A Best-Of list is just like a football team. You shouldn’t only take into account the best players as individuals, but the best team; the players that harmonize best. In my list of the best typefaces of the year, I have taken this into stride and tried to compile a well-balanced, harmonic yet diversified overview. And what’s left out isn’t necessarily worse. You will not find any “Honorable Mentions” any more, but instead a huge list with a couple of my subjective accentuations. Enjoy!
You can rarely so easily find one of your ten favourites out of hundreds of new typefaces. Odesta was love at first sight – maybe because she was designed for love!
Swiss Typefaces delights us with a new Didot: Details to fall in love with, three optical sizes to seriously work with and a accompanying sans to play with.
Incorporating a wink in a typeface without making a fool of it, this is something few people try, and even fewer succeed. Frank Grießhammer managed it during his academic studies, and now his typeface is finally finished.
Despite a true flood of geometric sans serifs lately, Laurenz Brunner has also enriched the Futura genre with an outstanding interpretation much as he did for the Helvetica genre.
Originally designed especially for his innovative Works That Work magazine, Peter Biľak has now made this well equipped Dutch beauty accessible to everyone.
