The Monthly Fonts Roundup, February 2013
It’s the last week of February at Designmodo, which means it’s time to round up the best fonts that were released this month. This time, we’re separating them by category, to try and make it more convenient. If you’re confused by serif categories, I described how they work a few weeks back.
It’s important that we get the kind of fonts you’re looking for, so if we’re not, let us know! We try to get the cheapest quality fonts we can find.
Let’s go through them.
Global ($0 – $40)
A curvy, rounded humanist typeface with large, inflated counters a-la Proxima Nova. Comes with a stencil style.
Prism ($0 – 19)
A striking display typeface inspired by Koch’s Prism Pro, and Herb Lubalin’s Avant Garde. One of my favourites on this list.
Foro Rounded ($0 – $39)
Foro Rounded is a soft slab-serif. Rounded edges and low stroke contrast make Foro an approachable type.
Savu ($0 – $35)
Savu is an All-caps sans-serif with pretty ordinary letterforms drawn with shaky strokes.
Ponsi Rounded Slab ($0 – $42)
Consider Ponsi Rounded Slab to be a sort of geometric slab serif. Uncommon, but very cool. Love the nature of its open counters. (P, R, B, etc.)
I think this is a trend. Quan is a typeface with straighter strokes and more abrupt slope change on curved letters, to produce this sort of pseudo-futuristic look. It works very well, for the most part, especially on its lighter weights, but I always encourage experimentation.
Universal Doomsday ($30)
That’s a hell of a name, but I’d almost say it’s ironic. Universal Doomsday is a sort of Futura Soft. It keeps the strong circular shapes of its curved letters, but slightly rounds its apexes and corners on the baseline (the bottom of letters like ‘v’ and ‘w’). It gives U.D a soft feel, and it’s very nice.
Stile has some very stylish strokes, as it plays with the symmetry of letters, making them also pseudo-cursive. It’s incredibly distinctive.
What would this list be without a blackletter? They do still pop out occasionally. Hans is the only one I found, but I definitely encourage using a style that’s sort of a rarity these days. Blackletter can work if you’re clever and willing to go off the edge a little. The poster of ‘Black Antoinette’ over at FontsInUse is a very good example of this.
An informal, handwritten-style script. Fun and energetic.
Harbell ($5 Personal / $59 Commercial)
Harbell is one of my favourites this month. It’s thick, dense, and consistent with its skewing. I love its thin counters, and the stylish terminals that complement the letters, (particularly it’s ‘A’ and ‘B’).
But you should also pay attention to Harbel’s payment model, a separation between personal and commercial use. I am in *huge* favour of this, especially when prices can rise to ~$100 for individual weights, and hundreds of dollars for whole packages. This prevents people from really engaging with typography as a form, and keeps it gated to those with high purchasing power, large design firms, or school media labs (of which I have to sneak into occasionally). Accommodating for lower income enthusiasts instead of keeping them out is good for typography as art and as a business. The more people that can be involved with typography, the better it is for all of us.
Prumo Display ($40)
Something about Prumo screams Benton Modern. It’s sharp, will balled terminals and a classy flamboyancy. But Prumo’s hairlines are much thinner, and the nature of its terminals is much less drastic. So Prumo is a little more controlled, and I Iike it more because of it.
Petit Serif ($60)
An all-caps typeface emulating early roman lettering. It’s incredibly large, with serifs that are barely visible.
Mussa is thin, narrow, and pretty in its inconsistency.
Azebra is beautiful, but I understand that is sort of vague. It’s the terminals drawn as pointed tails, and the line shading that obviously give Azebra its elegancy.
Meshuggeneh is a hell of a typeface. Its letterforms are irregular and surrealist in their nature, as they though the typeface lives in a world all in its own.
Secesja Pro ($13)
Secesja seems to act as a work of tapestry. Its strokes are complex and its many terminals sprout as branches that curve and coil across its letters and inside its counters.
Tesla isn’t particularly flexible, mostly thematic. It’s mechanical with a nice touch of light on the corner of its letters. The picture above shows what I’d love to see with Tesla: words densely but neatly packed on flat backgrounds, creating that robotic, inhuman disconnection that makes sci-fi and cyberpunk fiction so intriguing.
Those are the typefaces for this month. Of course I’m merely a man, not a typography bot, so if you found some notable fonts from this month (or any month) that you want to tell others about, show them off in the comments! Until next month, continue creating.