The most popular new font releases of 2015
Many of the fonts released in the past year on Linotype.com appear to have struck the chord of the times. They provide what you need to realize your projects professionally. With these innovative and technically sophisticated font families, you not only add fresh typographic ideas to your designs, but can also serve your clients individually and reliably.
You liked the following nine font families the most. If you are still unfamiliar with these fonts, be sure to take a look. We guarantee that you can’t go wrong with these designs and you’ll be completely on trend.
Haas Unica was a friendlier update of Helvetica and came out in the 1970s. In 2015, Toshi Omagari revised the font and published it as Neue Haas Unica. Omagari’s many small changes to the Haas Unica gave the new typeface a lively and dynamic expression. A clear appearance and the great options open the font up to countless applications. The light, noble styles, for example, are ideal in larger font sizes as titles and logos. You can use the very thick styles wherever the typography needs to be powerful and expressive.
With gently rounded corners, Jim Wasco gave Daytona a warm, friendly, almost soft character, at the same time cleverly picking up on the curved basic shape of the letters, which is based on the superellipse. With its neutral, dynamic, modern and somewhat futuristic character, the square sans Daytona not only suits the sports environment. The well-developed, space-saving and perfect-to-read font cuts a fine figure in other projects, as well. Use Daytona on web pages or for the user interface of electronic devices, for example.
With Demos Next, well-known type designer Gerard Unger presents a significantly expanded version of his popular roman Demos, from which the new font inherited its beautiful and distinctive letter forms. The low contrast in the line width and strong serifs lend the font a solid expression, while the numerous curves make it feel friendly and warm. The space-saving Demos Next is best legible in small font sizes but has enough individuality to make a winning headline.
30 years after Veljovic came out, designer Jovica Veljović presented a revised version of that font, ITC New Veljovic. Carefully optimized letter forms lend the font a very harmonious appearance. A major expansion opens new options for application for the diverse, easily legible ITC New Veljovic. The sturdy serifs help the font achieve a clear, perfectly legible appearance, not only in print, but also on a monitor and as a web font.
Cardamon is a sophisticated, readable roman from Brigitte Schuster. Without standing out too much in the foreground, this font, inspired by historical roman typefaces, has a strong character and expression, which adds a certain tone to your designs. The slightly angular appearance lends the font historical flair, which plays along perfectly with the nicely drawn italic. The font is your ideal partner for long texts or editorial designs.
Distinctive, edgy, muscular and yet a little playful: with its octagonal base shape, the slab serif Kairos from Terrance Weinzierl picks up on the character of the so-called “Grecian fonts”, which were popular in the 19th century. The square and basic geometric shape adapts smoothly – and in some cases, playfully – to your design requirements. Use Kairos, for example, in athletic designs, in the outdoors sector, for industrial brands or packaging. Kairos is also suitable for video games or apps.
As a part of the Eric Gill series, we’re presenting Gill Sans Nova, a thoroughly revised version of the original Gill Sans, published by Eric Gill from 1928 to 1932. The revision of the popular humanist sans with geometrical influences under the direction of George Ryan makes major additions to the characters and stroke widths as well as optimizations for digital publishing. The new Gill Sans Nova can be used without problem in long texts and the thicker styles for headlines and commercial typesetting.
Joanna Nova is a new and modern interpretation of Eric Gill’s Joanna. Significantly revised and expanded by Ben Jones, the font meets today’s requirements in terms of options and potential applications. The roman is equipped with significant slab serifs, which lend the very legible and place-saving text font a special character. Joanna Nova can be used alone in text as well as in headlines. The slab serif is at its best in combination with Joanna Sans Nova.
Terrance Weinzierl designed the sans serif Joanna Sans Nova based on the slab serif Joanna, published by Eric Gill. The friendly, low-key but characterful new font can be used for both text and headlines. The low contrast in the letters supports the legibility in the small font sizes and provides for a contemporary ambiance in headlines. Calligraphic influences and flowing forms provide the extra accent. Joanna Sans Nova combines perfectly with the other fonts in the Eric Gill series, the slab serif and sister font Joanna Nova and the somewhat cooler and more formal Gill Sans Nova.
The nine most popular releases of 2015
1. Neue Haas Unica
Haas Unica was a friendlier update of Helvetica and came out in the 1970s. In 2015, Toshi Omagari revised the font and published it as Neue Haas Unica. Omagari’s many small changes to the Haas Unica gave the new typeface a lively and dynamic expression. A clear appearance and the great options open the font up to countless applications. The light, noble styles, for example, are ideal in larger font sizes as titles and logos. You can use the very thick styles wherever the typography needs to be powerful and expressive.
2. Daytona
With gently rounded corners, Jim Wasco gave Daytona a warm, friendly, almost soft character, at the same time cleverly picking up on the curved basic shape of the letters, which is based on the superellipse. With its neutral, dynamic, modern and somewhat futuristic character, the square sans Daytona not only suits the sports environment. The well-developed, space-saving and perfect-to-read font cuts a fine figure in other projects, as well. Use Daytona on web pages or for the user interface of electronic devices, for example.
3. Demos Next
With Demos Next, well-known type designer Gerard Unger presents a significantly expanded version of his popular roman Demos, from which the new font inherited its beautiful and distinctive letter forms. The low contrast in the line width and strong serifs lend the font a solid expression, while the numerous curves make it feel friendly and warm. The space-saving Demos Next is best legible in small font sizes but has enough individuality to make a winning headline.
4. ITC New Veljovic
30 years after Veljovic came out, designer Jovica Veljović presented a revised version of that font, ITC New Veljovic. Carefully optimized letter forms lend the font a very harmonious appearance. A major expansion opens new options for application for the diverse, easily legible ITC New Veljovic. The sturdy serifs help the font achieve a clear, perfectly legible appearance, not only in print, but also on a monitor and as a web font.
5. Cardamon
Cardamon is a sophisticated, readable roman from Brigitte Schuster. Without standing out too much in the foreground, this font, inspired by historical roman typefaces, has a strong character and expression, which adds a certain tone to your designs. The slightly angular appearance lends the font historical flair, which plays along perfectly with the nicely drawn italic. The font is your ideal partner for long texts or editorial designs.
6. Kairos
Distinctive, edgy, muscular and yet a little playful: with its octagonal base shape, the slab serif Kairos from Terrance Weinzierl picks up on the character of the so-called “Grecian fonts”, which were popular in the 19th century. The square and basic geometric shape adapts smoothly – and in some cases, playfully – to your design requirements. Use Kairos, for example, in athletic designs, in the outdoors sector, for industrial brands or packaging. Kairos is also suitable for video games or apps.
7. Gill Sans Nova
As a part of the Eric Gill series, we’re presenting Gill Sans Nova, a thoroughly revised version of the original Gill Sans, published by Eric Gill from 1928 to 1932. The revision of the popular humanist sans with geometrical influences under the direction of George Ryan makes major additions to the characters and stroke widths as well as optimizations for digital publishing. The new Gill Sans Nova can be used without problem in long texts and the thicker styles for headlines and commercial typesetting.
8. Joanna Nova
Joanna Nova is a new and modern interpretation of Eric Gill’s Joanna. Significantly revised and expanded by Ben Jones, the font meets today’s requirements in terms of options and potential applications. The roman is equipped with significant slab serifs, which lend the very legible and place-saving text font a special character. Joanna Nova can be used alone in text as well as in headlines. The slab serif is at its best in combination with Joanna Sans Nova.
9. Joanna Sans Nova
Terrance Weinzierl designed the sans serif Joanna Sans Nova based on the slab serif Joanna, published by Eric Gill. The friendly, low-key but characterful new font can be used for both text and headlines. The low contrast in the letters supports the legibility in the small font sizes and provides for a contemporary ambiance in headlines. Calligraphic influences and flowing forms provide the extra accent. Joanna Sans Nova combines perfectly with the other fonts in the Eric Gill series, the slab serif and sister font Joanna Nova and the somewhat cooler and more formal Gill Sans Nova.