Designed by Diana Ovezea
Distributed by Blast Foundry 
Typeface family: 6 weights, 2 styles (upright + italic), and 2 optical sizes. 24 fonts

This text was originally written in German, a language with more than 90 million speakers worldwide. The English version (Thank you Dan Reynolds!) of the review is below.

Ich hasse einkaufen. Ausgenommen Schriften.

2021 bin ich via Future Fonts über die Schrift »Bizzarri« von Diana Ovezea/Blast Foundry gestolpert und war sofort schockverliebt. Wenn ihr eine ausgefallene Schrift sucht, die eigenständig, eckig, laut, egozentrisch und detailverliebt um die Ecke kommt, dann liegt ihr mit der »Bizzarri« auf dem richtigen Kurs.

Designed by Robin Mientjes
Distributed by Tiny Type Co. & Fontstand
Typeface family: 4 weights, 3 widths, and 3 optical sizes. 12 fonts

This font review was originally written in Spanish. English translation below.

Tiny Grotesk es la superfamilia neogrotesca sans serif de Tiny Type Co, la fundidora de Robin Mientjes. Tiene dos estilos o parámetros extremos que la definen y aggiornan este estilo, con raíz en principios del siglo XX, a la contemporaneidad. Tiny Grotesk toma su inspiración del linaje neo-grotesco marcado por referentes históricos como Helvética, Univers y Folio.

Designed by Laura Messeguer 
Distributed by Type-Ø-Tones

This font review was written in English and translated into Portuguese (BR—below). The Community of Portuguese Speaking Countries (CPLP) is expected to have an additional 110 million inhabitants in 2050, rising to around 357 million people, according to United Nations (UN) estimates.

I am thrilled to feature Laura in the Women in Type series finally. She has been on the list since day one. While I originally planned to group 5 pioneer designers of her generation—like Veronika Burian, Zuzana Licko, and Laura Worthington—I can’t leave Fabulosa off my best of the year. A node to the Fat Face style and Ed Benguiat’s Caslon Swash (two of my all-time favorite historical references) that would immediately teleport us to the glamourous 1970s graphic scene if it wasn’t for the surprising stencil twist (which in my mind carries a more edgy look)—a bold, striking, yet retro serif typeface. It’s like colliding Philip Roth paperbacks with the Bauhaus.

Designed by Anna Štepanovská
Distributed by Rosetta Type
Typeface family: 3 widths + 9 weights. 27 static fonts + 1 variable font

This text was originally written in Catalan. The Catalan ce trencada (Ç ç), which literally means ‘broken ce’, can be used before the vowels a, o, u (+ accented derivatives), at the end of a word, or before ‘s’ in plural words (e.g. falçs).
The English version of the review is below.

Quina delícia!
Butik està plena de detalls que em fan que m’agradi tant. A Butik el que veiem és que no es tracta només de donar forma a les lletres, sinó de crear formes plenes de significat i personalitat. Anna Štepanovská combina influències de l’ornamentació manierista, Herb Lubalin i Josef Týfa per dissenyar una família tipogràfica completament nova i moderna. Les formes semi-serifades, com la n i la v i la U, i les prominents trampes de tinta defineixen la seva personalitat. Notareu terminals de bola delicades i traços sortints generosos en els pesos més lleugers, mentre que els pesos més gruixuts veiem contraformes petites i terminals de bola grans. És una tipografia que sap com fer una entrada triomfal. I els extres: Les lligadures decoratives, els traços ornamentals i les alternances ofereixen un potencial creatiu immens.

Com diuen a la presentació de Rosetta, Butik no és només una tipografia; és un autèntic terreny de joc per als dissenyadors.

Designed by Emily Klaebe
Mastered by Tiny Type Co.
Distributed by Order
Font family: 5 weights. 5 static fonts. Trials available

This font review was written in English and translated into Portuguese (BR—below), with over 230 million native speakers, making it the 8th most spoken language in the world.

If you need a bracketed slab serif with a nostalgic feel, less contrast, and more quirks than the jaw-dropping Ionic Modern from Commercial Type, Stringer may be the perfect fit. Emily’s first commercial release, designed during the Type West program in 2022, and published by Order, is a revival from Ionics of the early 20th century—more precisely Miller & Richard’s Ionic No. 3 at 12-point—in five up-right weights, from Thin to Bold (fingers crossed italics are upcoming).