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Designed by chilean designer Francisco Gálvez, Amster is a font inspired by the “Lira Popular”, a series of printed pages from the end of the XIX century, where poets published their verses. This gives Amster a particular personality that differentiates it from others.

Amster has an extensive family: roman and italic fonts in different weights, ligatures, symbols, and ornamented characters, between others. The mentioned features make Amster a great type to use in a wide range of applications, in different sizes and different mediums.

Poems published in this font are especially interesting to look at, the typography adding a different depth to the content.

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Designed by Loris Olivier, Noheul Lee, Katja Schimmel.

McQueen is the popular anti-hero with two faces, is Swiss typography off the beaten grids.

Display is like a Lady Gaga outfit – showy and spectacular, fit for the stage. McQueen Grotesk, on the other hand, is more stealth and fashioned in the style of a fashionable Puma sneaker – in it for the long run, in other words extensive amounts of text.

The display self is a contentious eccentric who lives determinedly and only according to his own laws. It actually reconciles the incompatible principles of enormous contrast and geometric shapes and results in an unexpected unity.

The grotesque self is an ambitious individualist who confidently tears down conventions. It dispenses with its stroke contrast and in doing so, appears much more stable, but still retains the playfulness, dynamism and curves of its counterpart.

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Designed by Katerina Korolevtseva, Misto font is a tribute to her Ukrainian hometown, Slavutych. Its sharp contrasts in stroke width reference the town’s postmodernist architecture and utopian ideals. It’s a multilingual display sans serif, supporting both Latin and Cyrillic.

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The Damascus modular typeface is based on the Umayyad Mosque in Damascus, Syria. The mosque is known for its pillars that stretch across its courtyard. The forms of those pillars were deconstructed and turned into a modular grid system for construction and design. The characteristics of the mosque can be seen in the details of the typeface, where each letter can be connected with one another to replicate the arcade of the mosque, a representation of strength through unity, where the pillars uphold the magnificent structure of the Umayyad Mosque.

I was fascinated by how structural, religious yet inclusive this typeface was. The smooth process of construction and deconstruction stretched the timeless architectural touch more upfront for the viewers while maintaining the solemnness

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LD_Mono_Line Outline By Lundqvist & Dallyn

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Lundqvist & Dallyn is a design duo formed by Sara Lundqvist and Sam Dallyn. And LD_Mono_Line is one of the typefaces created by this team and it consists of two fonts: Outline and Solid.

The designers use a woven line to go through each letterform to create the basic shapes of every letter and use right angles and rounded corners with different diameters to make them clear. They believe that those three different curves help give a fluid shape to LD_Mono_line in a solid or thin line.

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“Ever since I was born, I have been bathing in an environment of memorabilia inspired by hot air balloons,” says Anne-Dauphine Borione. “My grandma collects etchings, decorative plates, posters, fabrics, cutlery, furniture... everything you can think of related to hot air balloons.” Her mother’s maiden name is de Montgolfier, making her a descendant of the famous Montgolfier brothers who invented the hot air balloon. The weightlessly elegant typeface which Ando is currently working on is called Annonay, named after the town in which the Montgolfier brothers made their original invention.

The C’s, G’s, O’s and Q’s of Annonay appear lighter than air, barely tied down to the page by their weightier, silhouette-like strokes. The delicate stems of letters like A and N resemble taught ropes, stretching to secure the letters in place. The overall effect beautifully summarises the lightness of air travel. So we are surprised when Ando tells us that hot air balloons were not in her mind when she first started crafting it. In fact, it all began when Ando was experimenting with contrasts in serifs, “and basically how thin some parts of the letters can be compared to thicker parts”, says Ando. One day, she woke up from a dream with a vision of how she wanted the E to look. She hurriedly sketched it out and, “that's when it struck me: it looked kinda like a hot air balloon”. Though it is still “very, very much a work in progress”, Annonay is becoming a wonderfully wistful typeface that’s sure to take off once it's finished.

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CS Arcana Major was designed and created by designer Charles Scott. CS Arcana Major is a modern display typeface ideal for use in headings for posters and magazines, merchandise designs, and logos.

The shape of this typeface is strong, created with a simple thin bar varying only in thickness, bringing me a feeling that seems like sculpture. It also resembles a sci-fi film from the last century, both retro and futuristic.

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Marianna is a typeface designed by Joseph Churchward in 1969, used in the 1971 published album design for the song "Nothing’s Gonna Stop Our Love". The bubblegum typeface in all caps with a gradient fill suit the name well, as they imitate a bunch of lollipops, creating the sweet atmosphere for a love song without adding any extra graphics.
The strokes and curves blur the characteristics of each letter, making they all look the same, adding difficulty to recognize, while visually, because of the consistency in a chaotic tableau, we feel at first glance that it is relaxed without being overly loose. Also, it leaves such possibility that orderliness may embrace the chaotic.

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Roma Serif is an uppercase-focused display typeface, first designed in 2019 and later developed in 2021. It is inspired by the grandeur and splendor of the Roman Empire in its golden age. Each glyph aims to express magnificence and stability in subtle but clear form, best used for headings and short to medium length texts. It features 3 weights, alternates for specific glyphs, numerals, diacritics, ligatures, punctuations and over 399 glyphs in total.

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Maelstrom Sans is a reverse-contrast typeface designed by Kris Sowersby and has been released by Klim Type foundry in 2019. The design features razor-thin vertical strokes with extremely heavy horizontal strokes. The family is available in a single bold weight.

Maelstrom is an adaptation of Debow’s 20 & 8 Line Italian design, which Sowersby noticed while reading Rob Roy Kelly’s American Wood Type. These were a bastardization of Egyptian slab serif designs, inverting the expected stress of the strokes to be on the horizontal lines instead of the verticals. The resulting designs were made up of eyelid-shaped circles, massive rectangular shapes, and small triangular vestigial details. Type historian Nicolette Gray famously described these designs as “perverse.”

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Maelstrom & Maelstrom Sans_Type and Layout Skills Session

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With its 3 daytime named subfamilies, NaN Hyena challenges the idea of type hierarchies. It’s thought as a mood spectrum, a subtle play between sharp and soft, as if the shifting light of the sun would cast different shadows on the same object throughout the day bringing familiarity and the unexpected within the same room. Call it Type Impressionism if you like. Sunrise, with its concave suctions of the stem reminds one of the crisp blueish morning light, a feeling of newness and a positive look at things to come.

Noon carries the settled confidence of midday, when things have been accomplished but more is to come. Its flat terminals are not here to surprise anyone but it’s not even trying to impress. It doesn’t need to.

Sunset is the golden-light moment of the family, a warm and social light. Rounded but keeping its hair-thin crisp connections, Sunset is a surprisingly comfortable moment you didn’t see coming, an autumnal evening with friends.

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Rabbit Hole Display is an experimental typeface with decorative overtones, designed by Tomasz Pawluk AKA Boafff and released in 2021 through Type Department.

At first, I would find this font less readable and a bit like a motion graphic, but when the font is placed on an album cover or a specific medium, I found that this extremely exaggerated and distorted font can make the process of dizziness, falls into a rabbit hole like Alice in Wonderland and comes to another fantasy parallel world. Therefore, I think this font is very suitable for mediums with mysterious styles. It not only brings the audience more sense of experience from the reading, but also effectively shows the relationship between the font and images, scenes and contexts.

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"Alfreda" typeface designed by Santi Rey
Alfreda grotesque is not just another grotesque typeface. Its morphology mixes modulated and unmodulated strokes, and natural and reverse contrast. All that with a humanistic touch and subtle ink traps. Weird.

Alfreda comes in 6 weights, it has open type features, more than 400 glyphs and 18 stylistic sets.

share some font design websites：
https://familytype.co/#typefaces
https://displaay.net

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Everett is a sans-serif typeface created by Swiss graphic and type designer Nolan Paparelli. It was named after photographer Daniel Everett, whose work initially inspired the design.

The family is available in ten weights with matching italics. The font’s symmetrical structure is balanced with an organic drawing and a particular digital flavor. Strong typographic details add a high tension while keeping a reading comfort, finding the right balance between a font that is graphic yet fluid. Low ascenders and descenders allow designers to set texts with tight line spacing, resulting in economizing space.

The fonts are fully equipped with various stylistic sets, ligatures and case-sensitive forms among other features which offering various design solutions from book design to poster design, from branding to signage systems and much more.

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The first moment I saw this font, I was hooked.
The Dahlia font was designed by Jérémy Schneider in 2021. It looks romantic and free, without lacking in sophistication. There is both the eccentricity of a free growing plant and the balance of nature itself.
Like its name, it looks like it grew from a land filled with elegance, 1910’s Italian lake posters and Art Nouveau feeling.

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Ignite is a sans serif, condensed typeface inspired by vintage lettering textbooks. It works perfectly for achieving a modern and crafted aesthetic in your designs.the designer is James Lafuente who currently live and work in Seattle as an Art Director and Designer

What I like about this font is that it is very calm and logical

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"The Sprat" is designed by a French type designer Ethan Nakache. It features long sharp serifs and high contrast between thin and thick, a very high crossbar, and a round design for the curves.

What’s most succinct about Sprat is the fact that it’s noticeably variable. The different versions can work together as well as individually. Its use is mainly suitable for titling, poster, and logo but depending on the style the Sprat also works in a mid-sized body text.

To date, Sprat is available in 3 styles (condensed, regular, and extended) and 6 weights (thin, light, regular, medium, bold and black) with 230 glyphs, it covers the extended Latin language.

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Designed in 2013 by Lucas Sharp together with Greg Gazdowicz, inspired by the hand lettering of 20th century book designer and calligrapher Oscar Ogg. Initially released via Incubator in roman and italic styles, it was later moved to Sharp Type. In November 2019, the family was extended with help from Connor Davenport and Wei Huang to five weights plus italics as well as text styles, see Ogg Text.

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GT Planar bends the laws of type design as it seamlessly transitions from Thin to Black, from -45° Retalic to +45° Italic. Rooted in Modernism, Dominik Huber’s latest typeface family blazes new trails forward: welcome to Swiss Futurism. While the use of Italics often is limited to distinguishing the particular from the general, GT Planar travels beyond this binary.

Designed by Dominik Huber

Released in 2022

Available in 42 styles

Explore website(REALLY COOL!!!): https://gt-planar.com/

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GT Maru is an ode to rounded English characters found on signage across Japan. The typeface is the result of this design exploration into roundness — or maru — in the Latin alphabet. It combines the warmth and flow of sign painting with the mechanical quality of engraved letters.

Designed by Thierry Blancpain with production work by Huw Williams (Mega). Emoji designed by Grilli Type, with additional typeface production work by Anya Danilova.

Released in 2021

Available in 25 styles

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Kachi-Buwa is a interesting font, designed by Japanese designer Emi Takahashi.

She investigates how design can communicate the nuances in connotations and culture-specific context expressed by onomatopoeia in the Japanese language. Especially, Onomatopoeic words, she thinks those words non-arbitrarily bind sound with meaning. Japanese onomatopoeias convey sensory experiences and human-made concepts. To describe the feeling of stickiness for example, there are a variety of nuanced expressions: “nuru nuru, neto neto, ”. she capture some Japanese onomatopoeic expressions,likethe“kikiest” and “boubaest” ,then she create her own variable Katakana font, a demonstration of the non-arbitrary relationship between sound and form;

The font insert traditional and modern Japanese culture into a present-day design discourse, and it also sparks me with curiousity of the very nature of language.

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Pilowlava seem problematic at first glance. The stems change in weight and angle, and the stroke endings could be considered blob terminals.

Pilowlava seeks a balance between viscous energy and controlled geometry. The structures of its glyphs are mostly derived from hand-written dynamics, that feed from both calligraphic and graffiti references.Straight lines and rounding throughout make its name also perfectly describe its two main attributes: pillow for soft, and lava for flow.

This “soft flow” typeface is starting to be widely used in the loud and experimental graphic design of today: neon, 3D modeling, and lots of layers. Pilowlava floats in this kind of vibration with ease.

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This font, called "Dinkie Bitmap", was developed by 3type Studio from China.
It is available in both 7px and 9px versions, which is an interesting thing. I bought the font at Art Book Fair and spoke to its designer. I learnt that the font was developed according to the rule of 'small is big'.
During the discussion, the designers mentioned that Pixel is a typeface that is recognisable. In the process, they were careful to ensure that the typeface could be reduced in size and still be recognisable and consistent in its overall style.
It is worth noting that the typeface not only performs well in video games and pixel displays, but it is also used in letterpress print and for stylised design posters.

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Silver Garden is a nostalgic and unique typeface made by type foundry SilverStag. It is made to be personal, that’s why "Silver" is in the name. Based in Madrid, Spain, SilverStag is a design studio and type foundry. It is specialised in designs that appeal to a contemporary audience driven by fashion and social media as well as the little details in this world.

This font family includes 4 font options - regular, italic, bold and bold italic. The main font is a serif. In regular and italic it looks chic and fashionably elegant. However, in bold and bold italic it gets some additional curves. Thus, it is also nostalgic and vintage at the same time.

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David Gobber of Vienna-based studio Nguyen Gobber stumbled across the work of Robert Stöcklin, a Swiss designer who practised around 100 years ago. It was this very typeface that then bore the foundations for the studio’s Lucifer typeface.

It was the Lucifer typeface’s exaggerated serifs that became the focal point of the whole design, and the element that Hoang Nguyen – the second half of Nguyen Gobber – says gives the font its “menacing” feel. Taking inspiration from fangs, claws and thorns, the type has distinctly pointed edges that also lend it its very classical feel. The “danger of threat” feeling that it produces is part of the reason that it earned its Lucifer name: “the mythological figure has a rich historical dimension to it, just like there is a certain historic depth to our typeface,” Hoang explains.

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The publication of this more mature design is the result of a previous 1-style project which was developed in 2010. Rita, the new design, has increased from one single style to a full font family, with a strong personality, ideal for short text for high impact designs. Rita is a slab serif typeface that offers a wide range of weights and widths—from a thin, ultra condensed font to a heavy variant for poster design. Its variety of weights and widths allows users to create a number of different compositions such as titles and text for impact or high impact graphics. Rita comes in 10 styles and includes a set of 400 characters that support over 200 languages. Rita was designed by Daniel Hernández with the collaboration of Rodrigo Fuenzalida.

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ASFEN
This character was designed for headlines and titling by Inès Davodeau, who loves to create strong and unique concepts with beautiful and delicate design.
The typeface was born from the contrast between humans and machines. It explores the relationship between those two entities, one brings sensitivity and the other brings rigidity to create cyborgs letters.

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The typeface 'Shrimp' was designed by Anton Darri Pálmarsson an Icelandic graphic designer based in Reykjavik. It is a typeface which has been described as one with 'no expiration date' in reference to its versatility it was carefully crafted to form structured, strong and stylish letterforms which work well as display type, kinetic type, etc.

The typeface is elegant, universal modern and playful with a grotesk feel to it. It could be used for posters, eye-catching headlines and more.

What I like about this font is how its simplicity doesn't limit its function or use. The viewers perception of the font could defer depending on the colours it is accompanied with, how the designer plays around with the letters etc. thus making it a very diverse font to use.

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This font named GEOMETRISK. It comes from studio BROKSTAD.

# BROKSTAD is a virtual design studio and collaboration initiative, free from the boundaries of physical space – working across the timezones. Founded by Daniel Brokstad as a concept studio and collaborative playground for design through experimentation, exploration, freedom & a healthy dose of randomness.

The studio's key word is @future @experimental @random @exploration, and it seems to be exploring a visual expression of the future Internet, not limited to physical boundaries, but a global and borderless form and content. Entering their studio's website (https://brokstad.studio), you can feel a strong sense of visual impact of future technology.

# It’s a futuristic font combining geometrical outer shapes with rounded inner curves. Embracing a futurism cyberpunk aesthetic, with funky italics to match. Available in 5 different weights.

This font is a very futuristic and decorative font that I like very much. I often use it in some posters, typesetting or video content. When I want to express a sense of technology or future, it always helps me visually.

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Monarch Nova is a display face designed by Jacob Wise and published through WiseType. The typeface was originally released in 2017 under the name Monarch, and then later completely redrawn and revised in 2020 as Monarch Nova.

What I like about this font is that the style is very interesting. Its line design uses the combination of curve and straight line, the whole looks very neat, and has a very individual character. This font is often used in my modern art album design, because it gives me a feeling of freedom, romance and uninhibited.

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Eiko is designed by the designer Caio Kondo. You can find this font on the website of Pangram Pangram Foundry.
Eiko is an indisputable statement of elegance and refinement. Every curves and bezier points were applied with a sense of purpose. It is inspired by the work of Eiko Ishioka, a multitalented Japanese artist, this typeface seeks to convey the same aspect of her work in these typographic explorations. It is an original serif font with high contrast, including the syllable alphabet kana, hiragana & katakana, it is ideal to pair with other kanji fonts of the Japanese mincho style.

Its resources include a large repertoire of Japanese punctuations, stylistic sets with circular and square numbers, vertical written, subscript and superscript numbers, mathematical symbols, meteorological symbols, ligatures, arrows and many alternates.

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Kafka is designed by Canadian typeface designer Barrett Raid-Maroney who is famous for combining decorative curves and geometric elements into typefaces. He runs a typeface studio by himself. Kafka is an elegant, artistic display typeface that draws its primary influence from the films of Wes Anderson. Like Anderson’s films, Kafka's display strives to present viewers with moments of visual delight. Kafka features several alternate characters, a plethora of creative ligatures, and a whimsical visual style that gives vibrancy and life to the text. The high contrast on the thickness in Kafka is well balanced by elegant curves which boost its visual  aesthetics and reading enjoyment.

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Patrona Plain features square stroke ends in all six styles and seven widths. Originally created in the 1930s as a system of components for letterpress, Matyáš Machat transformed this idea into a typeface system with the potential for a nearly uncountable amount of variations within the handy font family.

Patrona is based on a set of geometric building blocks but completed through deconstruction and shapeshifting. Many available variations offer a range of possible use cases withín a wide or extremely narrow space. Seven stylistic sets for every weight (Art deco, Brutal, DIN, Bauhaus, Weird, Monumental) offer many moods from the steampunk era to a glossy, futuristic spaceship.

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Domaine is a sharp, elegant serif that blends traditional French and British genres into a contemporary aesthetic. Its curvaceous Latin detailing centres upon gently bracketed triangular serifs, complemented by distinctive hooked terminals. Horizontal head serifs provide a calm, stable ground for the figurative detailing to shine. Domaine’s italics are inspired by Deberny & Peignot’s Labeurs Ordinaires Série, a subtle and assured complement to the romans.

Release: 2008–2013

Design: Kris Sowersby

Engineering: Noe Blanco, Ben Kiel

Awards: Specimens added to the Cooper Hewitt Collection, 2016

Australian Design Biennale Distinction, 2014

Tokyo Type Directors Club Prize Nominee/Excellent Works, 2014

Best Awards, Design Craft, Gold Pin, 2013

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Maison Mono by Milieu Grotesque

This is a monolined grotesque font that uses rigid elements to create a minimalist industrial feel. Originally a monospaced typface family it has been developped to  work in both monospaced and proportional alignments. It was designed by Timo Gaessner and is available in 22 styles and 2 subfamilies
Milieu Grotesque is a Swiss based foundry, founded by Timo Gaessner and Alexander Colby.

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A studio run by a single person, a Newzland native. Epicene Text & Display are Baroque typefaces inspired by the work of two 18th century maestros: J-F. Rosart and J.M. Fleischmann. Typographically, Epicene’s exaggerated details add rigour at small sizes and vigour at large sizes. Culturally, Epicene says one thing: typefaces have no gender.

It is an expressive and functional type family featuring text and display variants with a generous range of weights They are deliberate and focused but energized through cheekiness and a sly wink manifested in small details. Overall, the typeface looked quite "fun" to me.

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Birra-Saison is a single style typeface created by Viktoriya Grabowska in 2020. The font illustrates the outline of each character and lead readers using their memories of characters to recognize them. It combines light with heavy bubble-ish looks and is not easy to read.

Saison means "season" in French, and it is a type of beer originated from Belgium.

“And don’t you ever dare calling it a “tool”! Why design it, or use it? Well, the real question is WHY NOT? ”

The typeface has won a Certificate of Typographic Excellence by Type Directors Club in 2020. It can be found in Darden Studio.

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Love is an all-caps display font designed in 2018 by Jérémy Schneider with each letter available in at least two styles. Some have an even more generous selection of alternates. The font is inspired by the American psychedelic rock band Love, particularly by their marvelous 1967 album Forever Changes. Its letters offer beautiful contrasts thanks to exaggerated counter-forms paired with thin stems, creating a variety of rhythms that somehow preserve the balance among typeset words. Love’s straight yet elastic structure allows for many elegant ligatures.