We can only thank Morrison and Fukasawa for bringing this brilliant typeface to life. Throughout 2019, we’ve seen it pop up in many students’ projects. Untitled Sans is a plain neogrotesk sans based on the ideas of Jasper Morrison and Naoto Fukasawa’s Super Normal project.
It consists of seven weights with corresponding obliques and eight condensed styles, all coordinated in letterforms, metrics, and weights, so they work better together. Designed for the Bauer company in 1927 by Paul Renner, it’s easy to see why the uniform type system is proving such a hit with our design students. Paratype’s new take on Futura is everywhere. We’ve seen Plantin make something of a comeback in recent months and its growing popularity shows no sign of slowing. Body text in Plantin has a rich texture and is ideally suited for editorial or book designs – though it performs perfectly well on screens as well. PlantinĪn old-style serif named after the 16th-century printer, Christophe Plantin, this typeface was created in 1913 by the British Monotype Corporation for its hot metal typesetting system. A genuinely superior sans family for all your projects. A new take on an absolute classic, Akira Kobayashi worked alongside Avenir’s original creator, Adrian Frutiger, to bring this new font to life. Linotype’s Avenir Next Pro has been huge in 2019, and it’s a bestseller online, too. A complete redesign of the classic Helvetica, this is a typeface for the 21st Century with every letterform revised and redrawn. And we can see its popularity continuing right into next year, too. But let’s be honest – it was always going to be in demand.
Helvetica Nowįollowing its big launch in April, Helvetica Now by Monotype is undoubtedly 2019’s winner. With seven weights and a distinctive look, it’s no surprise that we’ve seen it used for branding, packaging, and editorial projects, both printed and online. AmbitĬoType Foundry’s Ambit is an eccentric and unique sans serif font inspired by early grotesques but adapted for modern use. Take a look and see if you agree with our predictions. These are fonts from some of the biggest type foundries in the world-although you’ll find a few options from the independents, too. It’s around this time of year at Shillington that we love to take a closer look at our students’ work and the wider design community to see if we can predict the fonts that will be popular in future.įrom brand identities and packaging to editorial pieces and website designs, we’ve scoured through all of this year’s projects from our six campuses across the globe to pick out 20 typefaces that look set to be big in 2020. Top 20 Fonts That Will Be Popular with Designers in 2020
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