → p. 258 / 259

BD Roylac → p. 338 / 339

R13&gKdsH

R13&gKdsH

R13&gKdsH

R13&gKdsH

Custom

Bedow → p. 68 / 69

Aa Aa Aa

Aa a Aa Aa Aa Aa

Aa

R13&gKdsH Yearbook of Type 2021 / 22

429

Yale Solis → p. 402 / 403

Index Designers

Andreeva, Ana atstype.xyz Update Sans → p. 386 / 387

Bieder, René renebieder.com Freigeist → p. 140 / 141 Novera → p. 266 / 267

Anggara, Deni instagram.com/ degarism Fracktif → p. 136 / 137

Bouville, Thomas thomasbouville.fr Dédale → p. 104 / 105

Baldinger, André bvhtype.com BVH Baldinger → p. 62 / 63 BVH Bart → p. 66 / 67

Beier, Henrique harbortype.com Igual → p. 168 / 169

Beigpour, Kourosh kbstudio.net Anaqa → p. 42 / 43

Braden, Felix floodfonts.com Arpona → p. 54 / 55

Brenner, Armin new-letters.de Anaïs → p. 40 / 41

Bruyns, Dalton studiotuntun.com Update Sans → p. 386 / 387

Burian, Veronika type-together.com Adelle Mono → p. 28 / 29 Bree Cyrillic & Greek → p. 78 / 79 Catalpa → p. 84 / 85 Literata → p. 204 / 205 Portada Thai → p. 294 / 295

Cano, Pilar letterjuice.cat Portada Thai → p. 294 / 295

Canovaro, Francesco zetafonts.com Monterchi → p. 242 / 243 Stinger → p. 362 / 363

du Carrois, Ralph fontwerk.com/en/ designers/ ralph-du-carrois Case → p. 82 / 83

432

Cavazos, Rod psyops.com Motorix → p. 246 / 247

Correia, Joana novatypefoundry.com Alga → p. 36 / 37 Laca Pro → p. 188 / 189

Delobel, Sébastien ateliertelescopique.com Mona mono → p. 240 / 241

Çil, Murat gurupstudyo.com Kalender → p. 180 / 181 Senkron → p. 346 / 347

Cortat, Matthieu Molitor → p. 236 / 237 Zénith → p. 406 / 407

Desjardins, Mathieu instagram.com/ matdesjardins Neue World → p. 256 / 257

Cisterna, Jorge latinotype.com Kenac → p. 184 / 185

Clarke, Fiona bonezdesignz.com Anti → p. 44 / 45

Claudius, Stefan cape-arcona.com CA Edwald → p. 120 / 121 CA Slalom → p. 352 / 353

Danilova, Anya anyadanilova.com Normalidad → p. 262 / 263

Davenport, Connor connordavenport.info Ogg Display → p. 274 / 275 Ogg Text → p. 276 / 277

Díaz, Fernando Rotunda → p. 334 / 335

Diemling, Lukas diemling.com Snaskface → p. 354 / 355

Dornhecker, Fabian laboldevita.com BHV → p. 70 / 71 Kanton Gothic → p. 182 / 183 Residenz Grotesk → p. 324 / 325 Unzyale → p. 384 / 385

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Colalillo, Leo leocolalillo.com Guglia → p. 156 / 157

D’Agostino, Beatrice beatricedagostino.com Iki Mono → p. 170 / 171

Index Designers

Chao, Chiachi instagram.com/ chiachi.chao Hemon → p. 162 / 163

Yearbook of Type 2021 / 22

Index Foundries

205TF France 205.tf Dédale → p. 104 / 105 Garaje → p. 146 / 147 Injurial → p. 172 / 173 Molitor → p. 236 / 237 Romain 20 → p. 330 / 331 Thelo → p. 372 / 373 Zénith → p. 406 / 407 29Letters / 29LT Spain 29lt.com 29LT Okaso → p. 278 / 279 3type China 3type.cn Dinkie Bitmap → p. 112 / 113 RVS Basic → p. 340 / 341 A2-TYPE United Kingdom a2-type.co.uk 1903 → p. 24 / 25 Reg.Modn → p. 320 / 321 Abstract Office United States of America abstractoffice.xyz Mid-City Gothic → p. 234 / 235 AG Typography The Republic of Korea AG Hunminjeongeum → p. 164 / 165 AG Super Black Gothic → p. 368 / 369

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AinsiFont France ainsifont.com Mona mono → p. 240 / 241

Alexander Slobzheninov Czech Republic behance.net/ slobzheninov Relaate → p. 322 / 323 Antipixel Type Studio Argentina antipixel.com.ar Dingos → p. 110 / 111 APK Type The Netherlands autograph.works APK Protocol → p. 300 / 301 ATS Type United States of America atstype.xyz Update Sans → p. 386 / 387 Atypical Greece atypical.gr Dolce Noir → p. 114 / 115 Binnenland Type Foundry Switzerland / Austria binnenland.ch Lexik → p. 200 / 201 Blaze Type France blazetype.eu Avril → p. 60 / 61 Joly → p. 174 / 175 Bonez Designz United Kingdom bonezdesignz.com Anti → p. 44 / 45 BrassFonts Germany brass-fonts.de BF Rotwang Pro → p. 336 / 337

Bureau Roffa The Netherlands bureauroffa.com Goldich → p. 150 / 151 Bureau Sebastian Moock Germany sebastianmoock.de THEMOOCK → p. 374 / 375 bvhtype France bvhtype.com BVH Baldinger → p. 62 / 63 BVH Bart → p. 66 / 67 Canada Type Canada canadatype.com Anaqa → p. 42 / 43 Bananas → p. 64 / 65 Colville → p. 96 / 97 Lincoln Electric → p. 202 / 203 Salden → p. 342 / 343 Cape Arcona Type Foundry Germany cape-arcona.com CA Edwald → p. 120 / 121 CA Slalom → p. 352 / 353 CAST Italy c-a-s-t.com Iki Mono → p. 170 / 171 Cinetype United Kingdom cinetype.com Fabbrica → p. 132 / 133 Collletttivo Italy collletttivo.it Sinistre → p. 350 / 351

Degarism Studio Indonesia degarism.com Fracktif → p. 136 / 137 DSType Portugal dstype.com Elaine → p. 124 / 125 Mesclo → p. 232 / 233 Nitida → p. 260 / 261 Due Studio Italy due-studio.com Grotta → p. 154 / 155 ECAL Typefaces Switzerland ecal-typefaces.ch Hemon → p. 162 / 163 Max Fett → p. 228 / 229 Parabole → p. 284 / 285 Review Mono → p. 326 / 327 Fabio Haag Type Brazil fabiohaagtype.com/en Igual → p. 168 / 169 Margem → p. 216 / 217

FontPeople United Kingdom fontpeople.co.uk Billie → p. 72 / 73 Cerco → p. 88 / 89 Zabal → p. 404 / 405 Fontwerk Germany fontwerk.com Case → p. 82 / 83 Pangea → p. 282 / 283

Jeremy Tankard Typography United Kingdom typography.net Yale Solis → p. 402 / 403 Julien Fincker Germany julienfincker.com Spitzkant → p. 360 / 361 Kanon Foundry Sweden kanonfoundry.com Bedow → p. 68 / 69

Gradient Type Norway wearegradient.net PolySans → p. 292 / 293

Kimmy Design United States of America kimmydesign.com Hawkes → p. 160 / 161 Refinery → p. 318 / 319 Winslow Book → p. 396 / 397 Winslow Title → p. 398 / 399

Gurup Stüdyo Turkey gurupstudyo.com Kalender → p. 180 / 181 Senkron → p. 346 / 347

Kontour United States of America kontour.com Utile Narrow → p. 390 / 391

HvD Fonts Germany hvdfonts.com Bouba Round → p. 76 / 77 Fabrikat Normal → p. 134 / 135

La Bolde Vita Germany laboldevita.com BHV → p. 70 / 71 Kanton Gothic → p. 182 / 183 Residenz Grotesk → p. 324 / 325 Unzyale → p. 384 / 385

FSdesign Switzerland teorema.ch Teorema → p. 370 / 371

In-House International United States of America weareinhouse.com Ragtag Display → p. 308 / 309

449

Floodfonts Germany floodfonts.com Arpona → p. 54 / 55

Fontador Germany fontador.de Object → p. 270 / 271

Index Foundries

CSTM Fonts Russia / Spain type.today/en/designer/ cstm-fonts-cstm-fonts Loos → p. 206 / 207 Lurk → p. 208 / 209 Navigo → p. 248 / 249 Normalidad → p. 262 / 263 CSTM Xprmntl → p. 400 / 401

Yearbook of Type 2021 / 22

Index OpenType Features

Proportional Oldstyle Oldstyle numerals are typeset with varying heights, based on the line of running text.

This allows them to integrate more smoothly with mixed uppercase and lowercase letters and small capitals.

Proportional figures have variable spacing between each letter.

Tabular Oldstyle Oldstyle numerals are typeset with varying heights, based on the line of running text.

They integrate better into mixed uppercase and lowercase letters and small capitals. Tabular figures each have the same width and are preferably used when numerals will be read in columns.

Proportional Lining The height of lining numerals is usually based on the height of the capital letters and uniform throughout.

The figures are positioned on the baseline and align with the capital height of the typeface. Proportional lining figures have variable spacing between each letter.

Tabular Lining Tabular lining figures have the same height as capital letters. Like proportional lining figures, they are uniform in height, but all have the same width.

Tabular lining figures are preferably used when numerals will be read in columns.

Standard Ligatures A ligature replaces a sequence of characters with a single ligature glyph, where characters may overlap or could be better positioned. The most common are f-ligatures, where f is combined with its following letter to adjust spacing and reach a more pleasing appearance.

Discretionary Ligatures Special ligatures, oftentimes solely aesthetic combinations, which can be applied at the user’s discretion to offer variation.

Historical Ligatures These are ligatures like long s combinations, which are obsolete in today’s writing but can be applied at the user’s discretion.

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All Caps All letters of a word or text are set in capital or uppercase letters.

Small Caps Lowercase characters are replaced by glyphs that look like uppercase letters but reduced in height and weight, close to the surrounding lowercase glyphs.

Capitals to Small Caps Capital letters are replaced by small caps, which are glyphs that look like uppercase letters but reduced in height and weight, close to the surrounding lowercase glyphs.

Petite Caps Small Caps are 30 % larger than the x-height of the font’s letters, and 70 % of the height of full capital letters. To differentiate between these two character types, the x-height form is called Petite Caps, preserving the name Small Caps for the larger variant.

Capitals to Petite Caps Capital letters are replaced by Petite Caps.

Superscript Characters that are set above the baseline of the typeface, oftentimes to indicate a foot-called superscript.

They are usually smaller than the lowercase letters.

Titling Alternates Characters with special forms created for Display use, which are meant to be used in large sizes.

Swashes Swashes are energetic terminals on a glyph.

You can also call them tails or entry strokes.

Often times they can be found on the Italics of a serif font.

Contextual Swashes Contextual Swashes are swashes added to letters based on the characters around them.

All Alternates Presents all alternate forms of the chosen character in a list.

Yearbook of Type 2021 / 22

Fractions A single mathematical glyph, which combines two or more numbers separated by a slash.

Alternative Fractions An alternative single mathematical glyph, which combines two or more numbers separated by a slash.

Numerator A number, which is usually smaller than the lowercase letters of a typeface and meant to be used above the slash in a fraction glyph.

Denominator A number which is usually smaller than the lowercase letters of a typeface and meant to be used below the slash in a fraction glyph.

Ornaments Decorative symbols, which are sometimes included in a typeface character set and match its temper and style.

Arrows Symbols showing direction, which are included in a typeface character set to match with its temper.

Stylistic Alternates This OpenType feature offers various alternatives to different letters and letter combinations, giving the user more options.

Some change only the appearance of a single character, others the look of a whole word or phrase.

Stylistic Sets Stylistic Sets group different sets of Stylistic Alternates together based on appearance, so that choosing between several Stylistic Alternate options becomes simpler for the user.

Index OpenType Features

Ordinals Ordinal numbers indicate a progression and are often times written with numerals followed by letter suffixes. In English, for example, you would write 1st, 2nd, 3rd, etc., with the suffix acting as an ordinal indicator.

Contextual Alternates Applies a second substitution feature based on a match of a character pattern within a context of surrounding patterns.

Historical Forms Obsolete forms of characters, which can be applied at the user’s discretion.

Slashed Zero The Slashed Zero is an alternative to the number 0 (zero), with a slash through it.

The glyph is often used to differentiate the number zero (0) from the capital letter O. Justification Alternates Used mainly in cursive languages like Arabic, where the justification is usually achieved not by extending the space between the characters but by extending the width of some characters.

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Subscript Characters that are set at or below the baseline of the typeface, often seen in chemical equations or the like. Usually subscript is smaller than the lowercase letters.

Imprint

Yearbook of Type 2021 / 22 Publisher Slanted Publishers UG (haftungsbeschränkt) Nebeniusstrasse 10 76137 Karlsruhe, Germany T +49 (0) 721 85148268 info@slanted.de slanted.de @slanted_publishers © Slanted Publishers, Karlsruhe, 2021 Nebeniusstrasse 10, 76137 Karlsruhe, Germany All rights reserved.

ISBN: 978-3-948440-24-4 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.

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 Publishing Direction Lars Harmsen, Julia Kahl Creative Direction Lars Harmsen Art Direction & Managing Editor Clara Weinreich Junior Art Direction Viola Dessin Proofreading Lies Wolf, Julia Kahl Website yearbookoftype.com Kolja Buscher Fonts Suisse Neue + Suisse Int’l, Swiss Typefaces, swisstypefaces.com

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Cover Fonts BHV, p. 70 / 71 Garaje, p. 146 / 147 Lazare Grotesk, p. 196 / 197 Referenz Grotesk, p. 316 / 317 RVS Basic, p. 340 / 341 Trois Mille (3000), p. 380 / 381 CSTM Xprmntl, p. 400 / 401

Printing & Book Binding Eberl & Koesel GmbH & Co. KG, eberlkoesel.de Cover Material PEYPRINT shantung, 130 g / sm peyer graphic gmbh, peyergraphic.ch Paper Inside: Holmen TRND 2.0, 80 g / sm, holmenpaper.com Endpaper: SURBALIN seda, 115 g / sm, Sonnengelb, peyer graphic gmbh, peyergraphic.ch Spot Colors HKS Warenzeichenverband e. V. hks-farben.de HKS 3 N, HKS 13 N, HKS 15 N, HKS 26 N, HKS 31 N, HKS 33 N, HKS 34 N, HKS 35 N, HKS 42 N, HKS 44 N, HKS 48 N, HKS 49 N, HKS 52 N, HKS 57 N, HKS 97 N With Thanks to Christian Absalon, Veronika Burian, Murat Çil, Matthieu Cortat, Diana Girrbach, Eva Kubinyi, Peter Niessen, Sofia Orfanidou, and HansGeorg Trentz Specimen Fact Sources We do not take any responsibility for the substance of facts on the type specimen pages.

About Slanted Publishers 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.

It’s great to see that more people than ever understand how important typography is. The choice of a typeface and the design of a text can have a dramatic impact on its meaning. Typefaces don’t need words to convey a message.

The responsibility for graphic designers in choosing the right typeface is therefore crucial. But how do you find the right typeface in the infinite universe of possibilities?

The Yearbook of Type 2021 / 22 makes it easy to get an overview of recently published typefaces from around the world while understanding their visual language.

Each typeface and -family is presented on a doublepage spread. On the left side, a specimen gives an idea of possible applications and shows the beauty and character of each typeface. This year’s theme is music. As music conveys emotions through melodies and lyrics, typography does so through its form and balance of letters. The right page provides detailed information about the designers and foundries, as well as an overview of the typefaces’ features.

The Yearbook of Type is complemented by a series of essays that offer background information about typography, history, technical details and how-to guides, and the latest trends in current type design. An index sorts typefaces by classifications, besides listing designers, foundries, and OpenType features. Last but not least, an online microsite presents all featured fonts, so that users can test or purchase them.

Feel inspired and listen to type, the soundtrack of our lives!

SLANTED.DE

€ 39.– / $ 47.–