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Find out which new fonts made the Top 10! Any guesses? Stats and SAVINGS - Discover Now... | Welcome to our year in review! Find out which new fonts made the Top 10. | | | | In 2021, we added many new wonderful font families to FontShop! We've taken all the data from the entire year and present you with the definitive Top 25 Best-Selling NEW Fonts of 2021. We don't want to just give you stats, so we’re giving out HUGE Savings as well!
Be sure to click our Shop ALL Best NEW Fonts button below to find out which ranking these new fonts received, who got the number one spot, any guesses? Also, be sure to check out our next few emails for exclusive designer interviews.
Our Best of 2021 Sale ends January 25th at 11:59 p.m. EST! | | | | |  | |  | Helvetica Now 2.0 builds on the groundbreaking work of 2019’s Helvetica Now release—all of the clarity, simplicity, and neutrality of classic Helvetica with everything 21st-century designers need. In this 2021 release, we introduce Helvetica Now Variable and add condensed weights to the Helvetica Now static fonts.
Helvetica Now 2.0 includes 96 fonts in three distinct optical sizes (Micro, Text, and Display), now with 48 new condensed weights. The Helvetica Now Variable fonts include even more: 144 instances—48 normal, 48 condensed, and 48 compressed.
Helvetica Now Variable gives you over a million new Helvetica styles in one state-of-the-art font file (over two-and-a-half million with italics!). Use it as an extension of the Helvetica Now family or make custom-blends from its weights (Hairline to ExtraBlack), optical sizes (four point to infinity), and new Compressed and Condensed widths. Create infinite shades of expression, incredible typographic animations, and ultra-refined typography. Its single font file makes it easier to use and wickedly fast. Load one file and access a million fonts—in a fraction of the size of a traditional font family. More freedom. More expression. More power. More. Helvetica. Now.
Each one of the Helvetica Now static fonts has been carefully tailored to the demands of its size. The larger Display versions are drawn to show off the subtlety of Helvetica and spaced with headlines in mind, while the Text sizes focus on legibility, using robust strokes and comfortably loose spaces. Helvetica Now's Micro designs are simplified and exaggerated to maintain the impression of Helvetica in tiny type. There's also an extensive set of alternates, which allow designers the opportunity to experiment with and adapt Helvetica's tone of voice. The new Condensed weights put more type into smaller spaces—for intense emphasis, sophisticated contrast, or just everyday space-fitting.
2 Variable styles - 50% off |  | | | Q1) Where did the idea for the typeface come from? Did you set out to address a specific use or suite of the application? Was this a design you'd had in mind for a while?
Helvetica has been with us for more than half a century – Neue Helvetica, for almost four decades – Helvetica Now, a couple of years. As soon as we finished Helvetica Now, we began thinking about the next iteration as Helvetica Now Variable.
Helvetica Now Variable merges three typographic concepts. The first is Miedinger and Hoffman’s: to create the most neutral, clear, and simple typeface ever. The second is Helvetica Now’s reintroduction of optical sizes – Display, Text, and Micro. The third is the most revolutionary: to create a seamless spectrum of weights, widths, and optical sizes – built into a single font file. The arrival of Helvetica Now Variable marks the “arrival” of Variable fonts. It’s the most famous typeface of all time in the format that will define the future of typography.
Q2) What is the one or two most important things graphic communicators should know about the typeface, or how will the family of fonts help them create better design?
The prospect of working with optical sizes can be daunting, but both CSS and Adobe InDesign can automatically implement optical sizes when they’re present in a Variable font, like Helvetica Now Variable.
And all of that charismatic, bouncing and undulating animated type you been seeing on Instagram and in the brand landscape of late –it’s all made with minimal programming and Variable fonts. It’s time to get busy and begin writing the future of typographic design!
2 Variable styles - 50% off | | | | | |  | Coco Sharp is the newest evolution of the Coco typographic project, developed since 2013 by Cosimo Lorenzo Pancini for the foundry Zetafonts, with the help of Francesco Canovaro and Andrea Tartarelli. Influenced by vernacular grotesques sign-painting and modernist ideals, and inspired by the classy aesthetic of fashion icon Coco Chanel, Coco is drawn on a classic geometric sans skeleton but applies humanist proportions and visual corrections to key letters with the aim to create a warmer, subtly vintage texture on the page and on the screen.
Coco Sharp drops the rounded corners of previous incarnations (Coco Gothic and Cocogoose) to pair the typeface display and logo capability with a sharper definition for text use. As in the other Coco families, a wide range of alternate letterforms allows to express different historical moods, including elegant, quirky and unexpected designs able to transform a simple word in a memorable wordmark.
The other peculiarity of Coco Sharp lies in the wide choice of x-heights given to the user, both by providing a variable version and five graded sub-families, that allows designers to fine-control text readability and space usage. Large and XLarge versions provide big and easily readable lowercase letters, perfect for small point size typesetting or bold copywriting; Small and XSmall provide smaller lowercase letters with the elegant proportions of Futura and its modernist eponyms, optimized for display use or for adding a classy flare to body text; the Regular x-height offers a "one size fits all" solution that works both for texts and for display use.
Alle the 60 weights of Coco Sharp come with a full set of open type features allowing faultless typesetting thanks to small capitals, positional numbers & case sensitive forms.
Use Coco Sharp out of the box as a solid workhorse family or enjoy discovering the limitless possibilities of its 2000+ latin, cyrillic and greek glyphs covering over 200 languages worldwide.
62 styles - 50% off |  | | | Q1) Where did the idea for the typeface come from? Did you set out to address a specific use or suite of the application? Was this a design you'd had in mind for a while?
Coco Sharp is the latest evolution of my Coco series of typefaces, inspired by vernacular grotesques, modernism and the chic aesthetic of fashion-icon Coco Chanel. I designed Coco on a classic geometric sans skeleton, but applied humanist proportions and visual corrections to key letters. My intention was to create a texture that feels timeless and, at the same time, is rooted in history of both the printed page the digital screen. Coco Sharp drops the rounded corners of previous incarnations (Coco Gothic and Cocogoose) to create a sharper definition for display and text use.
Q2) What is the one or two most important things graphic communicators should know about the typeface, or how will the family of fonts help them create better design?
The main distinction of Coco Sharp is the wide choice of x-heights available, provided as variable versions, in addition to five graded sub-families. This enables designers to have fine control over text appearance and spacing. The Large and Xlarge versions have big, and easily readable, lowercase letters that are perfect for setting type at small sizes. The Small and Xsmall designs are optimized for display use, or for adding a unique flare to body copy. The Regular x-height offers a "one size fits all" solution that works both for text and for display usage.
62 styles - 50% OFF | | | | | |  | The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines.
In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family.
Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy.
20 styles - 50% off |  | | | Q1) Where did the idea for the typeface come from? Did you set out to address a specific use or suite of the application? Was this a design you'd had in mind for a while?
The Avenir family was designed in the 1980s as a geometric sans serif with a human touch. Avenir Next is a completely revised version of the original design which has more weight variations, better-drawn letterforms, and typographic features such as small caps and old-style figures. Adrian Frutiger, the original designer of Avenir, and I, also fine-tuned the letterspacing so that the Regular and Medium weights are more suitable for lengthy body text.
Q2) What is the one or two most important things graphic communicators should know about the typeface, or how will the family of fonts help them create better design?
If your job requires a sans serif type with a clean look, but not sterile, squeaky-clean – like surgical tools under fluorescent light, Avenir Next can be a perfect choice. It’s a geometric sans which retains human warmth. If your message needs to be published in several languages, to reach broader audiences in different countries and do so with the same atmosphere, Avenir Next World will be the font suite that meets the goals.
20 styles - 50% off | | | | | |  | Tellumo, a new humanist geometric sans serif typeface, has all the attributes you need for a workhorse sans with a few surprising details.
It has moderate proportions, a low stroke contrast, open apertures, and an x-height that makes it drive with ease in running text. A modest range of six weights, from Thin to ExtraBold, make it versatile without being overwhelming. The lightest and heaviest weights are best saved for headlines and subheads. It features a set of swash caps that can add magnitude and sparkle to short headlines, making it excel in packaging designs.
Tellumo feels at home with Mid-century Modern and Art Deco aesthetics. It looks precise, tidy, and welcoming for architecture and home goods. It looks clean, fresh and modern for beauty and wellness, or elegant and approachable for fashion. It has a balance of clarity and personality, suitable for branding and advertising of all kinds, print & digital design alike.
Tellumo radiates warmth, charm, and joyfulness from its geometric foundation.
12 styles - 50% off |  | | | Q1) Where did the idea for the typeface come from? Did you set out to address a specific use or suite of the application? Was this a design you'd had in mind for a while?
The Tellumo typeface came from my long-term observations and uses of the humanist geometric genre, with my first drawings in 2016. It’s my own remix of the style. Astute typographers might notice influence from Lucian Bernhard’s work. I love packaging design, and I wanted to make a typeface that would be perfect for that use case, although it can do much more. Some sharp geometric sans serifs can look too fancy or not approachable, so I wanted a design that was more friendly looking and still feature some Art Deco flavor.
Q2) What is the one or two most important things graphic communicators should know about the typeface, or how will the family of fonts help them create better design?
This design is tuned to be a workhorse, so it will be comfortable in text and headline sizes. The big swash caps, that sit below the baseline, are versatile and can be used all by themselves, with the regular caps, or with lowercase letters. Try them out! Besides fitting in with Art Deco or Mid-Century Modern aesthetics, Tellumo is really good at making everyday things feel a little more special.
12 styles - 50% off | | | | | | | | | Our Best of 2021 sale ends January 25th at 11:59 p.m. EST, Shop ALL deals now! | | | | |
