From the team behind TYPE01 and Femme Type, TYPEONE is a new magazine that fuses type with business, technology, animation and more. The debuting issue gives a fresh outlook on how type design has played its part in amplifying voices and raising global issues in 2020. I really welcome this initiative to publish a magazine that tackles important issues and challenges the status quo. The magazine is available for preorder.

Apex Type is the new foundry of Paris-based designer Alex Chavot. What makes his work interesting to me are the beautiful serif typefaces – such as Almeria, Peckham, and Kellar (pictured above) – which have plenty of character but widely differ in style. It also seems that these serifs work well at both large and small sizes, which is hard to achieve. Lastly, the condensed Smithee, with its subtle twists, is worth a look too.

It’s been too long since I shared the work of Playtype. The foundry located in the heart of Copenhagen is behind this new grotesque that includes six weights, ranging from Regular through Black. Studio6 also comes with a funky “Cutalic” variable font, which is basically its Regular style sitting on an axis that goes from back slant to forward slant. Whenever setting a slanted value, the font gets sliced up in 6 sections, allowing for playful animations.

🎁 Free subscribers missed out on a font license for the “Cutalic” variable font version of Studio6. Join the Club to get curated font licenses every month.

Dashiell is the kind of typefaces that makes me want to start a new project just as an excuse to use it. Designed in Dublin by Signal Type, the collection includes three families: Dashiell Text (for use at small sizes – you guessed it), Dashiell Bright (better suited for printed books and magazines), and Dashiell Fine (best at large sizes). I’m particularly fond of Dashiell Text, I find it really soft on the eyes.

I’m very happy to finally feature the work of Laura Csocsan in this newsletter! Her first release, Ambiant Sans, has been on my radar for a while, but I was waiting for the family to grow in size before sharing it. This recently happened, as Ambiant Sans was complemented with Ambiant Spiky, its serif counterpart. Both fonts come in a single weight (Light) and a variable font version is available from Typelab.fr.

If you’re like me, you never have enough of grotesques. For the second grotesque featured in this issue, I’ve picked the latest release of Process Type. It’s a family of only six styles, but each one in a different weight and width, ranging from a condensed Light style to a wide Black style. I don’t recall having seen this before, but at $149 for a single desktop license, it’s a great way to make a family that is both versatile and affordable.

I just discovered Type Salon, the foundry of Alja Herlah & Krista Likar, a duo of female type designers based in Slovenia. They have released very interesting stuff so far, such as Spektra, a condensed display font that comes with italics and backslants. It also natively covers the Latin, Arabic, Cyrillic, Greek and Hebrew scripts. Earlier this year, the foundry also released Univerza Sans, “a combination of humanism and moderism.”