Arabic for “enough!”, this noble design proves not only that actions speak louder than words, but also that typefaces can amplify voices of dissent and resilience.| Typographica
María Carla Mazzitelli, was inspired by gestural graphic expressions, like paper cut-outs (découpes!) and spontaneous handwriting.| Typographica
Maria Doreuli was able to take the fearless ideas she had as a student to a professional level. I believe the market needs more typefaces like CoFo Chimera — fewer rushed ideas, more confidence in execution.| Typographica
As a fan of error, serendipity, and misuse, I’ve always enjoyed the winks of oversized ink-trapped type. Though these days, the form falls more and more into pastiche. Karelia’s Outtakes style takes a fresh sidestepped approach to this genre.| Typographica
I picture five-year-old James Edmondson, sitting on the floor of his dad’s graphic design studio back in the early 1990s, poring over vintage Letraset catalogs and copies of U&lc from the 1970s, absorbing it all like a sponge.| Typographica
Hesse Antiqua is a titling face that, like a particularly fine wine, is best reserved for special occasions. These are letters that can lend a sense of dignity and permanence to titles and inscriptions.| Typographica
Like other serial or “multiform” type families, Reforma explores versatility by way of a common skeleton wearing different outfits. In this case, though, Lo Celso also wanted to convey the nature and values of the institution that commissioned the project (the Universidad Nacional de Córdoba in Argentina): tradition, excellence, diversity, research, and inclusion.| Typographica
The way Katyi allows elements of broad-nib translation to become the raw material for abstraction reminds me of the limited palette that gives concrete poetry its striking power.| Typographica
FS Kim’s liveliness confidently evokes a calligrapher’s hand. Flair, character, heft, and a touch of self-consciousness — FS Kim is both versatile and really rather lovely.| Typographica
NN Rektorat, a typeface family currently consisting of fourteen cuts, features squarish, geometric glyphs whose origins date back to the early 1930s. Rudolf Barmettler has resurrected the family in collaboration with the Swiss type design studio Nouvelle Noire.| Typographica
Once in a blue moon, a revival contributes something missing, something lost. Berthe is rarer still because it actually contributes two things that today elude mainstream typography: a congenial evolution of the theatrical Didone style of type, and a viable alternative to the so-called “true” italic.| Typographica
Ziza is the second digital font release to emerge from Mark van Wageningen’s ongoing experiments in constructing, deconstructing, and reconstructing type, exploring the connections between various type technologies and materials, and — most flamboyantly — revisiting and exploring the possibilities of color type.| Typographica
Before I saw Kris Sowersby’s Heldane, I used to lament that Van den Keere didn’t receive as much enthusiasm from type designers as he deserved. Instead of directly interpreting a specific typeface, Sowersby summarizes what constitutes Van-den-Keere-ness, which he then refines and exaggerates.| Typographica
In an era of 1970s-inspired chonky serif typefaces, Empirica, by Tobias Frere-Jones and Nina Stössinger, traces the serif’s historical roots back much, much further. If the Romans had designed lowercase letters (and bold and italic letters), what would they look like?| Typographica
Tangly’s characters are composed by lines with subtle differences in thickness as they move through their square units. Connecting points are consistently placed on the four sides of each unit, so they can be all combined with each other, allowing almost endless possibilities of patterns. It is simply dazzling!| Typographica
“Over the past few years, Sharp Type have assembled an eclectic team of skilled young designers in an effort to produce audacious, high-quality work, while trying to change the industry from the inside. At the heart of this team is the workaholic memelord Connor Davenport. … I watched Garnett grow and evolve, both on Davenport’s Tumblr and on his Instagram. And — with all of its quirkiness — it started to grow on me, too.”| Typographica
For Study, Jesse Ragan transformed Rudolph Ruzicka’s 1968 hand-lettering into a typeface that “feels somehow calligraphic, metal, and digital all at the same time.”| Typographica
Mizan strikes a balance between aesthetics and legibility and, as such, provides a great starting point for graphic designers working with the Arabic script.| Typographica
A typeface’s identity rarely lies in the design of a single glyph but rather in the texture and rhythm created by the sequence of letters, words, paragraphs. And this is where Beatrice Display is at its best.| Typographica
Some strokes wind with a slight kink, some more traditionally swing into curve, and others are blunter, abruptly tapering and expanding. This is one of many instances where this typeface plays with contrast by harmonizing and mixing curves with sharp, straight edges.| Typographica
DJR pushes type past expected usage: whether it’s his super-heavy take on De Vinne that exists somewhere beyond the intended design’s theoretical limits, or the Venetian-inspired Fern that performs robustly at tiny sizes while retaining calligraphic style, gesture, and intention.| Typographica