We are now past the middle of February. The post-January slump is officially over, and if this month’s font releases are anything to go by, the creative industry is well and truly back to normal. There’s real ambition in these releases. Great ideas, careful craftsmanship, and quite a few stories that really made me stop and read it twice.
We’re talking about a bespoke typeface from one of the UK’s most popular animation studios, a landmark update to one of the most important typefaces in German design history – a quietly remarkable multi-script collaboration that grew from a student project into a world-class one… and that’s just the beginning. More broadly, the breadth of multilingualism on display this month is also worth celebrating. Some of these versions take language support seriously, in ways that go far beyond the usual checkboxes.
Aeonik is already the font of choice for Revolut, Eurosport and Alipay, so the new family members are worth keeping an eye on. Especially since Aeonik Soft doesn’t reinvent its parent company; it reinterprets it.
Subtly curved corners replace the sharp geometric edges of the original, creating a warmer, more approachable tone while keeping the neo-grotesque backbone intact. It’s a subtle shift; one that’s easily missed at first glance but immediately felt in use.
This opens up clearer applications that originals couldn’t quite reach: editing, packaging, children’s content, and UI design, to name a few. Eight weights from Air to Black, matching italics, variable fonts and support for Latin, Vietnamese, Cyrillic and Greek make it a truly comprehensive addition to the already reliable Super family.
Bristol designer Jamie Clark was commissioned to create a bespoke typeface for Wallace & Gromit as part of Studio Griggs’ wider style guide project for Aardman. The result is a buttery muffin that is truly delightful.
Drawing early inspiration from Oswald Cooper’s Cooper Black, Jamie developed something softer and handmade, with serif shapes that resemble bread (like you do). While this is a custom commission and cannot be purchased, it is a perfect example of great custom typography: purposeful, distinctive, and well suited to its subject.
Big Aardman fan? Then you should also read my article What Aardman’s Latest Big Move Teaches Us About Creative Survival.
3. Neue DIN 2.0 by Andreas Frohloff, Olli Meier and Hendrik Weber
Three years ago, Fontwerk’s Neue DIN won six major international awards for its radical expansion of DIN from XXCondensed to XXWide. Version 2.0 addresses one flaw in this vision: italics. But it’s not just italics; in addition to the 81 standard italic fonts, Fontwerk has added 81 left-slanted “Retalic” variants for use in eye-catching, high-impact contexts, bringing the total number of static options to 243. Variable fonts gain a third axis and can be tilted in two directions.
This may sound incremental, but the scale and quality of execution are anything but. DINs have been part of German public life for a century. Neue DIN 2.0 continues its commitment to honoring this tradition while making it truly relevant to the present.
4. 29LT Azahar by Jose Carratalá, Krista Radoeva and Naïma Ben Ayed
The name says it all: azahar is Spanish for orange blossom, derived from the Arabic ????????? (az-zahra). A word rooted in two cultures is an ideal moniker for a font that spans three scripts. 29LT Azahar is a mutable superfamily covering Latin, Cyrillic and Arabic, developed with partners that treat each script as an equal throughout.
It grew from Jose Carratalá’s master’s thesis at the University of Reading into something far more ambitious: Krista Radoeva for Cyrillic, Naïma Ben Ayed for Arabic, and 29Letters founder Pascal Zoghbi overseeing the system. The display version transforms practical text features into a stylistic statement; the text version offers warmth and classic proportions. Latin details deserve close attention; the triangular terminals reference Roman capitals carved in stone, an unconventional treatment of the “g” that subverts Didone convention.
All in all, the 29LT Azahar has that truly rare trait: a multi-script family that feels unified rather than assembled.
5.KTF Prima by Kyiv Type Foundry
KTF Prima has been ten years in the making and shows off in the best possible way. Yevgeniy Anfalov started creating while studying at ECAL, inspired by Forma, a sans serif typeface from Nebiolo that is warmer than the typical Italian modernist style. His response was a “one style fits all” system, completely redrawn from scratch with no forced compromises for outdated technology: clean, modern construction from ultra-thin to ultra-black.
Flexibility comes from inherited proportions and high-x-heights rather than heavy stylistic differences; text is discreet and confident in display proportions, without the need to use different fonts for each context. The Cyrillic alphabet was developed in parallel as a natural extension of the same logic. It’s well worth checking out for designers who want a single, well-thought-out type system that does everything without the fuss.
Simon Reynaud’s “Augure” already has a strong visual rhythm. These three extensions enhance this quality through a strict character width system that is considered a regulatory grid.
Augure Mono assigns uniform width to all glyphs. Augure Duo introduces a second, wider capital letter and wider letter measurement, with the two widths related in exact one-third proportional increments. Augure Stereo combines the two in a variable font, making the second width fully adjustable.
Overall, this is a solution to a typography problem that looks simple on the surface, but reveals its true depth the more you use it.
CoFo Sans Pro Devanagari is a relatively rare thing: a script extension that was clearly designed to be part of a family, rather than being anchored to one. Contrast Foundry teamed up with Mumbai-based type designer Kimya Gandhi to create a companion that works seamlessly in a multilingual Latin-Cyrillic-Devaravana environment. Open counters, soft rounded knots and simplified matras give it a sense of warmth without compromising the legibility of text and display dimensions.
It is also worth noting that this is a female-led project (Maria Doreuli for Latin and Cyrillic, Gandhi for Devanagari). The font is available in eight weights from thin line to black.
8. Veloce by Rob Andrews
Every once in a while, a first-time release makes you think: This person has had an idea stored away for a long time. Named after the Alfa Romeo in the garage (another project Rob Andrews promised himself to complete), Veloce began as a studio typeface in a single weight and evolved into a typeface with a real range. Clear, neutral, and with enough personality to avoid feeling anonymous, it’s a good choice for both text and signage.
However, what really sets it apart is the language coverage. In addition to Cyrillic, Greek and Vietnamese, Andrews also includes Chinese Pinyin, Nigerian and International African alphabet characters. It’s an unusually thoughtful decision for a debut, reflecting serious long-term thinking about global distribution.
9. Intonare by Application System Design Studio
Rounded fonts can easily turn into knockoffs. Intonare avoids this by considering its calligraphic origins as structural principles rather than decorative references. Rooted in the symmetrical movement of a round-hand pen, it reinterprets historical pen lettering through modern typography systems: smooth transitions, thoughtful stroke structure, and ornamentation that appears through movement rather than excess.
To date, the largest family of application systems has released the results of a modern round hand that feels very useful. It’s warm and distinctive for presentation and branding work, without the fuss that often accompanies such scripts.
Suncoast provides designers with two complementary typefaces (Suncoast Grotesque and Suncoast Humanist) that can be mixed and matched in the same visual world. One brings functional solidity; the other liquid warmth. Together they allow typographic tone to adapt to context without losing cohesion.
Suncoast is firmly positioned in the commercial product sector (packaging, retail, wine labels, cosmetics), understands its market and provides good service. Not every typeface needs to aspire to editorial gravitas, and this one knows exactly where it belongs.
Pixel typography is enjoying a real renaissance right now, and SLTF has capitalized on it more maturely than most, rooting the aesthetic in editorial sensibility rather than pure retro gaming nostalgia.
“Luxury meets arcade, fashion meets 8-bit, magazine elegance meets just the right amount of grit.” The presentation was clear, confident, and most importantly, it got the concept across. Four fonts (Paired with Pixel Thin, Pixel Regular, Pixel Black and clean Silver Editorial Regular) allow designers to switch between refined and deliberately rough in a single visual world without having to use different font families to achieve contrast.
Enigma is primarily a custom typeface studio, and Chubasco is its first step into the retail market—and its arrival is secured by a foundry that has been solving real branding problems for years. The black sans serif is built for impact, with a high x-height, compact proportions, and a confident mix of squares and circles.
Custom ligatures in upper and lower case add dynamic flow and seamless character connections to other geometric structures. This is a great option for brands, posters and packaging that require large print personality.
13. RNT Ify by Right Now type
RNT Ify (“I Feel You”) is the debut of Right Now Type: designers Wouter Van Nes and Walter Oscar Rothe, based in Ghent and Antwerp, Belgium. Inspired by the circular typefaces found in magazines and street signs, the typeface starts out almost single-line, then precise inking introduces the character and a modern, retro-futuristic edge.
It’s a subtle move that pays dividends at different sizes, drawing light in a way that a purely linear typeface can’t. It’s a well-thought-out debut with a clear point of view: we’re excited to see what the fledgling foundry does next.
Sometimes you just want a font made by one person for someone else. YJ Knotted Ink is exactly that: a bold, hand-drawn display font with a Knotted Ink texture that gives the typeface an embossed, tactile quality; rounded, intentionally imperfect, and genuinely warm.
This is not a numerical approximation of roughness, but the true visual quality of ink on paper. For small business branding, packaging and social content, where handcrafted personality is more important than systematic polish, this can be achieved.
