Yearbook of Type #7—Plant Edition by Slanted Publishers

180 TYPEFACES

Squeezed Thin, Squeezed Thin Italic, Squeezed Light, Squeezed Light Italic, Squeezed Medium, Squeezed Medium Italic, Squeezed Dark, Squeezed Dark Italic, Squeezed Dense, Squeezed Dense Italic, Condensed Fine, Condensed Fine Italic, Condensed Regular, Condensed Italic, Condensed Bold, Condensed Bold Italic, Condensed Black, Condensed Black Italic, Tight Thin, Tight Thin Italic, Tight Light, Tight Light Italic, Tight Medium, Tight Medium Italic, Tight Dark, Tight Dark Italic, Tight Dense, Tight Dense Italic, Narrow Fine, Narrow Fine Italic, Narrow Regular, Narrow Italic, Narrow Bold, Narrow Bold Italic, Narrow Black, Narrow Black Italic, Compact Thin, Compact Thin Italic, Compact Light, Compact Light Italic, Compact Medium, Compact Medium Italic, Compact Dark, Compact Dark Italic, Compact Dense, Compact Dense Italic, Fine, Fine Italic, Regular, Italic, Bold, Bold Italic, Black, Black Italic, Ample Thin, Ample Thin Italic, Ample Light, Ample Light Italic, Ample Medium, Ample Medium Italic, Ample Dark, Ample Dark Italic, Ample Dense, Ample Dense Italic, Wide Fine, Wide Fine Italic, Wide Regular, Wide Italic, Wide Bold, Wide Bold Italic, Wide Black, Wide Black Italic, Grand Thin, Grand Thin Italic, Grand Light, Grand Light Italic, Grand Medium, Grand Medium Italic, Grand Dark, Grand Dark Italic, Grand Dense, and Grand Dense Italic

Triticum aestivum (Wheat), Oryza sativa (Rice), Zea mays (Maize), Solanum tuberosum (Potato), Glycine max (Soybean), Hordeum vulgare (Barley), Coffea arabica (Arabica Coffee), Theobroma cacao (Cacao Tree), Hevea brasiliensis (Rubber Tree), Vitis vinifera (Grape Vine), Brassica oleracea (Cabbage), Cocos nucifera (Coconut Palm), Citrus sinensis (Orange), Malus domestica (Apple), Olea europaea (Olive Tree), Musa spp. (Banana), Saccharum officinarum (Sugarcane), Arachis hypogaea (Peanut), Sorghum bicolor (Sorghum), Nicotiana tabacum (Tobacco), Helianthus annuus (Sunflower), Camellia sinensis (Tea).

DESIGN 2024, Slanted Publishers, GERMANY LANGUAGE SUPPORT The World OPENTYPE FEATURES A–Z

YEARBOOK OF TYPE #7— PLANTS

Adapter Georgian Text

AdAdapter Georgian Text is a variable typeface with weights ranging from Extralight to Black and an axis ranging from Upright to Italic: Extralight, Extralight Italic, Light, Light Italic, Regular, Italic, Medium, Medium Italic, Semibold, Semibold Italic, Bold, Bold Italic, Extrabold, Extrabold Italic, Black, and Black Italic

Adapter Georgian Text is built for contemporary modernist aesthetics, focused on ergonomics, even rhythm, and ease of reading. Its accentuated features, generous spacing, overall openness, and slightly squared counters all lend themselves well to lower resolutions. The Georgian-specific proportions with longer ascenders and descenders ensure functional parity with the other scripts in the Adapter collection. The fonts include both the lowercase Mkhedruli letters and the capital Mtavruli forms.

DESIGN 2024, Ana Sanikidze FOUNDRY Rosetta Type Foundry, Czech Republic LANGUAGE SUPPORT Latin Extended, Georgian OPENTYPE FEATURES Tabular Lining, Proportional Lining, All Caps, Superscript, Subscript, Ordinals, Fractions, Numerator, Denominator, Arrows, Stylistic Alternates, Stylistic Sets, Slashed Zero ,Localized Forms, Case Sensitive Forms, Font Variations

Adapter Mono PE is a variable typeface with weights ranging from Extralight to Black and an axis ranging from Upright to Italic: Extralight, Extralight Italic, Light, Light Italic, Regular, Italic, Medium, Medium Italic, Semi Bold, Semibold Italic, Bold, Bold Italic, Extrabold, Extrabold Italic, Black, and Black Italic

Adapter Mono PE is a monospaced type family with an editorial state of mind. Compared to most other monospaced fonts, Adapter Mono offers a wide range of weights and an italic with cursive alternates. To make the italic even more distinct on screen and in small sizes, we slanted it at a steeper angle than in Adapter, its proportional antecedent. There is an abundance of combinable arrows, circled numerals, frame-building blocks, button-building magic, symbols, and a handful of emojis.

DESIGN 2022, Tania Chacana, David Březina FOUNDRY Rosetta Type Foundry, Czech Republic LANGUAGE SUPPORT Latin Extended, Cyrillic, Greek OPENTYPE FEATURES Tabular Lining, Standard Ligatures, All Caps, Superscript, Subscript, Ordinals, Fractions, Numerator, Denominator, Ornaments, Arrows, Stylistic Alternates, Stylistic Sets, Slashed Zero, Localized Forms, Case Sensitive Forms, Font Variations

Music soothe THE SAVAGE SNAKE PLANT!

// to soothe (8:12) SAVAGE SNAKE PLANT!

RA �� ficusꞌGg �

RA � . /lyrata �p•ẞ Q

“《쌀》”

ORYZA

쌀은 곡물의 일종이며, 된 형태로는

전

반 이상, 특히 아시아와 카에서 주요

☏&@⸺⦿♬

〔ssal〕❿ ☏&@⸺⦿♬ 일종이며, 그 재배 세계 인구의 절

아시아와 아프리 식량입니다.

BLUE FERN

A A0001G21A1103A0010V3221v0010E333E0021 tequiler0* éricmexico №38

A0001G21A1103A0010V3221v0010E333E0021& tequiler0* mexico @Fréd Albert ≈ 40% ❤

Dina Chaumont

su N ☀# floW☘

☞��

Dina Chaumont

✳Sweet Citrus × healthy! & KK✺fk

aurantium ↪useful!

�� simple.

2� never ↘enough aa�

never ↘enough aa�

Formale Grotesque Alternate

Fo

Formale Grotesque Alternate is a typeface of twelve weights: L1, L2,

L3, L4, N1, N2, N3, N4, B1, B2, B3, and B4

The starting point was a found object, a letter board from the 1930s with capital letters. The lower-case letters were derived from the capital letters. With a slight contrast in stroke width, a new approach was pursued by mixing geometrically constructed and dynamic forms, and now supplemented with humanistic shapes as Formal Grotesque Alternates in a additional stylistic set.

DESIGN 2024, Michael Mischler, Nik Thoenen FOUNDRY Binnenland, Switzerland

LANGUAGE SUPPORT Latin Extended OPENTYPE FEATURES Proportional Oldstyle, Tabular Lining, Proportional Lining, Standard Ligatures, Discretionary Ligatures, All Caps, Small Caps, Capitals to Small Caps, Superscript, Subscript, Ordinals, Contextual Alternates, Fractions, Numerator, Denominator, Arrows, Stylistic Alternates, Stylistic Sets, Case Sensitive Forms

Fr

Franzi Pro is a variable typeface with widths ranging from UltraCondensed to UltraExtended, and weights ranging from Hairline to Black, plus Italics: Hairline UltraCondensed, Hairline UltraCondensed Italic, UltraLight UltraCondensed, UltraLight UltraCondensed Italic, UltraCondensed, UltraCondensed Italic, DemiBold UltraCondensed, DemiBold UltraCondensed Italic, ExtraBold UltraCondensed, ExtraBold UltraCondensed Italic, Extralight, Extralight Italic, Light, Light Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic, Hairline Extended, Hairline Extended Italic, UltraLight Extended, UltraLight Extended Italic, Extended, Extended Italic, DemiBold Extended, DemiBold Extended Italic, ExtraBold Extended, ExtraBold Extended Italic, Extralight UltraExtended, Extralight UltraExtended Italic, Light UltraExtended, Light UltraExtended Italic, Medium UltraExtended, Medium UltraExtended Italic, Bold UltraExtended, Bold UltraExtended Italic, Black UltraExtended, and Black UltraExtended Italic

Sans-serif Franzi Pro offers a neutral yet distinctive style. It combines geometric character forms with neo-grotesque elements, creating a fresh and unique appearance. The typeface family has recently been enhanced with a width-axis, allowing Franzi’s personality to be expressed in ultra-narrow and ultra-wide letterforms. This versatility is further complemented by its extensive range of 100 styles and support for Greek, Cyrillic, the International Phonetic Alphabet (IPA), and Pan-African alphabets.

DESIGN 2024, Ekke Wolf FOUNDRY Wannatype, Austria, International Phonetical Alphabet LANGUAGE SUPPORT Latin Extended, Cyrillic, Greek

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, Swashes, All Alternates, Contextual Alternates, Fractions, Numerator, Denominator, Ornaments, Arrows, Stylistic Alternates, Stylistic Sets, Historical Forms, Slashed Zero, Case Sensitive Forms

(CUCUMIS

(SEONIN-JANG)

선인장 물을 너무 자주 주지 마세요!

DRZEWO. (POL) Árvore. (FRA) Koks. (LVA)

Strom.

(CZE)

Drvo. (HRV)

Puu.

(FIN)

Trifolium dubium (lesser / yellow clover, Irish: seamair bhuí) or Trifolium repens

(white clover, Irish: seamair bhán)

(seamróg)

irish → seamair “youngclover”

GARDEN STAROFBETHLE HEM

ΚΉΠΟΣ ΑΣΤΈΡΙ ΤΗΣ .

ΒΗΘΛΕΈΜ

Plumbago saguaro Ca {ë}“”ăë artePi theton

CaCtus

Spiral Aloe poly Fibonacci ?

poly Fibonacci phylla ¡

USH

*ROOm

USH *ROOm

ASH

④⑤–⑥⑤ species

Lilac fäm—

[⅛ Fraxinus → ⅜ Oleacæ]

tree.

Seabirds

Se

Seabirds is a variable typeface with weights ranging from Thin to Bold, plus Italics: Thin, Thin Italic, ExtraLight, ExtraLight Italic, Light, Light Italic, Regular, Italic, Book, Book Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, and Bold Italic

Seabirds is a homage to the historical legacy of lineals. It combines various sub-genres of the sans-serif category within a single typeface, allowing users to navigate between geometric and humanistic shapes while maintaining overall coherence. This typeface emerged from a study of book covers from the first half of the 20th century—particularly those crafted in the 1930s for the renowned publisher Albatross.

DESIGN 2024, Rosalie Wagner FOUNDRY 205TF, France

LANGUAGE SUPPORT Latin Extended, International Phonetic Alphabet OPENTYPE FEATURES Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, Standard Ligatures, All Caps, Superscript, Subscript, Ordinals, Fractions, Numerator, Denominator, Ornaments, Arrows, Stylistic Sets, Slashed Zero, Localized Forms, Case Sensitive Forms, Font Variations

Se

Senhan is a typeface of five weights plus Italics: Light, Light Italic, Regular, Italic, Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, and Bold Italic

Senhan was originally conceived via an early AI tool called Prototypo. Then through a nearly year-long process of refinement and redesign the final typeface took shape. Defined by angular serif contours, this family of five weights and matching italics is a real eye-catcher at display sizes. But with a tall’ish x-height for legibility, and a medium contrast, Senhan is a workhorse in smaller, lengthy blocks of copy.

DESIGN 2022, Craig Hansen FOUNDRY Studio Principle, United States of America

LANGUAGE SUPPORT Latin

OPENTYPE FEATURES Standard Ligatures

Epipremnum Variegated grows ↑ down along a 45%

Epipremnum Pinnatum

Hansen, Craig studioprinciple.com @craighansen74 SENHAN → P. 473–475

Hearne, John cargocollective.com/ johnhearne

@johnhashtaghearne

VALUECASE → P. 548–550

Hecksher, Jonas playtype.com @playtype

SOUTH EAST → P. 500–502

Hernández, Daniel latinotype.com @latinotype

SANTI → P. 458–460

Hernández, Ely latinotype.com @latinotype

PRINCESA → P. 407–409

Hernández, Enrique latinotype.com @latinotype

PRINCESA → P. 407–409

Hill, Jonathan thenorthernblock.co.uk @northernblock

FAGUN → P. 197–199 HUBSCH → P. 269–271

Hirter, Roland hirtergrafik.ch

LINEA 72 → P. 299–301

Hirter, Thomas thomashirter.ch @thomas_hirter LINEA 72 → P. 299–301

Hofrichter, Dieter hoftype.com

CARMAY → P. 128–130 MADIGAN → P. 317–319

Hörmann, Roland phospho.at @phospho.at

GYST → P. 260–262

Hornus, Jeremie black-foundry.com @Jeremiehornus

BRILLANTE → P. 110–112 TONOS → P. 533–535

Hübsch, Stefan peter-schmidt-group.de @peterschmidtgroup

EON HEAD → P. 185–187

KNAUF → P. 281–283

PSG GROTESK → P. 410–412

Hugues, Léon leonhugues.com

MACAN → P. 311–313

Jelesijević, Dušan tourdefonts.com @tourdeforcefontfoundry DUCKTAIL → P. 176–178

Jocic, Jovana @zacan_macan

MACAN → P. 311–313

John, Thomas thomasjohn.de @thomasjohn.de GAZET → P. 239–241

Kamimura, Makoto kkco.jp @kamimura_co

NORM NO. 6 → P. 368–370

Kiel, Ben xyztype.com @xyz_type

PLUMBAGO → P. 398–400

POLYMODE → P. 401–403

Kikuchi, Shuji sugargliderz.com

OORRNNOOTT → P. 377–379

Kim, Jookyeong @jooo.gng

AG CHOIJEONGHO MINBURI SCREEN → P. 137–139

Kobuzan, Maksym behance.net/mkobuzan @mkobuzan PAHIN → P. 380–382

Kochel, Travis vectrotype.com

@vectrotype

PLUMBAGO → P. 398–400

Koovit, Anton antonkoovit.com

@xenheight

BATON NOUVEAU → P. 95–97

Korolkova, Alexandra paratype.com

@leksandra

KUDRY → P. 290–292

Kryvoshyya, Zakhar behance.net/zakharkryvoshyya @zakharkryvoshyya

KAMENYAR → P. 275–277

TREMBITA → P. 536–538

Ku, Moa @moa_ku

AG CHOIJEONGHO MINBURI SCREEN → P. 137–139

AG MADANG DISPLAY → P. 314–316

Kwok, Calvin sharptype.co

@calvinkwok.co

SHARP EARTH GLOBAL → P. 482–484

Laydner, Ana analaydner.com

@fontsforbranding

CURIOSA → P. 155–157

PASSEIO → P. 383–385

PASSO → P. 386–388

PITANGA → P. 395–397

VERSOS → P. 551–553

Leal, Pedro dstype.com

@dstype_foundry

BLUTEAU → P. 107–109 MIURA → P. 347–349

Lee, Noheul

@noheul_and_type

MCQUEEN → P. 341–343

van Leeuwen, Mark markvanleeuwen.co

@markvanleeuwn

CORTESE → P. 149–151

Li, Yuxin black-foundry.com

@yuxin.lii

FAT → P. 200–202

De Libero, Mario zetafonts.com

@mario_de_libero

EVANS → P. 194–196

QUARK → P. 419–421

Lindskrog, Siri Lee formal-settings.com

@formal.settings

SILVANA → P. 491–493

López, Juanjo juanjez.com

@juanjezlopez

ROTULO → P. 449–451

Lu, Yang TELKA → P. 524–526

Maccaux, Monica ampersandtype.com @ampersandtype

SFORZA → P. 476–478

STRING THEORY → P. 515–517

Malossi, Alberto albertomalossi.com @albertomalossi

BURNS → P. 116–118

Marshall, Harrison frostype.xyz @frostype.xyz

FT SCENIK → P. 461–463

Martinez Diana, Julia antipixel.com.ar @antipixel_ CUMBRE → P. 152–154

McCready, Alistair monolith.nz @monolith.nz

STUFF TYPE SUITE → P. 518–520

WICKLIFFE → P. 560–562

Meier, Martina bureaumia.ch @bureau_mia

NN KONRAD → P. 287–289

Meier, Olli olli-meier.de @tyyyyypo

MCQUEEN → P. 341–343

Menard, Adrien adrienmenard.fr @edition.studio

PHONK → P. 392–394

Mischler, Michael binnenland.ch @binnenland_typefaces

FORMALE GROTESQUE

ALTERNATE → P. 218–220

Mitrovic, Milos wearegradient.net

@gradient.type

GOSH → P. 248–250 NEUSANS → P. 359–361

Mizera, Viktor displaay.net @miseroni FENUL → P. 206–208

Mohr, Sofia sofiamohr.com @sofiamohr.design CAMPECHE → P. 125–127 PITANGA → P. 395–397

Moock, Sebastian sebastianmoock.de @sebastianmoock SCHWARZWALD × MOOCK → P. 467–469

Nacmias, Sabrina fairetype.com @fairetype LUMA SANS → P. 305–307

Narayanan, Anagha anagha-narayanan.com @anaghanarayanan SHARP EARTH GLOBAL → P. 482–484

Nedashkovsky, Nick @nnedashkovskiy KUDRY → P. 290–292

Nguyen, Quang-Vinh 5w.design @fuenfwerken 5W DISPLAY → P. 41–43

Nowak, Helmut R. @souled.pepper WIENERLINIEN → P. 563–565

Nübel, Viktor viktornuebel.com

@working_with_type TWISTA → P. 542–544

Olivier, Loris lo-ol.design

@maru_loris

MCQUEEN → P. 341–343

Olsen, Johanne Lian lianolsen.com

@j_lianolsen FETTER → P. 209–211

Ostromentsky, Yury cstmfonts.com

@cstmfonts BACKSLANTED → P. 89–91 MAREGRAPHE → P. 332–334 ZHIVOV → P. 578–580

Pancini, Cosimo Lorenzo zetafonts.com

@cosimolp

DIALOGUE → P. 167–169 EVANS → P. 194–196

FREITAG → P. 224–226 QUARK → P. 419–421 UNIGEO → P. 545–547

Paparelli, Nolan nolan-paparelli.ch @nolan_paparelli BURNS → P. 116–118

Papiernikova, Jana papier.work @jana_papier FENUL → P. 206–208

Park, Miyoun mia-park.com @mmia.park

FEMININE GROTESK → P. 203–205

Park, Chang-gyu @chang.gyu.park

AG MADANG DISPLAY → P. 314–316

Park, Hansol @hansol.otf

AG CHOIJEONGHO MINBURI SCREEN → P. 137–139

Parra Barrios, Federico federico.website @federicoparrabarrios HOUR → P. 266–268

Parson, Michael typogama.com

@typogama MATRYO → P. 338–340

SCHABERSTEIN → P. 464–466

Peng, Klio sharptype.co

@penghuijan

SHARP EARTH GLOBAL → P. 482–484

205TF

France

205.tf

@205tf

AUGURE → P. 86–88

BERTIN → P. 104–106

CX80 → P. 158–160

HOUR → P. 266–268

LEOPARDO → P. 296–298

RENOTYPE → P. 431–433

SEABIRDS → P. 470–472

AG Typography Institute Republic of Korea agfont.com

@ag.typography.institute

AG CHOIJEONGHO MINBURI

SCREEN → P. 137–139

AG MADANG DISPLAY → P. 314–316

AinsiFont

France ainsifont.com

@ateliertelescopique

EPIGRAM → P. 188–190

Alex Slobzheninov

Czech Republic slobzheninov.com

@slobzheninov

ART GROTESK → P. 77–79

PREFERE → P. 404–406

Ampersand Type Foundry

United States of America ampersandtype.com @ampersandtype

SFORZA → P. 476–478

STRING THEORY → P. 515–517

Antipixel Type Studio Argentina antipixel.com.ar @antipixel_

CUMBRE → P. 152–154

Apex Type Foundry

France

apextypefoundry.com

@apex_type_foundry RIFUGIO → P. 440–442

Azuliq Type

Germany azuliqtype.com @azuliqtype

COPANERO → P. 143–145 BEFORE PARIS → P. 101–103

Bastarda Type

Colombia bastardatype.com

@bastardatype

JAZZ BT → P. 272–274

Binnenland

Switzerland

binnenland.ch

@binnenland_typefaces

FORMALE GROTESQUE

ALTERNATE → P. 218–220

Black[Foundry]

France

black-foundry.com

@blackfoundry

BRILLANTE → P. 110–112

FAT → P. 200–202

TONOS → P. 533–535

Blast Foundry

The Netherlands

blast-foundry.com

@blast_foundry

BAY SANS → P. 98–100

SHARF → P. 479–481

Blaze Type France blazetype.eu

@blazetype

KYLE → P. 293–295

PAHIN → P. 380–382

RELAIS DISPLAY → P. 428–430

RULES SLAB → P. 452–454

SILVANA → P. 491–493

Bleifrei Type

Switzerland

bleifreitype.ch

@bleifreitype

BT FLIMMER → P. 215–217

Bureau Sebastian Moock

Germany

sebastianmoock.de

@sebastianmoock

SCHWARZWALD × MOOCK → P. 467–469

BVH Type

France

bvhtype.com

@bvhtype

DINA CHAUMONT → P. 170–172

Cadson Demak

Thailand

cadsondemak.com

@cadsondemak

CHALAK → P. 134–136

MAHANAKHON → P. 323–325

Cape Arcona Germany cape-arcona.com

@CAPEARCONATYPE

CA YOSHIRO → P. 569–571

CRU Brand Consultancy Germany madebycru.com

@madebycru

VALUECASE → P. 548–550

CSTM Fonts

Georgia, Spain cstmfonts.com

@cstmfonts

BACKSLANTED → P. 89–91 GUILD → P. 254–256

MAREGRAPHE → P. 332–334

ZHIVOV → P. 578–580

Darden Studio United States of America dardenstudio.com

@dardenstudiofonts

GAMAY → P. 236–238

KIT → P. 278–280

Detail Type Foundry

Japan detail.tf @detail.tf

NORM NO. 6 → P. 368–370

Displaay Type Foundry Czech Republic displaay.net

@displaay_xyz

FENUL → P. 206–208

PERFEKTTA → P. 389–391

DSType Foundry Portugal dstype.com

@dstype_foundry

BLUTEAU → P. 107–109

MIURA → P. 347–349

edition.studio Type Foundry

United States of America edition.studio/ type-foundry

@edition.studio

PHONK → P. 392–394

Fabio Haag Type Brazil fontsforbranding.com @fontsforbranding

CURIOSA → P. 155–157

PASSEIO → P. 383–385

PASSO → P. 386–388

PITANGA → P. 395–397

VERSOS → P. 551–553

Fable Singapore fable.design @hellofable

FLARA → P. 212–214

TENET → P. 527–529

Face2Face Germany czyk.de

STICKCZYK → P. 509–511

Faire Type

United States of America fairetype.com @fairetype

LINK OVERLAP → P. 302–304 LUMA SANS → P. 305–307

Fatype Switzerland fatype.com @fatypefonts

BATON NOUVEAU → P. 95–97 MAKE → P. 329–331

Fincker Font Cuisine Germany fontcuisine.com @julienfincker GRANTIG → P. 251–253

Fontwerk Germany fontwerk.com @fontwerk

MCQUEEN → P. 341–343 PUSH → P. 413–415

Formula Type Italy formulatype.com @formula.type FT HABIT → P. 263–265

Frere-Jones Type United States of America frerejones.com

@frerejones COMMUNITY GOTHIC → P. 140–142

Friederike Wagner

friederikewagner.com @rike_wa ARKONA → P. 68–70

Frost United Kingdom frostype.xyz @frostype.xyz FT SCENIK → P. 461–463

Fuenfwerken Design AG Germany 5w.design @fuenfwerken 5W DISPLAY → P. 41–43

Gradient Type Norway wearegradient.net @gradient.type

GOSH → P. 248–250 NEUSANS → P. 359–361

Hanken Design Co.® Philippines hanken.co @hankendesignco

MAGNETIK → P. 320–322

Hoftype Germany hoftype.com

CARMAY → P. 128–130 MADIGAN → P. 317–319

Huy! Fonts Spain juanjez.com @juanjezlopez

ROTULO → P. 449–451

It’s just Letters Germany itsjustletters.de

FRITZI → P. 227–229

Jeremy Tankard Typography

United Kingdom typography.net

@JeremyTankardTypography

RAVENSCAR → P. 422–424

KOBU™ Foundry

Portugal

kobufoundry.com

@kobufoundry

CARVO™ POSTER → P. 131–133

Kontour Type

United States of America kontour.com

@kontourtype

DATEI GROTESK → P. 164–166

LA BOLDE VITA

Germany laboldevita.com

@laboldevita

TIMEZ → P. 530–532

Latinotype

Chile latinotype.com

@latinotype

CAMPECHE → P. 125–127

CORDILLERA → P. 146–148

LTT RECOLETA → P. 425–427

PRINCESA → P. 407–409

SANTI → P. 458–460

Lazydogs Typefoundry

Germany

lazydogs.de

@lazydogtype

LD ELLY → P. 182–184

Le Laïc: Type Foundry

Poland laic.pl

@laictype

NIEUK MONO → P. 365–367

Lian Olsen

United Kingdom lianolsen.com

FETTER → P. 209–211

Lift Type

France lift-type.fr

@lifttype

GINKA → P. 245–247

Mark van Leeuwen Germany

markvanleeuwen.co

@markvanleeuwn

CORTESE → P. 149–151

Monolith

New Zealand monolith.nz

@monolith.nz

Yearbook of Type #7

Publisher

Slanted Publishers UG (haftungsbeschränkt)

Nördliche Uferstraße 4–6 76189 Karlsruhe, Germany T +49 (0) 721 85148268 info@slanted.de slanted.de @slanted_publishers

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 is published by the Deutsche Nationalbibliothek, where this publication is listed. Detailed bibliographic data is available online at dnb.de.

Publishing Direction

Lars Harmsen, Julia Kahl

Creative Direction

Lars Harmsen

Art Direction & Managing Editor

Juliane Lipp

Graphic Design Assistance

Linus Haug, Greta Landmann

Final Design

Julia Kahl

Website yearbookoftype.com

Kolja Buscher

Fonts

Cal Roundhand, Posterizer KG, myfonts.com/de/ collections/posterizerkg-foundry

Piet Mono, TypeMates, typemates.com

Suisse Int’l, Swiss Typefaces, swisstypefaces.com

Printing

Stober Medien, stober-medien.de

Book Binding

Buchbinderei Spinner, josef-spinner.de

Cover Material

PEYPRINT honan, 130 g / sm peyer graphic, peyergraphic.ch

Paper

Inside: Magno Matt, 115 g / sm, Igepa, igepa.de

Endpaper: SURBALIN gerippt, 115 g / sm, 4072 oliv, peyer graphic, peyergraphic.ch

Spot Colors

Cover: Pantone 807 U, 520 U

Inside: Pantone 802 C, 520 C

With Special Thanks To Diana Girrbach, Marcus Grunvinck, Stephan Schmidtke, Tobias Spinner, as well as the type designers and foundries, for creating such beautiful, interesting, and innovative new typefaces!

Specimen Fact Sources

We do not take any responsibility for the substance of facts on the type specimen pages.

About Slanted Publishers

Slanted Publishers is an internationally active independent design, publishing and media house, founded in 2014 by Lars Harmsen and Julia Kahl. They publish the award-winning print magazine Slanted, as well as unique, creative, and bold print publications within the field of Visual Culture, Design, Photography, Illustration, and Typography.

The classic Yearbook of Type #7 is the ultimate resource for discovering the latest in typeface design and typography trends. With a fresh design and a plant-themed focus, this edition offers a distinctive take on typography. Each typeface is showcased across three pages, featuring a visual specimen, detailed characteristics, language support, and background information. A comprehensive index allows for quick reference, while the online microsite enables easy browsing and direct purchases. Yearbook of Type #7 is the go-to reference for anyone passionate about typography!