Typefesse

Warning: this review will be full of juvenile humor and cheeky puns. Being holed up with my school-aged kids for the past nine months of 2020 has wreaked havoc on…
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Broome Sound

Broome Sound[1], a custom typeface designed by Tré Seals for the third issue of Umber Magazine[2], intrigues me for several reasons: its important historical reference; its craft; its simple beauty;…
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Roba

At first glance, Roba[1] may appear to be a deco revival display face useful only on rare occasions. And indeed, Franziska Weitgruber has created two subfamilies that echo the geometry-…
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Zangezi Sans

Although Daria Petrova’s Zangezi Sans[1] first appeared on the Future Fonts platform in 2018, most of its developmental releases happened in 2019. I appreciate the energy and idiosyncrasy of these…
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Arvana

Arvana[1], an elegant and kinetic multiscript typeface developed by Noheul Lee, uses western calligraphic features with Hangul brush traits to create dynamic and refined letterforms. The difficulty in creating a…
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Gustella

Thomas Thiemich’s Gustella[1] revisits the extreme-reverse-contrast types that first appeared in the early nineteenth century and formed a small but memorable genre of display typography. It joins a number of…
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Laima

Bogidar Mascareñas has done something in type design that I absolutely love: he began with a commonly known premise and took it to a place where no one has been…
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Cloisterfuch

Matthijs Herzberg’s Cloisterfuch[1]1 is a chunky, striking blackletter that takes the varying pen angles and waisted strokes found in calligraphic scripts and pushes them to an extreme. The result is…
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Neebinnaukzhik (Neebin) Southall

Neebinnaukzhik (Neebin) Southall[1] (she/they/he) is a designer based in Santa Fe, New Mexico, and a member of the Chippewas of Rama First Nation. The Chippewa, also known as Ojibwe, is…
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