The Best Fonts of 2013

by Christoph Koeberlin

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!

Odesta by Ondrej Jób

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!

Balto by Tal Leming (Type Supply)

Tal Leming’s impressive interpretation of the American classic; disarmingly frank and illuminatingly documented.

Bree Serif by Veronika Burian, José Scaglione (Type Together)

Bree enchanted us, the Regular of Bree Serif put us off, and now the friendly Bree superfamily is finally complete.

NewParis yb Swiss Typefaces

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.

Shameless by Neil Summerour (Positype)

You may or may know that I have a soft spot for sophisticated calligraphy fonts, and Shameless’ dynamic immediately got me.

FF Quixo by Frank Grießhammer (FontFont)

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.

Circular by Laurenz Brunner (Lineto)

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.

Lava by Peter Biľak (Typotheque)

Originally designed especially for his innovative Works That Work magazine, Peter Biľak has now made this well equipped Dutch beauty accessible to everyone.

Lalola by Laura Meseguer (Type-Ø-Tones)

Where others need a gazillion of weights, glyphs and lines of OpenType feature code to make a font lively, Laura Meseguer only needs one slim font.

Duplicate by Christian Schwartz, Miguel Reyes (Commercial Type)

Not only Antique Olive lovers cheer: Finally there’s a contemporary take on Roger Excoffon’s classic, accompanied by two exquisite serif partners.


FF Mark by Hannes von Döhren, Christoph Koeberlin, FontFont Type Department (FontFont)

I can’t judge if this is one of this year’s best typefaces. But since this is my first release, to me it is something very special.

Font Microsites 2013

More lists

As always …

… many thanks to all designers and foundries for the support!

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