Two hectic years have passed. There have been so many big changes brought on by the epidemic that it is easy to forget about the little things, like how typography has changed tremendously.
Typefaces like 1970s serifs are making a comeback, as are exaggerated characters and a return to vintage fonts that were once popular. Additionally, a slew of entertaining new fonts have been released to distract us from the terrible tragedies in the globe.
Typography in 2021, when we emerge from lockdown, is the next stage.
It’s now a time of extremes in both maximalism and creative expression. There is a developing art nouveau movement and revival of 1990s typefaces to look forward to, as well as the return of vintage designs. However, as we strive to move on from the gloom of the previous two years, we anticipate to see a slew of forward-looking, ground-breaking typeface designs.
In 2022, expect the following typefaces to be popular:
Definitely, environmental issues will be at the top of the agenda. Berenice Smith, the designer of Ryman’s Eco typeface, hopes that more people will be aware of fonts that use less ink and hence less carbon. Another goal is for “a more rounded sans to increase readability; and again to minimise effort and consequently carbon load,” she says.
Increasing attention is being paid to accessibility, thus it’s hoped that typography will prioritise legibility and readability even more in the future.
Next year and beyond, “inclusivity” will be a major focus in graphic design, says Christy Davies, Echo’s design director. Fonts like Futura, which have been around since the 1920s, have evolved through time to become more user-friendly examples of this.
According to her, “We need to act now because of our ageing population and their deteriorating vision.” It’s important to keep in mind that the packaging may be viewed from the store shelf, therefore the fonts used must be readable for persons with vision impairments.”
Custom typefaces are on the increase.
Mucca creator and president Matteo Bologna feels that bespoke typefaces will be a hot topic in 2022.
“A unique typeface may convey as forcefully and effectively as other visual elements,” he argues. In the competitive marketplace, a bespoke font may convey subtleties that an off-the-shelf typeface cannot while helping to distinguish a business from its competitors.”
In order to capitalise on its rich legacy, Footlocker has released Foot Locker Sans by F37, a bespoke typeface developed by &Walsh with an accessible, organic style.
This tendency is also being fueled by software advancements. Glyphs 3 (recently redesigned by Matteo Bologna and Andrea Trabucco-Campos) is a new font creation programme that makes it easier for designers who have never made fonts before to build their own bespoke fonts.
In addition, Matteo points out that “varying typefaces” are being driven by the software’s power. As a result, no longer are designers restricted to condensed or extended serifs, sans or serif. A single font with these features may be used to create more personalised and engaging experiences. Actually, Glyphs’ website was created with ABC Dinamo’s recently released variable typeface Arizona, demonstrating the software’s capability alongside the font’s adaptability.”
Reducing the craziness
ThoughtMatter design director Samantha Barbagiovani feels that some of the most outlandish font styles of the 2020s so far will begin to fade away in the coming months.
For the next two years, she thinks, the “experimental and practically non-designed-designed letterforms we’ve seen over the previous two years will boil down,” owing in part to Gen-Z and their surreal existence assisted by screens. Consider Muoto or CoFo Sans [number 7 on our list below], two fonts that have strong foundations and targeted optimization for supporting companies.
In light of this, we’ve compiled a list of 36 typefaces you should look into for 2022. Your designs will be future-proofed with the aid of these great fonts.
Sans Serif fonts
Axiforma is a geometric sans-serif typeface family developed by Galin Kastelov and released by Typekit. It has 20 different weights and corresponding italics, all based on a sturdy sans-serif font. Old-style numerals, fractions and case-sensitive variant forms are only some of the OpenType capabilities included in this font. As a paid-for typeface that may be used for anything from logos and posters to presentation materials to websites, Axiforma is not to be mistaken with the similarly called Axiforma Free Font.
Ellen Luff produced the sans serif font family Bison, which is ideal for use in branding, logos, periodicals, and films. Controlled letterforms and contemporary embellishments convey Bison’s strong, uncompromising design. In addition to being lively and authoritative, each of the fonts in the family has a unique combination of harsh lines and soft curves.
3. TT Norms Pro
The third version of the popular geometric sans serif, TT Norms Pro, was developed by Ivan Gladkikh, TypeType Team and Pavel Emelyanov. It’s meant for a broad variety of applications and works well both in huge text arrays or headlines and on the web. It’s available in 67 styles, including 33 upright, 33 italics, and one variable font with three axes of variability.
4. FS Me
For persons with learning challenges, FS Me is particularly intended to boost readability. We worked on this typeface alongside Mencap, the nation’s foremost charity for people with learning difficulties, who also gave their stamp of approval. To ensure its attractiveness and readability, FS Me was tested with a variety of learning impairment groups throughout the United Kingdom for every single letter. For every typeface licence acquired, Mencap gets a contribution.
5. Pangram Sans
In the words of Ogre Studio, “Matt and the Pangram Pangram crew are generating some incredibly usable type with a terrific blend of inventiveness and individuality.” Pangram Sans is a robust geometric workhorse that manages to be both aggressive and subtle at the same time. From Reclined to Italic, Mat Desjardins and Valerio Monopoli have added a completely changeable slanting to their free-to-try geometric sans. The Cyrillic Alphabet is also supported.
For the design of Rapor, the equal-width scheme was used in conjunction with Futura and other geometric sans serifs. In addition to its softened, equally converging diagonal corners, it has a unique look. With 10 weights ranging from Thin to Black and twenty styles with corresponding italics, Ouzhan Cengiz designed this typeface.
7. CoFo Sans
For CoFo Sans to work, it must be in perfect harmony with both the logic of the written word as well as the feelings it evokes. Simply said, it strikes the ideal harmony between minimalism and individuality. It was designed by Maria Doreuli and comes in four weights, making it ideal for anybody who wants clarity and versatility without compromising character.
A grotesque typeface is not Alfreda. To achieve its humanistic and nuanced ink traps, the artist used modulated and unmodulated brushstrokes, as well as natural and reverse contrasts. Santi Rey’s Alfreda is available in six different weights. Open type features, more than 400 glyphs, and 18 style sets are included in this application.
Modernist posters from the mid-20th century were a major influence on Christian Schwartz’s inspiration for Graphik. There are a variety of uses for this typeface, including in editorial design, corporate branding, video and television production, websites, applications, and user interfaces.
Possibly the first true limited-edition font, Boke! was created by Skep studio and will only be available to 50 designers or studios. The font was inspired by a dusty box of old classic woodblock type that was sitting about in the studio.. Once the limited supply of USB sticks has been depleted, the product will no longer be available.
Tom Foley, a Monotype employee, worked on Cotford during lockdown. When he originally got the concept in 2014, his goal was to create a modern serif font that was both soulful and beautiful, with all the adaptability that today’s designers want. Because of the sudden stipulations of March 2020, he was able to put his concept into action in an unexpected way.
Drawing inspiration from wide nib calligraphy and lettering drawings, the design began to take form. This design has to maintain the warmth of its original drawings while being crafted into a distinct font. The final typeface represents quality, consistency, and efficient performance over a wide range of forms, including those that are changeable in nature.
Lovechild, a display font by Simon Walker, is a Jugendstil-inspired typeface. 485 total glyphs, including a large selection of foreign characters, make it compatible with dozens of different foreign languages.
13. New Paris
NewParis, a design inspired by French typefaces from the 18th and 19th centuries, with thick and thin strokes that contrast sharply. However, this is not a straight resurrection of the genre, but rather a contemporary interpretation of it, geared to satisfy the needs of the modern world. Text, Headline, and KingSize fonts are all part of Ian Party’s NewParis family of typefaces, which incorporates sturdier hairlines and smaller sizes (for text sizes above 36pt).
14. FS Ostro
Monotype’s FS Ostro font exudes a refined and well-balanced elegance. It takes its cues from colder, starker Modern fonts and warms them up with a southerly breeze that sweeps across the Mediterranean Sea.
Designed by Ellen Luff, Larken has a natural softness and expressiveness that reflects nature. With its organic curves and subtle repetition, the family creates type that is both strong and harmonious. Additional symbols, stylistic alternatives, distinctive ligatures, and case-sensitive punctuation are also included in the character set.
The serif types used in editorial media in the 1970s and 1980s inspired Santi Rey to design Gazpacho. It’s perfect for logos because of the morphology of the letterforms, while its high x-height makes it good for headlines with narrow leading. Because of its great contrast and easily recognisable forms, it is especially well-suited to short and lengthy texts.
As a contemporary ligature serif font, Diastema has its own distinct look because to the connecting ligatures it uses. Issam Boufelja designed it, and it’s a wonderful option for branding, logos, invites, and watermarks. It has upper- and lowercase letters, numerals, punctuation, ligatures, and alternates, as well as standard, italic, bold, and bold italic font styles. It also supports several languages.
18. Roman Grotesque
“Putting the human person at the core of building” was the driving principle behind the visual identity of the National School of Architecture Paris-Belleville. It’s a fascinating typeface that can be utilised at both the micro and macro levels, combining the structure of sans serifs with the calligraphic tradition of serifs. There are eight different weights and italics to choose from.
19. FS Renaissance
There is an unavoidable yearning for more human typefaces because of the current loss of human connection and lack of touch,” explains Space Doctors associate director Julius Colwyn. Each letter is produced by the artist Craig Black and Pedro Arilla in conjunction with Monotype, then assembled into a single font. Julius shows us the following: “The serifs in the stencil-style writing provide a feeling of movement that connects the letters together via movement. That it’s both utilitarian and crafted by hand gives it an airy, expressive quality.”
Slab Serif fonts
Adelle is a slab serif font created by Veronika Burian and José Scaglione for heavy editorial usage in newspapers, journals, and internet. Even though it lacks a distinct personality or versatility, it has become a widely used online font due to its excellent screen rendering and cross-platform consistency. Adelle Sans, the font’s sibling, is also available.
Founded on the Clarendon/ionic paradigm of the 19th century, Sagona by Rene Bieder is a modern slab serif. Strong serifs and varying stroke contrast make it ideal for headlines and tiny text. There are nine weights and corresponding true italics to choose from in the family.
22. TT Hoves
TT Hoves is a geometric sans-serif with a particular personality that is based on technology. With 23 styles, 1,358 glyphs in each style (excluding outline styles), and support for over 210 languages, it was created by Pavel Emelyanov and Ivan Gladkikh.
23. FS Clerkenwell
Fontsmith’s FS Clerkenwell is based on the rich printing and design history of this area of London. The typeface’s whimsical, modern style gives headlines, logotypes, and other large-size text a contemporary edge.
It was created during the Mail.ru Design Conf x Dribbble Meetup in 2020 in Moscow as an alternate and more radical version of the TT Travels family. Wide display sans serif designed by Kseniya Karataeva may be used in a variety of print and online applications. As you shift from a bold to a light style, the font’s dimensions and characters stay the same. An enlarged aperture, poor contrast, and obvious visual compensators are also included in this design.
According to graphic designer James van Kriedt, “modern twists on Art Nouveau font appears to be gaining appeal right now.” “VJ Type is basically in charge of this.” Here’s an excellent illustration of what I mean. Dahlia is a nod to Italian lake posters from the 1910s and the Art Nouveau movement. For headlines and short-to-medium-length content, Jérémy Schneider’s display serif font is ideal. Contrary shapes and unconventional curves combine to produce an expressive design with a feeling of tempo and timelessness.
The Turlot Foundry’s 2018 reissue of Margot Lévêque’s Elzévir Anglais, Kalice, is a revival. It is a display font that covers the majority of European languages and is available in one weight and one style in the common file formats.
A vintage serif display font with a Memphis vibe, Beale is a fun typeface. Stax Recordings and Sun Studios in Memphis are two local icons, and Amy Hood, who developed the logo, was inspired by the typography on their records. Add-on characters and glyphs may be found in abundance in this typeface.
28. TNT Battenberg
An uppercase display font, TNT Battenberg was created by beginning with four parallel lines and working outwards. In packaging and branding contexts, its lively and whimsical style provides good options for making a powerful impression. It’s also quite versatile and would look well with more neutral sans faces in typographic layouts and eye-catching logos.
29. Timmons NY
New York-based designer Matt Willey created Timmons NY, a headline typeface with a single weight and various variations. The ‘BuyFontsSaveLives’ campaign honours Matt’s late father Nick, who died of cancer in 2011. All proceeds from the sale of this font will go to this cause.
30. Bebas Neue
Bebas Neue is a free Google font family with an extensive character set and OpenType capabilities appropriate for headlines, captions, and packaging. Based on the original Bebas font, Ryoichi Tsunekawa created this version.
An African-American transgender woman called Marsha P. Johnson was a key role in the 1969 Stonewall protest and inspired this design. Wednesday Krus, the design director of ThoughtMatter, expects to see a lot more of this kind of inspiration next year. More black and trans tales will be told in 2022, according to her prediction. An emphasis on user-friendly design will be a priority for all designers in 2018.
The natural and graceful curves of the Westiva font family are the emphasis of this elegant and refined serif font family. For tasks like premium brand logos, journals, business cards, titles, items, social media postings, and the web, Bayu Noor Witarsa’s design is ideal.
33. GT Ultra
GT Ultra takes inspiration from the massive serifs of the 1970s and ’80s to create a new typeface with a humanist flair sans. Both calligraphic and constructive, it challenges the concept that humanist flares can’t be sans, drawing on both serif and sans traditions.
As a follow-up to last year’s revolutionary Helvetica Now release, this year’s Helvetica Now Variable maintains the clarity, simplicity, and neutrality of the original for the contemporary day. And, as you would have predicted, it converts it into a variable typeface, with all the optical scaling, stylistic alternatives, and enlarged character set a contemporary design could require.
Flexible by Art Grootfontein is a gothic-inspired uppercase typeface available in eight widths and eight heights based on broadside types from the late 19th century. Designers may simply experiment with the letter height and width thanks to the changeable font technology.
Inter was formed as a sans reimagining of Rockwell. This new geometric sans with smooth curves and ample counterforms is a pleasant typeface that exudes genuineness. Designed by Alfonso García, Inter is well-suited for online usage, applications, corporate use and brief text (publication) (publishing). It comprises 439 glyphs and supports over 200 languages that utilise the Latin alphabet.
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