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Best of 2022 day 3
Fonts used: FF DIN Paneuropean Variable®, Fontanella, and Morning Memories
Our Top 25 BEST New Fonts of 2022 SALE is coming close to the end. Must have best-selling fonts matched with must have SAVINGS! Check out more fonts from our list and don’t forget to scroll through and check out more designer interviews.

Our Best of 2022 Sale ends January 24th at 11:59 p.m. EST. - You won’t want to miss out!
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Fester
Fester
#10 Fester
by Fontfabric
Fester is a semi-condensed Grotesque developed to beam big messages across the galaxy with a clear, bold voice. Emerging as if from the future, this low-contrast sans warps slick lines and sharp terminals into unexpected geometric shapes for extra flair.

Ranging from thin to heavy, the typeface is loaded with 8 weights + italics, one variable style, over 760 glyphs, and Extended Latin + Cyrillic for flawless work at hyper-speed. Fester syncs with designs that feature big type, sharp layouts, interfaces, outlines, and raster images to help decipher any cutting-edge idea and make a memorable first contact.

17 fonts for $179 $89.50
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Fester Designer
Let's hear from the Designers.
Q1) Where did the idea for the typeface come from? Did you set out to address a specific use or suite of the application? Was this a design you'd had in mind for a while?

Choosing a proper typeface for a specific purpose is always challenging. We recommend focusing on aspects like the design's primary purpose, legibility, message context, tone of voice, and target audience.

If we use Fester as a Headline font, we recommend a semi-condensed companion like Glober or a wider and perfectly legible solution like Nexa Text. Of course, Fester can be used alone, as well. The family has 8 weights, Italics, and a variable font, making it very versatile - from strong headlines to short paragraphs and captions.

Q2) What is the one or two most important things graphic communicators should know about the typeface, or how will the family of fonts help them create better design?

We developed Fester as a semi-condensed Grotesque able to beam big messages with a clear, bold voice. Emerging as if from the future, this low-contrast sans warps slick lines and sharp terminals into unexpected geometric shapes for extra flair. This family syncs well with layouts with impactful typography to help decipher any cutting-edge idea and make a memorable first contact. Fester is a great companion to designs that strive to achieve contemporary tech aesthetics. Choose Fester if you communicate in technology, virtual reality, augmented reality, interface design, or simply aim to send a clear message.

17 fonts for $179 $89.50
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Garet
Garet
#11 Garet
by Type Forward
Garet is a modern geometric sans serif. It is characterised by high x-height, clean and soft letterforms with a smooth masculine tone. Garet derives its distinctive oval shapes from the optically perfect circle and has closed counters to further emphasise that form.

The Garet type family consists of 11 weights ranging from quite thin to extremely fat and their corresponding Italics to make a total of 22 fonts. And all of them are combined into one variable font that will give you unlimited opportunities to explore and express without the restrictions of the predefined weights.

Тhe wide variety of weights, characters, and additional features allow Garet to be implemented equally well both in print and on-screen media.

23 fonts for $240 $120
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Garet Designer
Let's hear from the Designers.
Q1) Where did the idea for the typeface come from? Did you set out to address a specific use or suite of the application? Was this a design you'd had in mind for a while?

When choosing a typeface for a project, graphic communicators should think about the intended use and audience, as well as the mood and tone they want to convey. Garet is modern geometric sans serif font that is versatile and legible, making it suitable for various projects - from corporate branding to advertising to editorial design. As for pairing typefaces, Garet has generous x-heights and easily distinguishable glyph forms, making it compatible with various typeface designs, including serif, script, and display fonts.

Q2) What is the one or two most important things graphic communicators should know about the typeface, or how will the family of fonts help them create better design?

Our goal when designing Garet was to create a modern geometric sans serif font that was both highly legible and versatile. We paid attention to the details of each letterform to make sure that both fonts were easy to read at small sizes, and we included a range of weights and styles to give designers more flexibility. The most important thing for graphic communicators to know about Garet is that they are technically optimized and visually adjusted for better legibility and come in various weights and styles to suit different design needs. Overall, Garet can help graphic communicators create better designs by providing them with legible, versatile and distinctive character fonts that can be used in various projects.

23 fonts for $240 $120
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Fontanella
Fontanella
#12 Fontanella
by Latinotype
Fontanella is a typeface designed by Coto Mendoza, which emerged from calligraphy and manual drawing exploring the skeleton and classic proportions of Roman capital letters. This initial process later gave rise to a sans serif family composed of 8 pesos and its italic variants. It also includes small caps, old numbers and width variants in the set of alternates.

The slightly enlarged x-height makes it perfect for composing short texts in editorial, fashion, branding, magazine, television, window display and other media projects. Fontanella a classic spirit reinterpreted in a contemporary language.

18 fonts for $120 $60
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Fontanella Designer
Let's hear from the Designer.
Q1) Where did the idea for the typeface come from? Did you set out to address a specific use or suite of the application? Was this a design you'd had in mind for a while?

When choosing a typeface family for a specific project, graphic communicators should look for freshness, contemporaneity and at the same time, elements of functionality, legibility and support. The nature of the project will define a particular type of reading. Fontanella is perfect to match with serif display typefaces like Juana or Recoleta thanks to its versatility, allowing to create balance in the composition. If you need a Fontanella custom version, just let me know!

Q2) What is the one or two most important things graphic communicators should know about the typeface, or how will the family of fonts help them create better design?

When I started designing Fontanella, my goals were to create a typeface taking the structure from calligraphy and bringing it to the present with a current language. For this I resorted to the calligraphic bases that I later adjusted by slightly increasing the x-height, among other design decisions. Fontanella captures the essence of some classic calligraphy alphabets and contains a very complete set of characters that you can use in print editorial projects and at the same time in short text compositions for the screen.

18 fonts for $120 $60
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Recline
Recline
#13 Recline
by Digitype Studio
Recline comes in a modern style featuring 10 weights, 5 straight & angled, making it easy to adapt to your design. An elegant typeface, Recline is perfect for corporate identities, websites, publishing, titles, books, magazines, business cards, logos, product labels, packaging, or any kind of advertising purpose.

10 fonts for $54.90 $27.45
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Recline Designer
Let's hear from the Designer.
Q1) Where did the idea for the typeface come from? Did you set out to address a specific use or suite of the application? Was this a design you'd had in mind for a while?

The suitability of the font with the design theme you want to make. Because each font has a different character to represent the business in a different way. Fonts are like shoes, there are shoes that are suitable for parties, going to work, going to school, and so on, so we just have to adapt them to our needs.

Q2) What is the one or two most important things graphic communicators should know about the typeface, or how will the family of fonts help them create better design?

Make a typeface that is liked by many people.

First
Pay attention to tone and message, this we must think about when choosing a typeface. Because there are many types of typography that can represent different moods and effects through a design.

Second
Typography Hierarchy, with the graphic designer font family, will be very helpful in making a hierarchy. Hierarchy can be created using a proper mix of Weights, Sizes, and Colors. Various font family weights can provide the right choice for determining Headlines, Subheadlines, and Body text.

10 fonts for $54.90 $27.45
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Axalp Grotesk
Axalp Grotesk
#14 Axalp Grotesk
by ROHH
Axalp Grotesk is a post-Swiss-Style modernist sans serif type family characterized by the play between elegant rounded shapes and sharp angular details. It is minimal, legible, well balanced, and charismatic. Its heavy weights deliver powerful yet friendly impact. The family has very versatile proportions and generous x-height allowing a successful use for user interfaces, all sorts of display and branding scenarios, as well as a paragraph text typeface.

21 fonts for $160 $80
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Axalp Grotesk Designer
Let's hear from the Designer.
Q1) Where did the idea for the typeface come from? Did you set out to address a specific use or suite of the application? Was this a design you'd had in mind for a while?

Graphic communicators should look for a typeface that matches and enhances the character of the message they would like to convey. Apart from the personality of the typeface and its stylistic relevance, other important factors are legibility, originality and beautiful execution of letterforms. Axalp Grotesk pairs best with modern and sharp serif typefaces such as Teramo, high contrast elegant didone serifs such as Eckhart, as well as narrow bold sans-serifs. The family features extra bold display styles that have a very strong identity, which can be beautifully paired with its book and normal weights.

Q2) What is the one or two most important things graphic communicators should know about the typeface, or how will the family of fonts help them create better design?

My main goal when designing Axalp Grotesk was to create a universal type of family perfect for modern branding and suitable for a variety of media types, featuring a sharp contemporary feel and a distinct personality. This versatile family will give a great proportion, uniform colour and a modern clean look to paragraphs, as well as a powerful impact full of character to headlines. Axalp Grotesk features a two-axis variable font offering a great flexibility with weight and slant fine tuning as well as broad animation possibilities.

21 fonts for $160 $80
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Morning Memories
Morning Memories
#15 Morning Memories
by Set Sail Studios
Introducing the Morning Memories Serif & Script. It's a nostalgic nod to those cherished memories of golden years gone by, but also a revived hope in creating new moments to treasure. At the forefront is the Morning Memories Serif - a bold, condensed, striking serif which includes a regular and true italic version, perfect for bold statements, logo designs and header text.

Also included in the Morning Memories Script, a fast hand, pencil-textured handwritten font, perfect as a secondary font to the serif, standout words, and logo taglines. A bonus Morning Memories Doodles font is also included, which contains 26 hand drawn ovals, underlines, and arrows - perfect for highlighting your serif text and adding a personal touch.

5 fonts for $28 $14
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Morning Memories Designer
Let's hear from the Designer.
Q1) Where did the idea for the typeface come from? Did you set out to address a specific use or suite of the application? Was this a design you'd had in mind for a while?

For me choosing fonts is all about emotions, really. Think about what you want your target audience to feel when they see your project and try to reflect that in the letterforms of the typeface that you choose.

Well, the beauty of Morning Memories is that it does the pairing for you. The serif works well as a header or body font, and the script adds a distinctive personal touch to contrast and accentuate those strong serif letterforms.

Q2) What is the one or two most important things graphic communicators should know about the typeface, or how will the family of fonts help them create better design?

My aim with Morning Memories was to create a modern serif font with nostalgic tones, influenced by 80's and 90's print adverts. It was also an opportunity for me to design my first true italic version, which was an enjoyable learning experience. I had the idea to create a very loose and textured script font to complement the sharp & strong edges of the serif, and so the typeface became a family of these three regular, italic, and script fonts. The goal was to provide designers with all the tools to create engaging, and on-trend brands, products, and marketing visuals.

5 fonts for $28 $14
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Rosales
Rosales
#16 Rosales
by Latinotype Mexico
Rosales integrates humanist style with geometry in a typography highly inspired by calligraphy. It has eight weights in round and italic variants, which also have a set of initial capital letters, small caps, Old-style and Lining figures, as well as two stylistic sets that allow for more humanist or more geometric versions. Basically, it covers whatever you’re going to need.

The family’s extreme weights were designed for titles, while the intermediate weights are for texts. The first ones are perfect for displays and logos.

16 fonts for $126 $63
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Rosales Designer
Let's hear from the Designer.
Q1) Where did the idea for the typeface come from? Did you set out to address a specific use or suite of the application? Was this a design you'd had in mind for a while?

To make a typographic selection, I think the most important thing is to be clear about the spirit that you want to convey with what you design. The shapes of the letters speak for themselves. The designer (graphic communicator) must have a sensitivity and visual education that allows him to be able to interpret this in the fonts and thus be able to make his choice more accurately. For sans serif typefaces like Rosales I think a good match will always be something close to calligraphic or lettering in order to contrast the mold forms with the freer and more expressive forms.

Q2) What is the one or two most important things graphic communicators should know about the typeface, or how will the family of fonts help them create better design?

When designing Rosales, I had two clear objectives: First, to achieve a typeface family that could be used without problems to design long texts such as headlines, visible in its sets of drop caps; and second, to create a product that could offer more than one aesthetic proposal to the user. Why settle for just one sans serif style when we can have a little more? With Rosales we have at hand a humanist sans serif, an italic with its drop caps highly influenced by calligraphy and a geometric sans serif, all included in a single family.

16 fonts for $126 $63
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Bakewell
Bakewell
#17 Bakewell
by Kimmy Design
Bakewell is the 4th typeface of the Winslow Type System. It's a low contrast sans-serif with ball terminals and a sweet disposition. The typeface includes a wide range of styles, widths and weights that make it a great addition to any type collection. From Narrow to Wide and Hairline to Bold, the font family offers extended optionality. Packed with OpenType Features, users can create one-of-a-kind designs perfectly tailored to their specific needs!

56 fonts for $150 $75
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Bakewell Designer
Let's hear from the Designer.
Q1) Where did the idea for the typeface come from? Did you set out to address a specific use or suite of the application? Was this a design you'd had in mind for a while?

It’s important to choose a typeface that fits with the tone of the project. Even within a specific genre there are nuances that make the project unique. Coming up with that message BEFORE searching for fonts will remove the urge to just pick something trending or that shows up in early searches.

Bakewell is a low-contrast (monolinear) version of the Winslow and Madley-type family. Because the basic skeleton is the same, it pairs very nicely with each of those typefaces. In general, it is a great text typeface to accompany any modern-style or 18th-19th-century style serif font, but also works well as a display typeface paired with a delicate line script font, such as Winslow Script or any other signature style script typeface.

Q2) What is the one or two most important things graphic communicators should know about the typeface, or how will the family of fonts help them create better design?

At first Bakewell was purely an exploration in taking the skeleton of a modern-style serif typeface (Winslow) and removing the serifs and reducing contrast. As it developed it was more of an opportunity to create a unique sans-serif with non-traditional features.

The most important thing to know about it is that it works great as both a display typeface and as a text typeface. I use it as the paragraph type on my website and as headline type on specimen images and posters. There are lots of extras and special features to play around with and make it unique to your project.

56 fonts for $150 $75
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