10 of our favorite typefaces of 2018

At Bureau Clarté, we’re always on the lookout for new typefaces that fit our projects best. In fact, many of our smaller projects have a comparatively large portion of their budget allocated to the selection and purchase of the perfect typeface.

2018 saw the emergence of many new type foundries and designers, as well as new fonts from their more established peers. We’ve compiled a list of 10 of our favorite typefaces from last year, created by independent type foundries from all over the globe.

↑ Aeonik by Mark Bloom and Joe Leadbeater

Starting off, we have Aeonik by Mark Bloom and Joe Leadbeater, their first collaborative font family. Its proportions are slightly wider than a typical Grotesk, while simultaneously being thinner than your regular Geometric Sans. It strikes the perfect balance between both, and we liked it so much that we made it the main typeface for our own studio.

↑ Figue by Good Type Foundry

The Norwegian Good Type Foundry continue being one of the most relevant type foundries of today by releasing Figue, a botanical-inspired serif typeface named after the ficus plant. With a tall x-height and releasing in a single weight only, its elegant shapes and the lower case “a” made us fall in love with it.

↑ FK Display by Florian Karsten

Florian Karsten released several typefaces in 2018, our favorite being FK Display. With a single weight, this sans-serif is intended for headlines and larger applications and features several quirky letterforms and expressive overall look.

↑ Good Sans by Good Type Foundry

Good Sans is the second entry by Good Type Foundry in this list. Slightly less experimental or recognizable than the average GTF typeface, Good Sans is a contemporary sans serif typeface inspired by mid-century neo-grotesques that is nevertheless a solid entry into their catalogue of impeccably designed type. Available in 6 weights from Thin to Black, it is here to stay.

↑ Graphik Wide by Commercial Type

While the original Graphik had been released several years ago, Commercial Type have added a Wide family to their now iconic typeface. Now ranging from XXXX-Condensed to Wide, the company have hereby further reinforced Graphik’s staying power.

↑ GT Super by Grilli Type

Grilli Type, one of the world’s most prominent type foundries, continue making their mark on the world of contemporary graphic design with their newest release: GT Super. Available in 20 styles and only their second serif family, it is the result of an extensive investigation into display serif typefaces from the 1970s and 80s, coming in both text and display styles.

↑ Heldan by Klim Type

The prolific Klim Type from New Zealand have presented another workhorse serif typeface to the world in 2018: Heldan. Over a decade in development and inspired by the renaissance works of Hendrik van den Keere, Claude Garamont, Robert Granjon and Simon de Colines, it comes in two families: Display and Text.

↑ Labil Grotesk by Kometa

Kometa is the 2018-established type foundry of Czech designer Christian Jánský, impressing us with their first release: Labil Grotesk. With subtly, yet comically exaggerated shapes that are falling both forward and backward, its quirky, yet precisely designed charm impressed us enough to want to use it in one of our own projects. For anyone who prefers their fonts a bit more stable in the long run, each weight of Labil is accompanied by its more reliable sibling, Stabil.

↑ Scto Grotesk by Schick Toikka

Scto Grotesk by Schick Toikka is striving for the ultimate Grotesk – incorporating the most rational options in its design, the naming “pays tribute to the tradition of typefaces that didn’t yet have names of their own, but were rather identified by the foundry or designer, complemented by a style descriptor.”

↑ Syne by Lucas Descroix

Lucas Descroix’s Syne is both the last entry on this list, as well as the only free typeface. Located on the more experimental side of the spectrum, Syne comes in 5 different styles, including rather unique takes on its Italic and Mono styles that nearly entirely differ from the rest, yet complement the other weights quite well.