Our Favorite Fonts of 2014


TYPECACHE’S PICKS — 20 favorite fonts of 2014

Everyday new and exciting fonts are released all around the world. This is our third annual review of the best typefaces made public in the past year. Please enjoy our selections ands support your local type designer!


Our Favorite Fonts of 2014


Designer: Kris Sowersby / Publisher: Klim Type Foundry

Maelstrom is a reverse-contrast typeface that creates a deep impression on you. Compared to similar typefaces, the thinnest stroke is much thinner and holds elegant integrity. Its features are even more beautiful when setting specific words; ‘chaotic’ and ‘modern’ accentuate Maelstrom’s stylishness and bold details. Admittedly, its legibility and readability are not good for attentive reading. To learn more about reversed-contrasted typefaces, David Jonathan Ross of Font Bureau has a thorough write up that is well worth a read.



Designer: Gerard Unger / Publisher: Type Together

Alverata is typeface built on a classic foundation. Designer Gerard Unger was inspired by the shapes of the Romanesque capitals found in eleventh and twelfth century inscriptions. It consists of three styles: Alverata, Alverata Irregular and Alverata Informal; each includes six weights. An italic weight is included only in Alverata. The typeface has a sturdy construction with a squarish body. The widths of the capitals don’t vary much, and the x-height is relatively tall; creating solid letterforms with an attractive legibility. It supports Greek and Cyrillic as well.


GT Sectra

Designer: Marc Kappeler, Dominik Huber, and Noël Leu / Publisher: Grilli Type

GT Sectra is a serif typeface constructed with calligraphic strokes. The result is a distinct design full of unique details and bold decisions. Sectra comes in three optical styles: Text, Fine and Display. The letterforms are full of straight lines with exciting cuts at the ascenders, descenders, beaks, serifs, and tails. Sectra includes fives weights and italic sets for all three styles.



Designer: Yukiko Uno / Publisher: Yukiko Uno + Kazuhiro Yamada

Designer Yukiko Uno began designing Kozei while researching old handwriting from the Heian period as a college student. Unlike many other Japanese fonts it is proportional and includes features such as contextual glyphs, ligatures, and alternates like a Hentai-gana. The result is a look that feels like natural handwriting which is an impressive feat considering the intricacy of Japanese writing. Kozei is not the first of its kind, but few others have executed such a task with discipline and elegance. Kazuhiro Yamada, now at Monotype, worked with Uno to complete the typeface and bring it to life.



Designer: Maximiliano Sproviero / Publisher: Lián Types

Heroe is a high-contrast modern serif italic typeface. It features flowing strokes and functions well as an elegant script face. It is one of the best display typefaces to express modern grace. It contains many swash and alternate characters. Heroe also includes inline and monoline styles. We hope you enjoy typesetting with this beautiful typeface!



Designer: Berton Hasebe / Publisher: Commercial Type

Druk is a display grotesque typeface for maximum emphasis, but it’s an unusual one within that category. It doesn’t include a normal width version, nor any weights thinner than the Medium. It further defies logic with condensed and wide styles. The condensed style becomes narrower and narrower with each weight (Super, X Super, and XX Super). This makes Druk Condensed XXSuper extremely narrow and heavy. Druk had been used in Bloomberg Businessweek magazine for years, but was just released publicly last year.


FF Franziska

Designer: Jakob Runge / Publisher: FontFont

FF Franzisika by Jakob Runge is a sturdy serif typeface. The x-height is relatively tall and the descenders are short. The slightly-inclined italic retains a handdrawn feel. It consists of 10 weights – from Hairline to Black – with corresponding italics. We recommend checking out the well written design process. It’s fascinating to see the transition in design stages and the considerations made while creating a typeface.


Marian Text

Designer: Paul Barnes, Sandra Carrera, and Miguel Reyes /
Publisher: Commercial Type

With the Marian family, Paul Barnes picked classic serif typefaces and transformed them into elegant monoline faces. Marian is very thin and the spacing is tight even at large sizes. Marian Text was carefully adjusted to work well at a body text size scale. The stroke is heavier and the spacing is looser when compared to Marian. This makes for a versatile family. As noted earlier, each style of Marian is based off a classic serif typeface: Marian Text 1554 uses Garamond and Granjon, Marian Text 1757 uses Baskerville, Marian Text 1800 works off of Bodoni, and Marian Text Black is blackletter.


29LT Zeyn

Designer: Pascal Zoghbi [29 Letters], Ian Party [SwissTypefaces] /
Publisher: 29 Letters, Swiss Typefaces

29LT Zeyn was designed for Shawati’ Magazine, an English-and-Arabic-bilingual cultural magazine based in Abu Dhabi. It is a display family that supports Arabic and Latin. It was released in 2014 as a retail typeface. The contrast is very high, the Latin was based on modern serif typefaces, while the Arabic was inspired by Naskh and Thuluth calligraphic styles. It has four weights: Light, Regular, Medium and Bold. Each of them includes more than 900 glyphs. The family supports Arabic, Persian, Urdu, and Western European character sets.


Velo Serif

Designer: House Industries, Christian Schwartz, Mitja Miklavčič, and Ben Kiel / Publisher: House Industries

Christian Schwartz, of Commercial Type, began designing Velo Serif in 2006 and House Industries released it in 2014. It’s self described as combining “House Industries’ design aesthetic with the rich visual heritage of bicycling culture”. The family has an emphasis on the display style which includes 6 weights ranging from Thin to Black. The text style includes just two weights with matching italics. The typeface body has a squarish construction, narrow apertures, contrasted strokes, and relatively-tall x-height. We especially enjoy the curves in the numerals. Velo joins a small group of similar typefaces such as Melior and other typefaces designed by the late Hermann Zapf.


Domaine Sans Fine, Domaine Sans Display, and Domaine Sans Text

Designer: Kris Sowersby, Dave Foster / Publisher: Klim Type Foundry

The work of Kris Sowersby of Klim Type Foundy is becoming an annual favorite on our lists. His typeface Domaine topped our selections from 2013. We couldn’t resist including Domaine again because Sowersby released a sans serif version in 2014. The sans-serif retains the spirit of the serif in the curly strokes found in the ‘a’, ‘c’ and ‘r’. The italics take on an almost script like style. Take a look at the ‘f’ and its long descender. The curves in ‘v’, ‘x’ and ‘y’ are smooth and quirky unlike conventional sans serif fonts. The strong contrast between the thick and thin strokes in each character is sheer beauty. The Display and Fine styles of Domaine really show off the tasteful construction of the family. Both styles include swash sets comparable to ones found in script typefaces.



Designer & Publisher: Hoefler & Co.

Here’s an interesting design problem: take an old typeface designed for display with clear problems and revive it. Such was the situation for Quarto, a typeface that retains the good parts of its predecessor, with improved innovations that create a fresh new family. Originally designed as a display typeface by Hendrik van den Keere, Quarto corrected the unusual and inconsistent parts to create a superior specimen. Other weights that Van den Keere didn’t care to draw were newly made and italics were created by referencing other typefaces. Quarto successfully revives the display qualities of Van den Keere’s “Dutch tasteful” and is a typeface great for larger point sizes. A fun type exercise is to compare Quarto to Renard by Fred Smeijers; another face based on Van den Keere’s work, Two-Line Double Pica Roman.



Designer: Jean François Porchez / Publisher: Typofonderie

Retiro was originally designed for Madriz magazine and released in 2014 as a retail typeface. It’s a Didot and comes with only one weight, but with five optical sizes. Unlike other Didot cuts it features vertical serifs and the ‘K’, ‘M’, ‘R’ and ‘W’ are distinctive. The lowercase ‘g’ stands out and reminds us of those found in Ambroise and Didot Elder. Retiro comes with decorative capital alternates and with lowercase alternates. It received the TDC2, Granshan and Letter.2 awards.


Skolar Sans

Designer: David Březina, Sláva Jevčinová / Publisher: Rosetta

Skolar, Rosetta’s most popular typeface, supports not only Latin, Cyrillic and Greek, but also Devanagari and Gujarati. Skolar Sans is the sans serif counterpart to Skolar and now supports the Latin Alphabet. It comes with four widths: one normal, two narrower widths and one wider width. Each of them includes nine weights with matching italics. It is a varied and versatile typeface that is perfect for international application.


Dala Prisma

Designer: Paul Barnes, Ben Kiel / Publisher: Commercial Type

Dala Prisma is based on Dala Floda, an old style stencil serif face. It is constructed with stripes; the heavier the weight, the more stripes fill in the letterforms and vice versa for the thinner weights. It includes, like Dala Floda, alternates for the last letter of a word, and ligatures. The italics include swash capital letters. The typeface is for large sizes with a lot of room for playful, attractive designs.



Designer: Daniel Sabino / Publisher: Blackletra

Haltrix is a script typeface based on Hashar, a typeface that received the Latin silver prize in the Morisawa Type Design Competition of 2012. Unlike many script faces, Haltrix’s straight lines and angles create an aggressive, masculine and speedy look. It comes with a lot of alternate characters, swash characters and ligatures, and you can make very striking designs if used it effectively.



Designer: Nicole Dotin / Publisher: Process Type Foundry

Process Type Foundry is known for clear and legible typefaces such as Klavika and Bryant. With Pique they had a lot of fun creating an extremely hefty script type family. The strokes of the characters are wide and the counters are small. The typeface has a sense of momentum and speed. The small caps have less speed, but a weight that grounds them in a vibrant way. It reminds us of hand painted lettering found in old America auto body shops. The family includes a fun set of ligatures to play with.



Designer: Radim Peško / Publisher: RP

Agipo is a grotesk family that consists of three weights – Light, Regular and Bold – with corresponding italics, Regular Extended, Bold Condensed and Mono. It has very little contrast and a retro attitude. It has two ‘G’s and ‘M’s. And it has two ‘i’s and ‘j’s – one with a squarish dot and the other with a circular dot. Another feature we enjoy are the steeply inclined italics. It supports both Latin but Cyrillic.



Designer: Florian Schick / Publisher: Schick Toikka

Dia is inspired by early grotesks and inherits clunkiness from them. However, it was carefully designed and executed with sophistication. It comes with four weights, and the heavier it becomes, the wider it becomes. The family also includes very thin accent marks and punctuation marks for large sizes. We especially enjoy the additional single-story ‘g’ found in the alternate set.



Designer: Ferran Milan / Publisher: Letterjuice

Baldufa is a serif typeface based on the thesis project that designer Ferran Milan started while pursuing an MA in type design at Reading University. The brackets and serifs of the letters have rounded edges and all the letters have a brush stroke quality. This gives Baldufa a warm and soft touch. There is a subtle contrast in the width of the strokes and the tops are wider than the bottoms. The italics are drawn at a gentle angle and the spacing is not too tight. Baldufa won the TDC2 in 2014 and the ED-Award for “Original typeface”. It also was a 2nd Prize winner in the Granshan Arabic text typeface category.



There are many more great typefaces that we couldn’t include in the list above. Check out our other selections (30 more great typefaces)! We appreciate your support and stayed tuned for more updates from the type world on our facebook, Twitter, and of course our newsfeed.


Essay Text

Nitti Grotesk

Laski Slab



FF Antithesis


Proto Grotesk


Urban Grotesk




Lipa Agate

BC Falster Grotesk


Parmigiano Serif and Parmigiano Sans

Marr Sans

Horizontes Script


Questa, Questa Grande, and Questa Sans


Darby Sans Poste & Darby Sans




DIN Next Slab


FF Milo Slab