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	<title>Typographica</title>
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	<description>A review of typefaces and typography books, with occasional commentary on fonts and typographic design.</description>
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		<title>Jim Parkinson, 1941–2025</title>
		<link>https://typographica.org/on-typography/jim-parkinson-1941-2025/</link>
					<comments>https://typographica.org/on-typography/jim-parkinson-1941-2025/#comments</comments>
		
		<dc:creator><![CDATA[Stephen Coles]]></dc:creator>
		<pubDate>Fri, 27 Jun 2025 02:26:33 +0000</pubDate>
				<category><![CDATA[Commentary]]></category>
		<category><![CDATA[Jim Parkinson]]></category>
		<category><![CDATA[lettering]]></category>
		<category><![CDATA[logos]]></category>
		<category><![CDATA[obituary]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=31615</guid>

					<description><![CDATA[Jim Parkinson—lettering artist, type designer, and painter—died today at his home in Oakland, California, after a long struggle with Alzheimer’s.]]></description>
		
					<wfw:commentRss>https://typographica.org/on-typography/jim-parkinson-1941-2025/feed/</wfw:commentRss>
			<slash:comments>2</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">31615</post-id>	</item>
		<item>
		<title>Typographica is Twenty Years Old</title>
		<link>https://typographica.org/on-typography/typographica-is-twenty-years-old/</link>
					<comments>https://typographica.org/on-typography/typographica-is-twenty-years-old/#comments</comments>
		
		<dc:creator><![CDATA[Stephen Coles]]></dc:creator>
		<pubDate>Tue, 12 Jul 2022 07:23:04 +0000</pubDate>
				<category><![CDATA[Commentary]]></category>
		<category><![CDATA[Typographica]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=31135</guid>

					<description><![CDATA[This website just passed its twentieth birthday. In web years, that’s more like a centennial. At the risk of waxing nostalgic, I’m posting a few highlights from our first year.]]></description>
		
					<wfw:commentRss>https://typographica.org/on-typography/typographica-is-twenty-years-old/feed/</wfw:commentRss>
			<slash:comments>4</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">31135</post-id>	</item>
		<item>
		<title>A Grammar of Typography: Classical Book Design in the Digital Age</title>
		<link>https://typographica.org/typography-books/a-grammar-of-typography-classical-book-design-in-the-digital-age/</link>
					<comments>https://typographica.org/typography-books/a-grammar-of-typography-classical-book-design-in-the-digital-age/#comments</comments>
		
		<dc:creator><![CDATA[Joshua Langman]]></dc:creator>
		<pubDate>Thu, 06 Jan 2022 21:55:39 +0000</pubDate>
				<category><![CDATA[Books]]></category>
		<category><![CDATA[David R. Godine]]></category>
		<category><![CDATA[Mark Argetsinger]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=27999</guid>

					<description><![CDATA[Argetsinger aims to teach a new generation of designers how to uphold the standards and principles of the printers of old, in this strange new era when the composing stick is a text frame and the ink stone is a menu of swatches.]]></description>
		
					<wfw:commentRss>https://typographica.org/typography-books/a-grammar-of-typography-classical-book-design-in-the-digital-age/feed/</wfw:commentRss>
			<slash:comments>2</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">27999</post-id>	</item>
		<item>
		<title>Chahine &amp; Samarskaya Cochair TDC’S 25th Type Design Competition</title>
		<link>https://typographica.org/on-typography/interview/nadine-chahine-ksenya-samarskaya-cochair-the-tdcs-25th-typeface-design-competition/</link>
					<comments>https://typographica.org/on-typography/interview/nadine-chahine-ksenya-samarskaya-cochair-the-tdcs-25th-typeface-design-competition/#comments</comments>
		
		<dc:creator><![CDATA[Tanya George]]></dc:creator>
		<pubDate>Thu, 09 Dec 2021 02:14:18 +0000</pubDate>
				<category><![CDATA[Interview]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=30731</guid>

					<description><![CDATA[Can the world’s longest-running type design competition reimagine itself as a truly global display of abundance? Tanya George interviews this year’s cochairs.]]></description>
		
					<wfw:commentRss>https://typographica.org/on-typography/interview/nadine-chahine-ksenya-samarskaya-cochair-the-tdcs-25th-typeface-design-competition/feed/</wfw:commentRss>
			<slash:comments>2</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">30731</post-id>	</item>
		<item>
		<title>Now Open: the Typographica Library</title>
		<link>https://typographica.org/on-typography/now-open-the-typographica-library/</link>
					<comments>https://typographica.org/on-typography/now-open-the-typographica-library/#comments</comments>
		
		<dc:creator><![CDATA[Stephen Coles]]></dc:creator>
		<pubDate>Wed, 20 Oct 2021 07:09:08 +0000</pubDate>
				<category><![CDATA[Commentary]]></category>
		<category><![CDATA[Resources]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=30686</guid>

					<description><![CDATA[We just launched the Typographica Library, a digital bookshelf of type and lettering resources to aid research and selection.]]></description>
		
					<wfw:commentRss>https://typographica.org/on-typography/now-open-the-typographica-library/feed/</wfw:commentRss>
			<slash:comments>7</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">30686</post-id>	</item>
		<item>
		<title>Type Design in the Museum: Acquiring the Immaterial</title>
		<link>https://typographica.org/on-typography/type-design-in-the-museum-acquiring-the-immaterial/</link>
					<comments>https://typographica.org/on-typography/type-design-in-the-museum-acquiring-the-immaterial/#comments</comments>
		
		<dc:creator><![CDATA[Craig Eliason]]></dc:creator>
		<pubDate>Thu, 15 Apr 2021 15:50:42 +0000</pubDate>
				<category><![CDATA[Commentary]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=30599</guid>

					<description><![CDATA[Craig Eliason explores how the peculiarities inherent to type design shed light on the purpose and practices of the design museum in the contemporary world.]]></description>
		
					<wfw:commentRss>https://typographica.org/on-typography/type-design-in-the-museum-acquiring-the-immaterial/feed/</wfw:commentRss>
			<slash:comments>3</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">30599</post-id>	</item>
		<item>
		<title>Sandoll Chilseong Shipyard</title>
		<link>https://typographica.org/typeface-reviews/sandoll-chilseong-shipyard/</link>
					<comments>https://typographica.org/typeface-reviews/sandoll-chilseong-shipyard/#respond</comments>
		
		<dc:creator><![CDATA[Florence Fu]]></dc:creator>
		<pubDate>Fri, 05 Mar 2021 05:10:46 +0000</pubDate>
				<category><![CDATA[Hangeul]]></category>
		<category><![CDATA[Kang Jooyeon]]></category>
		<category><![CDATA[Sandoll]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<category><![CDATA[Yooseong Jin]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=30424</guid>

					<description><![CDATA[In 1952, toward the end of the Korean War, Chilseong Shipyard was established in Sokcho, South Korea. The humble family operation built ships and served as a local fishery for generations. In 2017, third-generation owner Choi Yoonseong and his partner Baek Eunjeong restored it as a cultural space to preserve the shipyard’s legacy for future generations, so they could connect with the site. The new Shipyard includes a café, exhibition space, and playground, and also has a new look with a custom typeface.]]></description>
		
					<wfw:commentRss>https://typographica.org/typeface-reviews/sandoll-chilseong-shipyard/feed/</wfw:commentRss>
			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">30424</post-id>	</item>
		<item>
		<title>Elfreth</title>
		<link>https://typographica.org/typeface-reviews/elfreth/</link>
					<comments>https://typographica.org/typeface-reviews/elfreth/#comments</comments>
		
		<dc:creator><![CDATA[Grant Hutchinson]]></dc:creator>
		<pubDate>Fri, 05 Mar 2021 05:09:54 +0000</pubDate>
				<category><![CDATA[Blackletter]]></category>
		<category><![CDATA[James Todd]]></category>
		<category><![CDATA[JTD]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=30406</guid>

					<description><![CDATA[I can count the number of times I’ve used a blackletter (unironically, anyway) on one hand. But something about Elfreth caught my attention and held onto it like a Brockhaus-Heuer Schraubstock.]]></description>
		
					<wfw:commentRss>https://typographica.org/typeface-reviews/elfreth/feed/</wfw:commentRss>
			<slash:comments>4</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">30406</post-id>	</item>
		<item>
		<title>Tomasa</title>
		<link>https://typographica.org/typeface-reviews/tomasa/</link>
					<comments>https://typographica.org/typeface-reviews/tomasa/#respond</comments>
		
		<dc:creator><![CDATA[Álvaro Franca]]></dc:creator>
		<pubDate>Thu, 04 Mar 2021 05:12:51 +0000</pubDate>
				<category><![CDATA[Display]]></category>
		<category><![CDATA[Fercozzi]]></category>
		<category><![CDATA[Fernanda Cozzi]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=30300</guid>

					<description><![CDATA[Anyone who is from or has lived in Spanish-speaking countries will be familiar with the concept of perreo. It’s a word that describes how we dance to rhythms like reggaeton or funk carioca. The way perreo flows through Tomasa is palpable.]]></description>
		
					<wfw:commentRss>https://typographica.org/typeface-reviews/tomasa/feed/</wfw:commentRss>
			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">30300</post-id>	</item>
		<item>
		<title>Carolina Laudon</title>
		<link>https://typographica.org/on-typography/interview/carolina-laudon/</link>
					<comments>https://typographica.org/on-typography/interview/carolina-laudon/#respond</comments>
		
		<dc:creator><![CDATA[Ksenya Samarskaya]]></dc:creator>
		<pubDate>Wed, 03 Mar 2021 17:41:13 +0000</pubDate>
				<category><![CDATA[Interview]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=30443</guid>

					<description><![CDATA[Swedish typographer and type designer Carolina Laudon is the first woman president of the ATypI. Ksenya Samarskaya caught up with her after last year’s conference to discuss her role in, and vision for the organization.]]></description>
		
					<wfw:commentRss>https://typographica.org/on-typography/interview/carolina-laudon/feed/</wfw:commentRss>
			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">30443</post-id>	</item>
		<item>
		<title>Elizabeth Carey Smith</title>
		<link>https://typographica.org/on-typography/interview/elizabeth-carey-smith/</link>
					<comments>https://typographica.org/on-typography/interview/elizabeth-carey-smith/#respond</comments>
		
		<dc:creator><![CDATA[Agyei Archer]]></dc:creator>
		<pubDate>Tue, 26 Jan 2021 20:44:13 +0000</pubDate>
				<category><![CDATA[Interview]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29707</guid>

					<description><![CDATA[“I hope that we can have more frank discussions about the problems of industry inclusiveness and the approach and sense of responsibility around design, specifically in the world of type. With that in mind, I had a candid conversation with Elizabeth Carey Smith, a design director in New York and a past president of the Type Directors Club.” —Agyei Archer]]></description>
		
					<wfw:commentRss>https://typographica.org/on-typography/interview/elizabeth-carey-smith/feed/</wfw:commentRss>
			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">29707</post-id>	</item>
		<item>
		<title>Almost</title>
		<link>https://typographica.org/typeface-reviews/almost/</link>
					<comments>https://typographica.org/typeface-reviews/almost/#respond</comments>
		
		<dc:creator><![CDATA[Laura Meseguer]]></dc:creator>
		<pubDate>Tue, 19 Jan 2021 19:26:28 +0000</pubDate>
				<category><![CDATA[Blackletter]]></category>
		<category><![CDATA[Jérôme Knebusch]]></category>
		<category><![CDATA[Poem]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28587</guid>

					<description><![CDATA[Aside from being a delightful typeface family, Almost opens the door to the discovery of fifteenth-century printing types.]]></description>
		
					<wfw:commentRss>https://typographica.org/typeface-reviews/almost/feed/</wfw:commentRss>
			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">28587</post-id>	</item>
		<item>
		<title>Lava Devanagari, Kannada, and Telugu</title>
		<link>https://typographica.org/typeface-reviews/lava-devanagari-kannada-and-telugu/</link>
					<comments>https://typographica.org/typeface-reviews/lava-devanagari-kannada-and-telugu/#comments</comments>
		
		<dc:creator><![CDATA[Namrata Goyal]]></dc:creator>
		<pubDate>Tue, 19 Jan 2021 19:24:25 +0000</pubDate>
				<category><![CDATA[Devanagari]]></category>
		<category><![CDATA[Kannada]]></category>
		<category><![CDATA[Parimal Parmar]]></category>
		<category><![CDATA[Peter Biľak]]></category>
		<category><![CDATA[Ramakrishna Saiteja]]></category>
		<category><![CDATA[Telugu]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<category><![CDATA[Typotheque]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28660</guid>

					<description><![CDATA[Typotheque collaborated with Indian type designers for Devanagari, Kannada, and Telugu extensions of Lava.

Knowing these scripts as natives gave the designers the confidence to stretch and play with the design within the constraints of an editorial brief. In my opinion, this confidence and familiarity are what bring all of the scripts into harmony while keeping them true to their individual nature.]]></description>
		
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			<slash:comments>1</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">28660</post-id>	</item>
		<item>
		<title>LL Blankenhorn</title>
		<link>https://typographica.org/typeface-reviews/ll-blankenhorn/</link>
					<comments>https://typographica.org/typeface-reviews/ll-blankenhorn/#comments</comments>
		
		<dc:creator><![CDATA[Stephen Coles]]></dc:creator>
		<pubDate>Tue, 19 Jan 2021 19:20:49 +0000</pubDate>
				<category><![CDATA[Lineto]]></category>
		<category><![CDATA[Script]]></category>
		<category><![CDATA[Tobias-David Albert]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29558</guid>

					<description><![CDATA[Whenever I’m in Germany I’m struck by the prevalence of hand-lettered book covers. German publishers also seem particularly unafraid of omitting imagery from their covers, letting the title do all the selling of the book. This works especially well when the title is rendered by expressive lettering, and there are few examples as effective as Fritz Blankenhorn’s for Deutscher Bücherbund. On these covers, the text <em>is</em> the image.]]></description>
		
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			<slash:comments>1</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">29558</post-id>	</item>
		<item>
		<title>Graphit</title>
		<link>https://typographica.org/typeface-reviews/graphit/</link>
					<comments>https://typographica.org/typeface-reviews/graphit/#comments</comments>
		
		<dc:creator><![CDATA[Claudio Piccinini]]></dc:creator>
		<pubDate>Tue, 19 Jan 2021 19:16:48 +0000</pubDate>
				<category><![CDATA[HVD Fonts]]></category>
		<category><![CDATA[Livius Dietzel]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Tom Hoßfeld]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28996</guid>

					<description><![CDATA[Graphit manages to convey a distinct voice by using elements from sources that might appear almost antithetical.]]></description>
		
					<wfw:commentRss>https://typographica.org/typeface-reviews/graphit/feed/</wfw:commentRss>
			<slash:comments>2</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">28996</post-id>	</item>
		<item>
		<title>ABC Laica</title>
		<link>https://typographica.org/typeface-reviews/laica/</link>
					<comments>https://typographica.org/typeface-reviews/laica/#respond</comments>
		
		<dc:creator><![CDATA[Peiran Tan]]></dc:creator>
		<pubDate>Tue, 19 Jan 2021 19:16:16 +0000</pubDate>
				<category><![CDATA[Alessio D’Ellena]]></category>
		<category><![CDATA[Dinamo]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29593</guid>

					<description><![CDATA[Laica’s dislocated shapes and sprawling texture walk a fine line between sublimity and grotesqueness, as the world in 2019 also appeared to teeter on the brink of conflicts and crises.]]></description>
		
					<wfw:commentRss>https://typographica.org/typeface-reviews/laica/feed/</wfw:commentRss>
			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">29593</post-id>	</item>
		<item>
		<title>Plastic</title>
		<link>https://typographica.org/typeface-reviews/plastic/</link>
					<comments>https://typographica.org/typeface-reviews/plastic/#respond</comments>
		
		<dc:creator><![CDATA[Benedikt Bramböck]]></dc:creator>
		<pubDate>Tue, 19 Jan 2021 19:15:49 +0000</pubDate>
				<category><![CDATA[Display]]></category>
		<category><![CDATA[Ivana Palečková]]></category>
		<category><![CDATA[Jitka Janečková]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Slab Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<category><![CDATA[variable fonts]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28392</guid>

					<description><![CDATA[The eighties are everywhere. Love them or hate them, over the past several years it has been almost impossible to escape the resurgence of bright neon colors, flashy animal prints, neoliberal ideas, and catchy synth chords. For graphic designer Ivana Palečková and type designer Jitka Janečková, thinking about this decade brings back a very special piece of typographic nostalgia.]]></description>
		
					<wfw:commentRss>https://typographica.org/typeface-reviews/plastic/feed/</wfw:commentRss>
			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">28392</post-id>	</item>
		<item>
		<title>ABC Whyte</title>
		<link>https://typographica.org/typeface-reviews/abc-whyte/</link>
					<comments>https://typographica.org/typeface-reviews/abc-whyte/#respond</comments>
		
		<dc:creator><![CDATA[Ferdinand Ulrich]]></dc:creator>
		<pubDate>Tue, 19 Jan 2021 19:12:24 +0000</pubDate>
				<category><![CDATA[Dinamo]]></category>
		<category><![CDATA[Erkin Karamemet]]></category>
		<category><![CDATA[Fabian Harb]]></category>
		<category><![CDATA[Johannes Breyer]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29040</guid>

					<description><![CDATA[There is so much to say about ABC Whyte and ABC Whyte Inktrap that a review of these non-identical twins from Dinamo could easily consist of two separate articles. The typefaces offer a clear reference to a milestone in type history and demonstrate an appreciation of past technological considerations through reinterpretation — a reflective practice using contemporary tools.]]></description>
		
					<wfw:commentRss>https://typographica.org/typeface-reviews/abc-whyte/feed/</wfw:commentRss>
			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">29040</post-id>	</item>
		<item>
		<title>Lyyra</title>
		<link>https://typographica.org/typeface-reviews/lyyra/</link>
					<comments>https://typographica.org/typeface-reviews/lyyra/#respond</comments>
		
		<dc:creator><![CDATA[Ruxandra Duru]]></dc:creator>
		<pubDate>Tue, 19 Jan 2021 19:10:53 +0000</pubDate>
				<category><![CDATA[Florian Schick]]></category>
		<category><![CDATA[Lauri Toikka]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Schick Toikka]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29010</guid>

					<description><![CDATA[I’ve never understood why people cut the crusts off of sandwiches. I guess it’s just my aversion to wasting food. I’ll admit, however, the neatness of those unnaturally sharp edges sparks a certain satisfaction. Lyyra’s vertically sliced stroke endings do just that.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29010</post-id>	</item>
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		<title>The FACIT Model</title>
		<link>https://typographica.org/typeface-reviews/the-facit-model/</link>
					<comments>https://typographica.org/typeface-reviews/the-facit-model/#respond</comments>
		
		<dc:creator><![CDATA[Céline Hurka]]></dc:creator>
		<pubDate>Tue, 19 Jan 2021 19:09:14 +0000</pubDate>
				<category><![CDATA[Jens Schildt]]></category>
		<category><![CDATA[Matthias Kreutzer]]></category>
		<category><![CDATA[Our Polite Society Type]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28556</guid>

					<description><![CDATA[Archives are ambivalent places. They promise access to endless knowledge and information — but retrieving it, as most type designers know, can be difficult.

The FACIT Model opens the gates to a specific archive that has barely been explored until now. It represents meticulous visual research into the ephemera produced between the 1950s and the 1970s by the Swedish typewriter and office machine manufacturer FACIT AB.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28556</post-id>	</item>
		<item>
		<title>Pika Ultra</title>
		<link>https://typographica.org/typeface-reviews/pika-ultra/</link>
					<comments>https://typographica.org/typeface-reviews/pika-ultra/#respond</comments>
		
		<dc:creator><![CDATA[Kate Long]]></dc:creator>
		<pubDate>Tue, 19 Jan 2021 19:08:54 +0000</pubDate>
				<category><![CDATA[Mark Caneso]]></category>
		<category><![CDATA[PSTL]]></category>
		<category><![CDATA[Script]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29972</guid>

					<description><![CDATA[Several remarkable typefaces were released in 2019, but none of them made me want to roller-skate as much as PSTL’s Pika Ultra, which evokes the rhythm of ’70s bold lettering but avoids the popular trend of bottom-heavy psychedelic fonts. For me, the parallel here lies more in the wavelike cadence of the letterforms and bold silhouettes of words and letter combinations. Caneso has found an incredibly delightful balance between funky and uniform.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29972</post-id>	</item>
		<item>
		<title>Xingkai Next</title>
		<link>https://typographica.org/typeface-reviews/xingkai-next/</link>
					<comments>https://typographica.org/typeface-reviews/xingkai-next/#comments</comments>
		
		<dc:creator><![CDATA[Toshi Omagari]]></dc:creator>
		<pubDate>Tue, 19 Jan 2021 19:07:35 +0000</pubDate>
				<category><![CDATA[3type]]></category>
		<category><![CDATA[Chinese (Simplified)]]></category>
		<category><![CDATA[Li Zhiqian]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28782</guid>

					<description><![CDATA[XingKai Next aims to find a place for a classical calligraphy face in contemporary graphic design.

XingKai is a popular calligraphic typeface designed by Ren Zheng in 1980, inspired by the calligraphy works of Wang Xizhi in the fourth century. It has been digitized by numerous foundries and has appeared in all corners of China. While the design is indisputably popular, it is showing its age in various ways, not the least of which is old-fashioned aesthetics. Instead of dismissing it as mere antiquity, the designer Li Zhiqian decided to make a completely new typeface out of it.]]></description>
		
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			<slash:comments>4</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">28782</post-id>	</item>
		<item>
		<title>PF Marlet</title>
		<link>https://typographica.org/typeface-reviews/pf-marlet/</link>
					<comments>https://typographica.org/typeface-reviews/pf-marlet/#comments</comments>
		
		<dc:creator><![CDATA[Noemi Stauffer]]></dc:creator>
		<pubDate>Tue, 19 Jan 2021 19:06:01 +0000</pubDate>
				<category><![CDATA[Cyrillic]]></category>
		<category><![CDATA[Display]]></category>
		<category><![CDATA[Greek]]></category>
		<category><![CDATA[Parachute]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[System]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28971</guid>

					<description><![CDATA[PF Marlet is a type system consisting of five families with distinct voices and purposes. Despite the differences in their design, each family conveys an edgy feeling of elegance in its own way. This creates a cohesive system that is functional but has a strong personality.]]></description>
		
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			<slash:comments>3</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">28971</post-id>	</item>
		<item>
		<title>CoFo Peshka</title>
		<link>https://typographica.org/typeface-reviews/cofo-peshka/</link>
					<comments>https://typographica.org/typeface-reviews/cofo-peshka/#respond</comments>
		
		<dc:creator><![CDATA[Aleksandra Samulenkova]]></dc:creator>
		<pubDate>Tue, 19 Jan 2021 19:05:53 +0000</pubDate>
				<category><![CDATA[Contrast Foundry]]></category>
		<category><![CDATA[Cyrillic]]></category>
		<category><![CDATA[Display]]></category>
		<category><![CDATA[Maria Doreuli]]></category>
		<category><![CDATA[Script or Writing System]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28658</guid>

					<description><![CDATA[What makes my Cyrillic heart beat faster is the role Cyrillic plays in this design. I’m under the impression that the Latin lettershapes of CoFo Peshka follow rules established by the Cyrillic, which is what gives the Latin part of the typeface such a captivating freshness. ]]></description>
		
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			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">28658</post-id>	</item>
		<item>
		<title>BC Orion</title>
		<link>https://typographica.org/typeface-reviews/bc-orion/</link>
					<comments>https://typographica.org/typeface-reviews/bc-orion/#comments</comments>
		
		<dc:creator><![CDATA[Frode Helland]]></dc:creator>
		<pubDate>Tue, 19 Jan 2021 19:05:51 +0000</pubDate>
				<category><![CDATA[Briefcase]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Stanislav Maršo]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29028</guid>

					<description><![CDATA[It might be tempting to label Maršo’s sans serifs as lesser communist rip-offs of the popular capitalist typefaces Helvetica and Univers (issued just a few years earlier), but that would not be a fair assessment. Where the Swiss modernists shed any remnants of calligraphy, Maršo embraces the artifacts of the written letter for their own graphic expressiveness, and he was not afraid to rotate the pen.]]></description>
		
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			<slash:comments>2</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">29028</post-id>	</item>
		<item>
		<title>Optique Display</title>
		<link>https://typographica.org/typeface-reviews/optique-display/</link>
					<comments>https://typographica.org/typeface-reviews/optique-display/#respond</comments>
		
		<dc:creator><![CDATA[Michelle Devlin]]></dc:creator>
		<pubDate>Tue, 19 Jan 2021 19:04:51 +0000</pubDate>
				<category><![CDATA[Display]]></category>
		<category><![CDATA[Eunyou Noh]]></category>
		<category><![CDATA[Hangeul]]></category>
		<category><![CDATA[Noh.type]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29768</guid>

					<description><![CDATA[Optique is a font family for Hangeul and Latin that follows the traditional writing tools of each script. The Hangeul stroke shape is based on the pointed brush, while the Latin stroke is based on the broad nib. Even though both scripts allude to different tools, they go well together because they have similar contrast and harmonious shapes.]]></description>
		
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			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">29768</post-id>	</item>
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		<title>JJannon</title>
		<link>https://typographica.org/typeface-reviews/jjannon/</link>
					<comments>https://typographica.org/typeface-reviews/jjannon/#respond</comments>
		
		<dc:creator><![CDATA[Jean-Baptiste Levée]]></dc:creator>
		<pubDate>Tue, 19 Jan 2021 19:02:18 +0000</pubDate>
				<category><![CDATA[François Rappo]]></category>
		<category><![CDATA[Optimo]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29913</guid>

					<description><![CDATA[The fonts of Jean Jannon, a.k.a. the would-be Garamond, were underrated by twentieth-century typographers. François Rappo sets the record straight with his crisp JJannon.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29913</post-id>	</item>
		<item>
		<title>29LT Zarid Display</title>
		<link>https://typographica.org/typeface-reviews/29lt-zarid-display/</link>
					<comments>https://typographica.org/typeface-reviews/29lt-zarid-display/#respond</comments>
		
		<dc:creator><![CDATA[Diane Mikhael]]></dc:creator>
		<pubDate>Tue, 19 Jan 2021 19:01:00 +0000</pubDate>
				<category><![CDATA[29LT]]></category>
		<category><![CDATA[Arabic]]></category>
		<category><![CDATA[Display]]></category>
		<category><![CDATA[Pascal Zoghbi]]></category>
		<category><![CDATA[Ramiro Espinoza]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28580</guid>

					<description><![CDATA[29LT Zarid Display presents surprising twists and turns, and brings new dimensions to the way multilingual display typefaces are designed, which will only benefit designers and readers.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28580</post-id>	</item>
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		<title>Magnat</title>
		<link>https://typographica.org/typeface-reviews/magnat/</link>
					<comments>https://typographica.org/typeface-reviews/magnat/#respond</comments>
		
		<dc:creator><![CDATA[Sol Matas]]></dc:creator>
		<pubDate>Tue, 19 Jan 2021 19:00:48 +0000</pubDate>
				<category><![CDATA[René Bieder]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29599</guid>

					<description><![CDATA[The type community in Berlin is expanding more and more, even in these pandemic times. It makes me reflect on how important it is to be where things happen, to inhabit the right place to be inspired, and to observe.

In Berlin, René Bieder designed a typeface inspired by a shop sign he discovered while walking the streets of his new neighborhood, in his hometown. With its luxurious and exquisite style, Bieder’s typeface lives up to its name: Magnat.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29599</post-id>	</item>
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		<title>Oli Grotesk</title>
		<link>https://typographica.org/typeface-reviews/oli-grotesk/</link>
					<comments>https://typographica.org/typeface-reviews/oli-grotesk/#respond</comments>
		
		<dc:creator><![CDATA[Rathna Ramanathan]]></dc:creator>
		<pubDate>Mon, 11 Jan 2021 19:27:31 +0000</pubDate>
				<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Shiva Nallaperumal]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<category><![CDATA[Typotheque]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29580</guid>

					<description><![CDATA[There are many “types” of English: American English, British English, and, for me, Indian English. The character and personality of Oli seemed to capture the last point. I found it warm, approachable, witty, and expressive, yet having its own distinct character.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29580</post-id>	</item>
		<item>
		<title>Brucker</title>
		<link>https://typographica.org/typeface-reviews/brucker/</link>
					<comments>https://typographica.org/typeface-reviews/brucker/#respond</comments>
		
		<dc:creator><![CDATA[Luisa Baeta]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 20:28:41 +0000</pubDate>
				<category><![CDATA[Jeremy Tankard]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29565</guid>

					<description><![CDATA[With Brucker, Tankard once again consciously questions conventions — particularly the idea that a typeface requires consistency. Like watching a performer on a tightrope, or a live improvised show: there are moments where the performance almost falters, and the whole thing seems dangerously close to falling apart, but it somehow doesn’t, and that’s thrilling, and you can’t look away. ]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29565</post-id>	</item>
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		<title>Typefesse</title>
		<link>https://typographica.org/typeface-reviews/typefesse/</link>
					<comments>https://typographica.org/typeface-reviews/typefesse/#respond</comments>
		
		<dc:creator><![CDATA[Amy Papaelias]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 19:51:13 +0000</pubDate>
				<category><![CDATA[Display]]></category>
		<category><![CDATA[Océane Juvin]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<category><![CDATA[Velvetyne]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29746</guid>

					<description><![CDATA[Typefesse gives a whole new meaning to type anatomy. Defying logic or reason, each letter manages to squeeze in a contorted foot, leg, and buttock or two while maintaining a surprising level of readability. Given the year the world has endured, we all deserve more moments of collective levity, more silly quips, and more type that kicks some ass.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29746</post-id>	</item>
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		<title>Broome Sound</title>
		<link>https://typographica.org/typeface-reviews/broome-sound/</link>
					<comments>https://typographica.org/typeface-reviews/broome-sound/#respond</comments>
		
		<dc:creator><![CDATA[Louise Sandhaus]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 19:05:54 +0000</pubDate>
				<category><![CDATA[Display]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Tré Seals]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<category><![CDATA[Vocal Type]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28776</guid>

					<description><![CDATA[Broome Sound, a custom typeface designed by Tré Seals for the third issue of Umber Magazine, intrigues me for several reasons: its important historical reference; its craft; its simple beauty; and, above all, its status as a work of distinct experience — an optical translation of sound.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28776</post-id>	</item>
		<item>
		<title>Roba</title>
		<link>https://typographica.org/typeface-reviews/roba/</link>
					<comments>https://typographica.org/typeface-reviews/roba/#respond</comments>
		
		<dc:creator><![CDATA[Briar Levit]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 18:50:06 +0000</pubDate>
				<category><![CDATA[Franziska Weitgruber]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29591</guid>

					<description><![CDATA[At first glance, Roba may appear to be a deco revival display face useful only on rare occasions. And indeed, Franziska Weitgruber has created two subfamilies that echo the geometry- and contrast-loving 1920s. But the families go much further by offering humanist details that help Roba avoid placement within any specific era.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29591</post-id>	</item>
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		<title>Zangezi Sans</title>
		<link>https://typographica.org/typeface-reviews/zangezi-sans/</link>
					<comments>https://typographica.org/typeface-reviews/zangezi-sans/#respond</comments>
		
		<dc:creator><![CDATA[Ellen Lupton]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 16:36:40 +0000</pubDate>
				<category><![CDATA[Cyrillic]]></category>
		<category><![CDATA[Daria Petrova]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29466</guid>

					<description><![CDATA[Zangezi Sans doesn’t come across as just another naked sans or neutralized friend of a serif family. Varied stroke weight, fluid counters, and spiky tails give Zangezi Sans a nonbinary vibe. This typeface bridges the serif/sans divide with shapes that borrow from calligraphy, stone carving, and snakes in the grass.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29466</post-id>	</item>
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		<title>Ribaasu</title>
		<link>https://typographica.org/typeface-reviews/ribaasu/</link>
					<comments>https://typographica.org/typeface-reviews/ribaasu/#comments</comments>
		
		<dc:creator><![CDATA[YuJune Park]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 15:40:43 +0000</pubDate>
				<category><![CDATA[Display]]></category>
		<category><![CDATA[Kanji]]></category>
		<category><![CDATA[Katakana]]></category>
		<category><![CDATA[TienMin Liao]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29758</guid>

					<description><![CDATA[As a reverse-contrast typeface in Latin, Japanese, and Chinese, Ribaasu is a hall of mirrors, with the scripts looking at one another in mind-bending and positively unexpected ways.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29758</post-id>	</item>
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		<title>Movement</title>
		<link>https://typographica.org/typeface-reviews/movement/</link>
					<comments>https://typographica.org/typeface-reviews/movement/#respond</comments>
		
		<dc:creator><![CDATA[Tanya George]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 15:36:57 +0000</pubDate>
				<category><![CDATA[María Ramos]]></category>
		<category><![CDATA[NM type]]></category>
		<category><![CDATA[Noel Pretorius]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<category><![CDATA[variable fonts]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29621</guid>

					<description><![CDATA[I have always been fascinated by the various tools used to create letterforms. How an object like a nib, a chisel, or even an imaginary tool can shape glyphs is what I find most interesting in type design. These tools are usually limited by the human body — the hand, in particular. So when I heard that Movement was inspired by a dancer, I was especially intrigued.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29621</post-id>	</item>
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		<title>Okay</title>
		<link>https://typographica.org/typeface-reviews/okay/</link>
					<comments>https://typographica.org/typeface-reviews/okay/#comments</comments>
		
		<dc:creator><![CDATA[Craig Eliason]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 13:56:02 +0000</pubDate>
				<category><![CDATA[Display]]></category>
		<category><![CDATA[Jackson Cavanaugh]]></category>
		<category><![CDATA[Okay Type]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<category><![CDATA[variable fonts]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29709</guid>

					<description><![CDATA[In a marketplace full of puffery, the typeface name “Okay” seems like a declaration of mediocrity, but this may become a new go-to type for when volume and affability need to be high.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29709</post-id>	</item>
		<item>
		<title>Quinn</title>
		<link>https://typographica.org/typeface-reviews/quinn/</link>
					<comments>https://typographica.org/typeface-reviews/quinn/#respond</comments>
		
		<dc:creator><![CDATA[Sandina Miller]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 13:46:31 +0000</pubDate>
				<category><![CDATA[Bold Monday]]></category>
		<category><![CDATA[Diane Ovezea]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29313</guid>

					<description><![CDATA[With type styles and influences as divergent as contrasty Didones, chunky Clarendons and straightforward Transitionals, Quinn is a nicely done portmanteau. It can be used for sedate text as well as shouty yet elegant headlines.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29313</post-id>	</item>
		<item>
		<title>Roslindale Variable Italic</title>
		<link>https://typographica.org/typeface-reviews/roslindale-variable-italic/</link>
					<comments>https://typographica.org/typeface-reviews/roslindale-variable-italic/#respond</comments>
		
		<dc:creator><![CDATA[Daniel Grumer]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 12:15:30 +0000</pubDate>
				<category><![CDATA[David Jonathan Ross]]></category>
		<category><![CDATA[Display]]></category>
		<category><![CDATA[DJR]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<category><![CDATA[variable fonts]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29730</guid>

					<description><![CDATA[We love RVI because of its high educational value. In its own humble way, this typeface actually teaches its users. With all of the little changes that pile up, the differentiation between slantation and construction, and the precise freedom it allows — RVI makes you look carefully, pay attention to details, and learn a thing or two about italics. ]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29730</post-id>	</item>
		<item>
		<title>Brando Arabic</title>
		<link>https://typographica.org/typeface-reviews/brando-arabic/</link>
					<comments>https://typographica.org/typeface-reviews/brando-arabic/#respond</comments>
		
		<dc:creator><![CDATA[Dina Benbrahim]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 11:40:04 +0000</pubDate>
				<category><![CDATA[Arabic]]></category>
		<category><![CDATA[Bold Monday]]></category>
		<category><![CDATA[Khajag Apelian]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<category><![CDATA[Waël Morcos]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28585</guid>

					<description><![CDATA[Arabic typography has long suffered from stagnation due to the sacralization of calligraphy. Brando Arabic is an innovative contribution to the Arab world, which now produces publications of all sorts and embraces modern requirements of communication.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28585</post-id>	</item>
		<item>
		<title>Söhne</title>
		<link>https://typographica.org/typeface-reviews/sohne/</link>
					<comments>https://typographica.org/typeface-reviews/sohne/#comments</comments>
		
		<dc:creator><![CDATA[Filip Blažek]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 10:29:46 +0000</pubDate>
				<category><![CDATA[Klim]]></category>
		<category><![CDATA[Kris Sowersby]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28643</guid>

					<description><![CDATA[Although I agree with Sowersby’s description&#8201;—&#8201;“Söhne is the memory of Akzidenz-Grotesk framed through the reality of Helvetica”&#8201;—&#8201;I would argue that Söhne contains more Akzidenz-Grotesk than Helvetica. It’s more unique, less monotonous, more dynamic, less boring. A beautiful yet universal sans serif family.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28643</post-id>	</item>
		<item>
		<title>Antonia</title>
		<link>https://typographica.org/typeface-reviews/antonia/</link>
					<comments>https://typographica.org/typeface-reviews/antonia/#respond</comments>
		
		<dc:creator><![CDATA[Ivo Gabrowitsch]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 10:16:13 +0000</pubDate>
				<category><![CDATA[Franziska Weitgruber]]></category>
		<category><![CDATA[Michael Hochleitner]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<category><![CDATA[Typejockeys]]></category>
		<category><![CDATA[variable fonts]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29110</guid>

					<description><![CDATA[Antonia is a contemporary serif typeface that interlinks a sharp-edged character with cheerfulness. Combining characteristics that don’t seem to be compatible is one of the most difficult arts of type design and was one of the trends I recognized this year. Most often, such attempts result in unconventional display type. Sometimes, though, they add a fresh note to a more serious genre.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29110</post-id>	</item>
		<item>
		<title>Vulf Sans</title>
		<link>https://typographica.org/typeface-reviews/vulf-sans/</link>
					<comments>https://typographica.org/typeface-reviews/vulf-sans/#respond</comments>
		
		<dc:creator><![CDATA[Thierry Blancpain]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 10:08:20 +0000</pubDate>
				<category><![CDATA[James Edmondson]]></category>
		<category><![CDATA[OH no Type Company]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29037</guid>

					<description><![CDATA[Business, let’s keep it casual
Let’s keep it fun for you and me, so you can see]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29037</post-id>	</item>
		<item>
		<title>Nirvana</title>
		<link>https://typographica.org/typeface-reviews/nirvana/</link>
		
		<dc:creator><![CDATA[Ksenya Samarskaya]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 10:00:50 +0000</pubDate>
				<category><![CDATA[Altiplano]]></category>
		<category><![CDATA[Display]]></category>
		<category><![CDATA[Raphaël Verona]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29517</guid>

					<description><![CDATA[The visuals for Nirvana are both a throwback and futuristic. An off-the-beaten-path seventies cult, reborn with more technology and burnished lines. They straddle the unfamiliar. The video Anthony Vernery and Hugo Dumont captured it in nods to Michel Gondry, to not-quite Švankmajer. To a past visual of an imagined offshoot future. Plopping Nirvana on a book cover is a done-deal design, a travelogue toward elsewhere or elsewhen.]]></description>
		
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">29517</post-id>	</item>
		<item>
		<title>Viksjø</title>
		<link>https://typographica.org/typeface-reviews/viksjo/</link>
					<comments>https://typographica.org/typeface-reviews/viksjo/#comments</comments>
		
		<dc:creator><![CDATA[Yves Peters]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 09:55:37 +0000</pubDate>
				<category><![CDATA[Frode Bo Helland]]></category>
		<category><![CDATA[Monokrom]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29526</guid>

					<description><![CDATA[A reaction to a piece of brutalist Norwegian architecture, Viksjø is an anomaly as a typeface. It lives in a universe of its own, with no equivalent past or present.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29526</post-id>	</item>
		<item>
		<title>Hudhud</title>
		<link>https://typographica.org/typeface-reviews/hudhud/</link>
					<comments>https://typographica.org/typeface-reviews/hudhud/#respond</comments>
		
		<dc:creator><![CDATA[Nadine Chahine]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 09:52:41 +0000</pubDate>
				<category><![CDATA[Arabic]]></category>
		<category><![CDATA[Display]]></category>
		<category><![CDATA[Maha Akl]]></category>
		<category><![CDATA[TPTQ Arabic]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29318</guid>

					<description><![CDATA[There is a fluidity of movement that is very appealing in this typeface. The low contrast and openness of forms helped to create the contemporary feel. Both of these design features capture a sense of joie de vivre, and a light and pleasant atmosphere in spite of the boldness of weight.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29318</post-id>	</item>
		<item>
		<title>Triptych</title>
		<link>https://typographica.org/typeface-reviews/triptych/</link>
					<comments>https://typographica.org/typeface-reviews/triptych/#respond</comments>
		
		<dc:creator><![CDATA[Matthijs Sluiter]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 09:09:16 +0000</pubDate>
				<category><![CDATA[Ellmer Stefan]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[System]]></category>
		<category><![CDATA[The Pyte Foundry]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28668</guid>

					<description><![CDATA[Where other fonts are promoted as workhorses, this one is a mule. It is often said that “workhorses” do their work without a murmur, quietly and in the background, conforming to the text they carry without coming to the fore themselves. Those are not horses, but chameleons and butlers. Elmer’s mules will deliver the job without pretending to go unnoticed.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28668</post-id>	</item>
		<item>
		<title>Schijn</title>
		<link>https://typographica.org/typeface-reviews/schijn/</link>
					<comments>https://typographica.org/typeface-reviews/schijn/#comments</comments>
		
		<dc:creator><![CDATA[Robb Ogle]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 08:40:28 +0000</pubDate>
				<category><![CDATA[Arthur Reinders Folmer]]></category>
		<category><![CDATA[Display]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typearture]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28582</guid>

					<description><![CDATA[Type can be a helpful means of escape. The mad toyshop designs of Arthur Reinders Folmer’s Typearture foundry are kind treats to puzzle over in bad times.

In appearance, Schijn is a product of its pre-COVID era — a faceted 2019 rife with Instagram crystals and fragmentation on the pop-culture brain. But the font belongs to 2020 because it looks purpose-built for use in a gentle iOS or Nintendo Switch game, the kind played to seek out private calm in a tense quarantined household. Those snatched moments of focused joy are vital now.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28582</post-id>	</item>
		<item>
		<title>Maelstrom Sans</title>
		<link>https://typographica.org/typeface-reviews/maelstrom-sans/</link>
					<comments>https://typographica.org/typeface-reviews/maelstrom-sans/#respond</comments>
		
		<dc:creator><![CDATA[Shelley Gruendler]]></dc:creator>
		<pubDate>Thu, 31 Dec 2020 08:05:08 +0000</pubDate>
				<category><![CDATA[Display]]></category>
		<category><![CDATA[Klim]]></category>
		<category><![CDATA[Kris Sowersby]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28774</guid>

					<description><![CDATA[I appreciate and adore Maelstrom and its wacko Italian Futurist approach to reverse-stress letterforms, with the historically noteworthy (and entirely crackpot) E. But I didn’t expect to like the sans as much as, or even more than, the serif.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28774</post-id>	</item>
		<item>
		<title>Flecha</title>
		<link>https://typographica.org/typeface-reviews/flecha/</link>
					<comments>https://typographica.org/typeface-reviews/flecha/#respond</comments>
		
		<dc:creator><![CDATA[Paul Barnes]]></dc:creator>
		<pubDate>Wed, 23 Dec 2020 06:30:05 +0000</pubDate>
				<category><![CDATA[R-Typography]]></category>
		<category><![CDATA[Rui Abreu]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29056</guid>

					<description><![CDATA[Reduction in letterform has always been an appealing type-design idea. Trying to find the magical point that removes enough to create something new, but not so much that the vitality of the original is lost and the form becomes lifeless, is a subtle art. ]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29056</post-id>	</item>
		<item>
		<title>Gustella</title>
		<link>https://typographica.org/typeface-reviews/gustella/</link>
					<comments>https://typographica.org/typeface-reviews/gustella/#respond</comments>
		
		<dc:creator><![CDATA[Maurice Meilleur]]></dc:creator>
		<pubDate>Wed, 23 Dec 2020 06:25:39 +0000</pubDate>
				<category><![CDATA[Display]]></category>
		<category><![CDATA[Thomas Thiemich]]></category>
		<category><![CDATA[Type By]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28389</guid>

					<description><![CDATA[Thomas’ typefaces are a set of rigorously designed, extensive, and genuinely fresh explorations of a flamboyant genre, seriously playful or playfully serious depending on mood or message. The copy accompanying Type By’s web specimens for Gustella calls the eye-catching collection “a very specific cherry on the pie”, and that’s true. But there’s a lot of pie underneath the cherry as well.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28389</post-id>	</item>
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		<title>Laima</title>
		<link>https://typographica.org/typeface-reviews/laima/</link>
					<comments>https://typographica.org/typeface-reviews/laima/#respond</comments>
		
		<dc:creator><![CDATA[Mark Jamra]]></dc:creator>
		<pubDate>Wed, 23 Dec 2020 06:22:41 +0000</pubDate>
				<category><![CDATA[Bogidar Mascareñas]]></category>
		<category><![CDATA[Display]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<category><![CDATA[TypeTogether]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28793</guid>

					<description><![CDATA[Bogidar Mascareñas has done something in type design that I absolutely love: he began with a commonly known premise and took it to a place where no one has been before. Laima: a stencil? It has been called that, and I guess it could work as one, but that’s not really what it is. It’s something that started at the stencil idea and was taken to another mental space entirely.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28793</post-id>	</item>
		<item>
		<title>Arvana</title>
		<link>https://typographica.org/typeface-reviews/arvana/</link>
					<comments>https://typographica.org/typeface-reviews/arvana/#respond</comments>
		
		<dc:creator><![CDATA[Jaimey Shapey]]></dc:creator>
		<pubDate>Wed, 23 Dec 2020 06:20:38 +0000</pubDate>
				<category><![CDATA[Hangeul]]></category>
		<category><![CDATA[lo-ol]]></category>
		<category><![CDATA[Noheul Lee]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28666</guid>

					<description><![CDATA[The difficulty in creating a Hangul–Latin multiscript design lies in the disparities between the tools of their original letterform constructions. While Latin type design descends from the broad-nib pen, Hangul descends from a pointed brush. Arvana meets these challenges by creating rhythm and fusing these different calligraphic models in an elegant, kinetic, and energetic manner. ]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28666</post-id>	</item>
		<item>
		<title>Cloisterfuch</title>
		<link>https://typographica.org/typeface-reviews/cloisterfuch/</link>
					<comments>https://typographica.org/typeface-reviews/cloisterfuch/#comments</comments>
		
		<dc:creator><![CDATA[Grendl Löfkvist]]></dc:creator>
		<pubDate>Wed, 23 Dec 2020 05:30:58 +0000</pubDate>
				<category><![CDATA[Blackletter]]></category>
		<category><![CDATA[Herzberg]]></category>
		<category><![CDATA[Matthijs Herzberg]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28788</guid>

					<description><![CDATA[This typeface is far from static. There are hardly any straight lines to be seen. Extreme flaring, waisting, and cupping can bestow a cartoonish quality on type. Cloisterfuch definitely walks that line, but doesn’t cross it.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28788</post-id>	</item>
		<item>
		<title>Our Favorite Typefaces of 2019</title>
		<link>https://typographica.org/features/our-favorite-typefaces-of-2019/</link>
					<comments>https://typographica.org/features/our-favorite-typefaces-of-2019/#comments</comments>
		
		<dc:creator><![CDATA[Typographica]]></dc:creator>
		<pubDate>Wed, 23 Dec 2020 05:27:52 +0000</pubDate>
				<category><![CDATA[Features]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29112</guid>

					<description><![CDATA[An annual review of the most interesting type of the year, as selected by graphic designers, type designers, and scholars.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29112</post-id>	</item>
		<item>
		<title>Role</title>
		<link>https://typographica.org/typeface-reviews/role/</link>
					<comments>https://typographica.org/typeface-reviews/role/#respond</comments>
		
		<dc:creator><![CDATA[Michael Russem]]></dc:creator>
		<pubDate>Wed, 23 Dec 2020 04:25:58 +0000</pubDate>
				<category><![CDATA[Matthew Carter]]></category>
		<category><![CDATA[Morisawa]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[System]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28975</guid>

					<description><![CDATA[But what is Role all about? Anything. Or, almost. That’s its strength. In fact, when asked to detail what I found interesting about the family, my first thought was, “It’s not interesting.” As a book designer, that’s what I like. It’s a cohesive collection of good letterforms designed to help tell a story, not be the story. ]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28975</post-id>	</item>
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		<title>Mexica</title>
		<link>https://typographica.org/typeface-reviews/mexica/</link>
					<comments>https://typographica.org/typeface-reviews/mexica/#respond</comments>
		
		<dc:creator><![CDATA[Reed Reibstein]]></dc:creator>
		<pubDate>Wed, 23 Dec 2020 03:31:26 +0000</pubDate>
				<category><![CDATA[Gabriel Martínez Meave]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[Sudtipos]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29053</guid>

					<description><![CDATA[With Mexica, Gabriel Martínez Meave sought to create an ideal complement to Nahuatl, the indigenous language of the Aztecs spoken by about 1.5 million people today. His aim, not just to salute Nahuatl but to design a better tool for it, is evident and commendable.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29053</post-id>	</item>
		<item>
		<title>Montage</title>
		<link>https://typographica.org/typeface-reviews/montage/</link>
					<comments>https://typographica.org/typeface-reviews/montage/#respond</comments>
		
		<dc:creator><![CDATA[Mark Simonson]]></dc:creator>
		<pubDate>Wed, 23 Dec 2020 02:03:38 +0000</pubDate>
				<category><![CDATA[Ben Kiel]]></category>
		<category><![CDATA[Display]]></category>
		<category><![CDATA[Ed Benguiat]]></category>
		<category><![CDATA[House Industries]]></category>
		<category><![CDATA[Jess Collins]]></category>
		<category><![CDATA[Ken Barber]]></category>
		<category><![CDATA[Mitja Miklavčič]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28784</guid>

					<description><![CDATA[To my mind, Benguiat Montage is the quintessential Photo-Lettering, Inc. typeface. Used on the covers of its Alphabet Thesaurus specimen books during the company’s peak in the sixties and seventies, it was central to PLINC’s brand identity.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28784</post-id>	</item>
		<item>
		<title>Public Sans</title>
		<link>https://typographica.org/typeface-reviews/public-sans/</link>
					<comments>https://typographica.org/typeface-reviews/public-sans/#comments</comments>
		
		<dc:creator><![CDATA[Cordelia Yu]]></dc:creator>
		<pubDate>Wed, 23 Dec 2020 01:04:05 +0000</pubDate>
				<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<category><![CDATA[United States Government]]></category>
		<category><![CDATA[US Web Design System (USWDS)]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29091</guid>

					<description><![CDATA[Why must government design be subjected to utilitarian austerity? Like any brand or institution, governments have their own design sensibilities and needs, and a good typeface can help provide a unique and recognizable visual language. The privilege and mandate of government designers is that we design and build for everyone. ]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">29091</post-id>	</item>
		<item>
		<title>Omnes Arabic</title>
		<link>https://typographica.org/typeface-reviews/omnes-arabic/</link>
					<comments>https://typographica.org/typeface-reviews/omnes-arabic/#comments</comments>
		
		<dc:creator><![CDATA[John Hudson]]></dc:creator>
		<pubDate>Wed, 23 Dec 2020 00:57:50 +0000</pubDate>
				<category><![CDATA[Arabic]]></category>
		<category><![CDATA[Darden Studio]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Titus Nemeth]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28355</guid>

					<description><![CDATA[Titus Nemeth has done an admirable job translating Omnes’ relationship of structure and surface into the Arabic script, creating a design that is unmistakably Omnes while also respecting the proportions, patterns, and rhythm of Arabic. ]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28355</post-id>	</item>
		<item>
		<title>Black Mamba Venom</title>
		<link>https://typographica.org/typeface-reviews/black-mamba-venom/</link>
					<comments>https://typographica.org/typeface-reviews/black-mamba-venom/#respond</comments>
		
		<dc:creator><![CDATA[Nóra Békés]]></dc:creator>
		<pubDate>Wed, 23 Dec 2020 00:22:37 +0000</pubDate>
				<category><![CDATA[Display]]></category>
		<category><![CDATA[Liudmila Bredikhina]]></category>
		<category><![CDATA[Swiss Typefaces]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28822</guid>

					<description><![CDATA[In an alternate universe, where typefaces are reptiles and designers’ computers are secret laboratories for genetic modification, the Black Mamba is a finely orchestrated accident of interbreeding. Its bite to the graphic designer may result in dangerous conditions like awakened typographic consciousness, beautifully dissonant compositions, or increased experimental attitudes.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28822</post-id>	</item>
		<item>
		<title>Obviously</title>
		<link>https://typographica.org/typeface-reviews/obviously/</link>
					<comments>https://typographica.org/typeface-reviews/obviously/#respond</comments>
		
		<dc:creator><![CDATA[Colin M. Ford]]></dc:creator>
		<pubDate>Tue, 22 Dec 2020 22:06:57 +0000</pubDate>
				<category><![CDATA[James Edmondson]]></category>
		<category><![CDATA[OH no Type Company]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<category><![CDATA[variable fonts]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28543</guid>

					<description><![CDATA[I think I first fell in love with Obviously while I was standing in front of a six-foot-tall version of it, struggling to frame a selfie. Because it was blown up so big, I could see it wasn’t just another heavily interpolated, meet-every-need sans family.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28543</post-id>	</item>
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		<title>Haultin</title>
		<link>https://typographica.org/typeface-reviews/haultin/</link>
					<comments>https://typographica.org/typeface-reviews/haultin/#comments</comments>
		
		<dc:creator><![CDATA[John D. Berry]]></dc:creator>
		<pubDate>Tue, 22 Dec 2020 21:47:11 +0000</pubDate>
				<category><![CDATA[Fred Smeijers]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[Type By]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28662</guid>

					<description><![CDATA[Although Pierre Haultin was a sixteenth-century Parisian punchcutter, the typeface bearing his name looks more like a seventeenth-century Dutch type than a sixteenth-century French one: sturdier, more angular, more compact.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28662</post-id>	</item>
		<item>
		<title>Aglet Sans</title>
		<link>https://typographica.org/typeface-reviews/aglet-sans/</link>
					<comments>https://typographica.org/typeface-reviews/aglet-sans/#comments</comments>
		
		<dc:creator><![CDATA[Kara Gordon]]></dc:creator>
		<pubDate>Tue, 22 Dec 2020 19:25:54 +0000</pubDate>
				<category><![CDATA[Jesse Ragan]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<category><![CDATA[XYZ Type]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28664</guid>

					<description><![CDATA[Maybe it’s because I’m writing this in 2020, both with the benefit of seeing the next iteration of Aglet and also against the backdrop of a particularly tumultuous year, but there is something prescient in the structured softness of Aglet Sans. This year has demanded more flexibility, more warmth, and more vulnerability than we as a society are comfortable with.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28664</post-id>	</item>
		<item>
		<title>Pilowlava</title>
		<link>https://typographica.org/typeface-reviews/pilowlava/</link>
					<comments>https://typographica.org/typeface-reviews/pilowlava/#comments</comments>
		
		<dc:creator><![CDATA[Kel Troughton]]></dc:creator>
		<pubDate>Tue, 22 Dec 2020 19:21:33 +0000</pubDate>
				<category><![CDATA[Anton Moglia]]></category>
		<category><![CDATA[Display]]></category>
		<category><![CDATA[Jérémy Landes]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<category><![CDATA[Velvetyne]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28786</guid>

					<description><![CDATA[Named after the caverns of space found in lava flows, Pilowlava evokes a feeling of carved-away whitespace like a Cyrus Highsmith drawing but with the mechanics of a CNC router. Straight lines and rounding throughout make its name also perfectly describe its two main attributes: pillow for soft, and lava for flow.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28786</post-id>	</item>
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		<title>Queezoid</title>
		<link>https://typographica.org/typeface-reviews/queezoid/</link>
					<comments>https://typographica.org/typeface-reviews/queezoid/#comments</comments>
		
		<dc:creator><![CDATA[Hrant Papazian]]></dc:creator>
		<pubDate>Tue, 22 Dec 2020 18:51:51 +0000</pubDate>
				<category><![CDATA[Fictional]]></category>
		<category><![CDATA[Jeremy Tankard]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Script]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28687</guid>

					<description><![CDATA[Although invented writing systems are not an alien concept, ones for cultures that don’t actually exist are rather rare. Thankfully, that didn’t stop the cosmically inventive Jeremy Tankard from designing not one but three styles of Queezoid for the Royal Manchester Children’s Hospital. The Queezies are a decidedly cuddly alien race that infiltrates the hospital, leaving its mark — literally.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28687</post-id>	</item>
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		<title>Nostra</title>
		<link>https://typographica.org/typeface-reviews/nostra/</link>
					<comments>https://typographica.org/typeface-reviews/nostra/#respond</comments>
		
		<dc:creator><![CDATA[Ryan Bugden]]></dc:creator>
		<pubDate>Tue, 22 Dec 2020 18:40:57 +0000</pubDate>
				<category><![CDATA[Display]]></category>
		<category><![CDATA[Lucas Descroix]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28790</guid>

					<description><![CDATA[Most type families set a consistent style and flex other parameters, like weight, optical size, and slant. Nostra ditches the style-centric paradigm and achieves cohesiveness through tension.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28790</post-id>	</item>
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		<title>Caslon Doric</title>
		<link>https://typographica.org/typeface-reviews/caslon-doric/</link>
					<comments>https://typographica.org/typeface-reviews/caslon-doric/#respond</comments>
		
		<dc:creator><![CDATA[Louise Paradis]]></dc:creator>
		<pubDate>Tue, 22 Dec 2020 18:33:27 +0000</pubDate>
				<category><![CDATA[Commercial Classics]]></category>
		<category><![CDATA[Paul Barnes]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Tim Ripper]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28780</guid>

					<description><![CDATA[Commercial Classics serves as a catalog of typefaces that investigate and bring back to life some of the most notable milestones of English design during the Industrial Revolution / Victorian era. Although the designs of this epoch are sometimes criticized for lacking a clear conceptual direction, this period was nevertheless one of the most prolific and innovative periods in the history of type, bringing us new genres and styles. Caslon Doric is one of the most remarkable outcomes of this project. ]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28780</post-id>	</item>
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		<title>Birra Bruin</title>
		<link>https://typographica.org/typeface-reviews/birra-bruin/</link>
					<comments>https://typographica.org/typeface-reviews/birra-bruin/#respond</comments>
		
		<dc:creator><![CDATA[Robin Mientjes]]></dc:creator>
		<pubDate>Tue, 22 Dec 2020 18:33:06 +0000</pubDate>
				<category><![CDATA[Blackletter]]></category>
		<category><![CDATA[Darden Studio]]></category>
		<category><![CDATA[Display]]></category>
		<category><![CDATA[Elena Schneider]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28367</guid>

					<description><![CDATA[What is obvious from Birra Bruin is that Elena had fun drawing it. We don’t talk a lot about that in our work, I find. In a lot of cultures you’re supposed to live to work, and in reaction to that we’re often told that we should do what you love. What Elena accomplishes with Birra Bruin is an expression that shows me that the designer loved the work she was doing.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28367</post-id>	</item>
		<item>
		<title>Chikki</title>
		<link>https://typographica.org/typeface-reviews/chikki/</link>
					<comments>https://typographica.org/typeface-reviews/chikki/#comments</comments>
		
		<dc:creator><![CDATA[Keya Vadgama]]></dc:creator>
		<pubDate>Tue, 22 Dec 2020 18:24:51 +0000</pubDate>
				<category><![CDATA[Devanagari]]></category>
		<category><![CDATA[Gurmukhi]]></category>
		<category><![CDATA[Kimya Gandhi]]></category>
		<category><![CDATA[Mota Italic]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<category><![CDATA[variable fonts]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28778</guid>

					<description><![CDATA[At first, Chikki seems contradictory: How can something brittle, crisp, and textured evoke a feeling of such warmth and familiarity? If you are familiar with chikki, the Indian snack food to which this typeface owes its inspiration and name, you will understand. ]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28778</post-id>	</item>
		<item>
		<title>Clavichord</title>
		<link>https://typographica.org/typeface-reviews/clavichord/</link>
					<comments>https://typographica.org/typeface-reviews/clavichord/#respond</comments>
		
		<dc:creator><![CDATA[Grendl Löfkvist]]></dc:creator>
		<pubDate>Tue, 22 Dec 2020 18:10:22 +0000</pubDate>
				<category><![CDATA[Blackletter]]></category>
		<category><![CDATA[David Jonathan Ross]]></category>
		<category><![CDATA[DJR]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<category><![CDATA[variable fonts]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28569</guid>

					<description><![CDATA[Clavichord looks tarted up like a scrawny Christmas tree weighed down with a multitude of frills, swashes, flourishes, and ball terminals like so many garish and pendulous ornaments.

Sounds godawful, doesn’t it? Yet the more I look, the more I like, despite all my efforts to resist.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28569</post-id>	</item>
		<item>
		<title>More 2019 Typefaces to Come</title>
		<link>https://typographica.org/on-typography/more-2019-typefaces-to-come/</link>
		
		<dc:creator><![CDATA[Typographica]]></dc:creator>
		<pubDate>Tue, 22 Dec 2020 08:00:40 +0000</pubDate>
				<category><![CDATA[Commentary]]></category>
		<category><![CDATA[Typefaces of 2019]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=29233</guid>

					<description><![CDATA[We’re trying something new this year: rather than publish the entire list of Favorites at once, we’re releasing them in batches. We hope this gives readers time to savor the reviews and explore every typeface instead of being overwhelmed by a sudden feast. You can catch each dish while it’s hot by following us on Twitter or RSS.]]></description>
		
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">29233</post-id>	</item>
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		<title>Neebinnaukzhik (Neebin) Southall</title>
		<link>https://typographica.org/on-typography/interview/neebinnaukzhik-neebin-southall/</link>
					<comments>https://typographica.org/on-typography/interview/neebinnaukzhik-neebin-southall/#respond</comments>
		
		<dc:creator><![CDATA[Ksenya Samarskaya]]></dc:creator>
		<pubDate>Thu, 10 Dec 2020 16:00:19 +0000</pubDate>
				<category><![CDATA[Interview]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=28364</guid>

					<description><![CDATA[Neebinnaukzhik (Neebin) Southall (she/they/he) is a designer based in Santa Fe, New Mexico, and a member of the Chippewas of Rama First Nation. The Chippewa, also known as Ojibwe, is one of the tribes belonging to the larger Anishinaabe people. Southall predominantly focuses on work impacting and involving Native communities, including writing on Native artists and designers; photography encompassing portraits, fashion, artwork, and jewelry; and graphic design projects for cultural and arts organizations and individuals. Southall created and maintains a list of Indigenous graphic designers at the Native Graphic Design Project, one of the few such resources currently available.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">28364</post-id>	</item>
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		<title>Kafa</title>
		<link>https://typographica.org/typeface-reviews/kafa/</link>
					<comments>https://typographica.org/typeface-reviews/kafa/#respond</comments>
		
		<dc:creator><![CDATA[Diane Mikhael]]></dc:creator>
		<pubDate>Thu, 16 Apr 2020 19:22:57 +0000</pubDate>
				<category><![CDATA[Arabic]]></category>
		<category><![CDATA[Arabic Type]]></category>
		<category><![CDATA[Display]]></category>
		<category><![CDATA[Nadine Chahine]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=27897</guid>

					<description><![CDATA[Arabic for “enough!”, this noble design proves not only that actions speak louder than words, but also that typefaces can amplify voices of dissent and resilience.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">27897</post-id>	</item>
		<item>
		<title>Typeface Selection Resources</title>
		<link>https://typographica.org/on-typography/typeface-selection-resources/</link>
					<comments>https://typographica.org/on-typography/typeface-selection-resources/#respond</comments>
		
		<dc:creator><![CDATA[Stephen Coles]]></dc:creator>
		<pubDate>Thu, 20 Feb 2020 09:23:49 +0000</pubDate>
				<category><![CDATA[Commentary]]></category>
		<category><![CDATA[Resources]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=27736</guid>

					<description><![CDATA[A page of links, recommended reading, and strategies (to come) for students of the Crash Course in Type Selection workshops from Type West at Letterform Archive.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">27736</post-id>	</item>
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		<title>Eckmannpsych &amp; Cheee</title>
		<link>https://typographica.org/typeface-reviews/eckmannpsych-cheee/</link>
					<comments>https://typographica.org/typeface-reviews/eckmannpsych-cheee/#comments</comments>
		
		<dc:creator><![CDATA[Frank Grießhammer]]></dc:creator>
		<pubDate>Wed, 22 Jan 2020 08:55:40 +0000</pubDate>
				<category><![CDATA[Display]]></category>
		<category><![CDATA[James Edmondson]]></category>
		<category><![CDATA[OH no Type Company]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<category><![CDATA[variable fonts]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=27678</guid>

					<description><![CDATA[James Edmondson took what was good about Eckmann-schrift and Sintex and brought those ideas to the next level, replacing old design decisions with a healthy dose of funk.]]></description>
		
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			<slash:comments>2</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">27678</post-id>	</item>
		<item>
		<title>Découpe</title>
		<link>https://typographica.org/typeface-reviews/decoupe/</link>
					<comments>https://typographica.org/typeface-reviews/decoupe/#respond</comments>
		
		<dc:creator><![CDATA[Lynne Yun]]></dc:creator>
		<pubDate>Tue, 21 Jan 2020 07:06:37 +0000</pubDate>
				<category><![CDATA[Display]]></category>
		<category><![CDATA[María Carla Mazzitelli]]></category>
		<category><![CDATA[Sudtipos]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=27627</guid>

					<description><![CDATA[María Carla Mazzitelli, was inspired by gestural graphic expressions, like paper cut-outs (découpes!) and spontaneous handwriting. ]]></description>
		
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			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">27627</post-id>	</item>
		<item>
		<title>Our Favorite Typefaces of 2018</title>
		<link>https://typographica.org/features/our-favorite-typefaces-of-2018/</link>
					<comments>https://typographica.org/features/our-favorite-typefaces-of-2018/#respond</comments>
		
		<dc:creator><![CDATA[Typographica]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 23:15:18 +0000</pubDate>
				<category><![CDATA[Features]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=27389</guid>

					<description><![CDATA[Annual review of the most interesting typefaces of the year, as individually selected by graphic designers, type designers, and scholars.]]></description>
		
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			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">27389</post-id>	</item>
		<item>
		<title>CoFo Chimera</title>
		<link>https://typographica.org/typeface-reviews/cofo-chimera/</link>
					<comments>https://typographica.org/typeface-reviews/cofo-chimera/#respond</comments>
		
		<dc:creator><![CDATA[María Ramos]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 23:00:54 +0000</pubDate>
				<category><![CDATA[Contrast Foundry]]></category>
		<category><![CDATA[Display]]></category>
		<category><![CDATA[Maria Doreuli]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=26907</guid>

					<description><![CDATA[Maria Doreuli was able to take the fearless ideas she had as a student to a professional level. I believe the market needs more typefaces like CoFo Chimera — fewer rushed ideas, more confidence in execution.]]></description>
		
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			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">26907</post-id>	</item>
		<item>
		<title>Faune</title>
		<link>https://typographica.org/typeface-reviews/faune/</link>
					<comments>https://typographica.org/typeface-reviews/faune/#comments</comments>
		
		<dc:creator><![CDATA[Yves Peters]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 23:00:23 +0000</pubDate>
				<category><![CDATA[Alice Savoie]]></category>
		<category><![CDATA[Centre National des Arts Plastiques]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=27230</guid>

					<description><![CDATA[Even with all of the innovations in contemporary typeface design, one might expect some basic concepts to be set in stone&#8201;—&#8201;like what constitutes an italic, for example. Savoie, however, offers a wholly unexpected and fiercely original interpretation.]]></description>
		
					<wfw:commentRss>https://typographica.org/typeface-reviews/faune/feed/</wfw:commentRss>
			<slash:comments>1</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">27230</post-id>	</item>
		<item>
		<title>Karelia</title>
		<link>https://typographica.org/typeface-reviews/karelia/</link>
					<comments>https://typographica.org/typeface-reviews/karelia/#comments</comments>
		
		<dc:creator><![CDATA[Ksenya Samarskaya]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 22:40:37 +0000</pubDate>
				<category><![CDATA[Frode Bo Helland]]></category>
		<category><![CDATA[Monokrom]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=26769</guid>

					<description><![CDATA[As a fan of error, serendipity, and misuse, I’ve always enjoyed the winks of oversized ink-trapped type. Though these days, the form falls more and more into pastiche. Karelia’s Outtakes style takes a fresh sidestepped approach to this genre. ]]></description>
		
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			<slash:comments>1</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">26769</post-id>	</item>
		<item>
		<title>Ohno Blazeface</title>
		<link>https://typographica.org/typeface-reviews/ohno-blazeface/</link>
					<comments>https://typographica.org/typeface-reviews/ohno-blazeface/#respond</comments>
		
		<dc:creator><![CDATA[Mark Simonson]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 22:00:53 +0000</pubDate>
				<category><![CDATA[Display]]></category>
		<category><![CDATA[James Edmondson]]></category>
		<category><![CDATA[OH no Type Company]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=26901</guid>

					<description><![CDATA[I picture five-year-old James Edmondson, sitting on the floor of his dad’s graphic design studio back in the early 1990s, poring over vintage Letraset catalogs and copies of U&#038;lc from the 1970s, absorbing it all like a sponge.]]></description>
		
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			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">26901</post-id>	</item>
		<item>
		<title>Hesse Antiqua</title>
		<link>https://typographica.org/typeface-reviews/hesse-antiqua/</link>
					<comments>https://typographica.org/typeface-reviews/hesse-antiqua/#comments</comments>
		
		<dc:creator><![CDATA[Mark Jamra]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 22:00:22 +0000</pubDate>
				<category><![CDATA[Bernd Volmer]]></category>
		<category><![CDATA[Ferdinand Ulrich]]></category>
		<category><![CDATA[Gudrun Zapf von Hesse]]></category>
		<category><![CDATA[Monotype]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=26898</guid>

					<description><![CDATA[Hesse Antiqua is a titling face that, like a particularly fine wine, is best reserved for special occasions. These are letters that can lend a sense of dignity and permanence to titles and inscriptions.]]></description>
		
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			<slash:comments>1</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">26898</post-id>	</item>
		<item>
		<title>Reforma</title>
		<link>https://typographica.org/typeface-reviews/reforma/</link>
					<comments>https://typographica.org/typeface-reviews/reforma/#comments</comments>
		
		<dc:creator><![CDATA[Laura Meseguer]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 21:00:38 +0000</pubDate>
				<category><![CDATA[Alejandro Lo Celso]]></category>
		<category><![CDATA[PampaType]]></category>
		<category><![CDATA[System]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=26745</guid>

					<description><![CDATA[Like other serial or “multiform” type families, Reforma explores versatility by way of a common skeleton wearing different outfits. In this case, though, Lo Celso also wanted to convey the nature and values of the institution that commissioned the project (the Universidad Nacional de Córdoba in Argentina): tradition, excellence, diversity, research, and inclusion.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">26745</post-id>	</item>
		<item>
		<title>Mohol</title>
		<link>https://typographica.org/typeface-reviews/mohol/</link>
					<comments>https://typographica.org/typeface-reviews/mohol/#respond</comments>
		
		<dc:creator><![CDATA[Frode Helland]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 21:00:37 +0000</pubDate>
				<category><![CDATA[Adam Katyi]]></category>
		<category><![CDATA[Hungarumlaut]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=26837</guid>

					<description><![CDATA[The way Katyi allows elements of broad-nib translation to become the raw material for abstraction reminds me of the limited palette that gives concrete poetry its striking power.]]></description>
		
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			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">26837</post-id>	</item>
		<item>
		<title>FS Kim</title>
		<link>https://typographica.org/typeface-reviews/fs-kim/</link>
					<comments>https://typographica.org/typeface-reviews/fs-kim/#respond</comments>
		
		<dc:creator><![CDATA[Sandina Miller]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 21:00:26 +0000</pubDate>
				<category><![CDATA[Display]]></category>
		<category><![CDATA[Fontsmith]]></category>
		<category><![CDATA[Krista Radoeva]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<category><![CDATA[variable fonts]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=26893</guid>

					<description><![CDATA[FS Kim’s liveliness confidently evokes a calligrapher’s hand. Flair, character, heft, and a touch of self-consciousness — FS Kim is both versatile and really rather lovely.]]></description>
		
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			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">26893</post-id>	</item>
		<item>
		<title>NN Rektorat</title>
		<link>https://typographica.org/typeface-reviews/nn-rektorat/</link>
					<comments>https://typographica.org/typeface-reviews/nn-rektorat/#respond</comments>
		
		<dc:creator><![CDATA[Sibylle Hagmann]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 20:45:54 +0000</pubDate>
				<category><![CDATA[Anton Studer]]></category>
		<category><![CDATA[Clovis Vallois]]></category>
		<category><![CDATA[Nouvelle Noire]]></category>
		<category><![CDATA[Rudolf Barmettler]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=26958</guid>

					<description><![CDATA[NN Rektorat, a typeface family currently consisting of fourteen cuts, features squarish, geometric glyphs whose origins date back to the early 1930s. Rudolf Barmettler has resurrected the family in collaboration with the Swiss type design studio Nouvelle Noire.]]></description>
		
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			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">26958</post-id>	</item>
		<item>
		<title>Berthe</title>
		<link>https://typographica.org/typeface-reviews/berthe/</link>
					<comments>https://typographica.org/typeface-reviews/berthe/#respond</comments>
		
		<dc:creator><![CDATA[Hrant Papazian]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 20:30:41 +0000</pubDate>
				<category><![CDATA[ABYME]]></category>
		<category><![CDATA[Charles Mazé]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=27373</guid>

					<description><![CDATA[Once in a blue moon, a revival contributes something missing, something lost. Berthe is rarer still because it actually contributes two things that today elude mainstream typography: a congenial evolution of the theatrical Didone style of type, and a viable alternative to the so-called “true” italic.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">27373</post-id>	</item>
		<item>
		<title>Ziza</title>
		<link>https://typographica.org/typeface-reviews/ziza/</link>
					<comments>https://typographica.org/typeface-reviews/ziza/#comments</comments>
		
		<dc:creator><![CDATA[Maurice Meilleur]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 20:30:23 +0000</pubDate>
				<category><![CDATA[Display]]></category>
		<category><![CDATA[Mark van Wageningen]]></category>
		<category><![CDATA[Novo Typo]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=26749</guid>

					<description><![CDATA[Ziza is the second digital font release to emerge from Mark van Wageningen’s ongoing experiments in constructing, deconstructing, and reconstructing type, exploring the connections between various type technologies and materials, and — most flamboyantly — revisiting and exploring the possibilities of color type.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">26749</post-id>	</item>
		<item>
		<title>Heldane</title>
		<link>https://typographica.org/typeface-reviews/heldane/</link>
					<comments>https://typographica.org/typeface-reviews/heldane/#respond</comments>
		
		<dc:creator><![CDATA[Peiran Tan]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 20:10:45 +0000</pubDate>
				<category><![CDATA[Klim]]></category>
		<category><![CDATA[Kris Sowersby]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=26848</guid>

					<description><![CDATA[Before I saw Kris Sowersby’s Heldane, I used to lament that Van den Keere didn’t receive as much enthusiasm from type designers as he deserved. Instead of directly interpreting a specific typeface, Sowersby summarizes what constitutes Van-den-Keere-ness, which he then refines and exaggerates. ]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">26848</post-id>	</item>
		<item>
		<title>Empirica</title>
		<link>https://typographica.org/typeface-reviews/empirica/</link>
					<comments>https://typographica.org/typeface-reviews/empirica/#comments</comments>
		
		<dc:creator><![CDATA[Amy Papaelias]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 20:00:52 +0000</pubDate>
				<category><![CDATA[Frere-Jones Type]]></category>
		<category><![CDATA[Nina Stössinger]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[Tobias Frere-Jones]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=26825</guid>

					<description><![CDATA[In an era of 1970s-inspired chonky serif typefaces, Empirica, by Tobias Frere-Jones and Nina Stössinger, traces the serif’s historical roots back much, much further. If the Romans had designed lowercase letters (and bold and italic letters), what would they look like?]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">26825</post-id>	</item>
		<item>
		<title>Bradley DJR</title>
		<link>https://typographica.org/typeface-reviews/bradley-djr/</link>
					<comments>https://typographica.org/typeface-reviews/bradley-djr/#respond</comments>
		
		<dc:creator><![CDATA[Grendl Löfkvist]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 20:00:31 +0000</pubDate>
				<category><![CDATA[Blackletter]]></category>
		<category><![CDATA[David Jonathan Ross]]></category>
		<category><![CDATA[DJR]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=27149</guid>

					<description><![CDATA[If you’re looking for a blackletter without the baggage, Bradley DJR may be the typeface for you.

David Jonathan Ross’ first attempt at producing a blackletter, Bradley DJR is a revival of an 1895 ATF face based on lettering done by the prolific American graphic designer Will Bradley, whose style straddled the gap between arts and crafts and art nouveau. ]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">27149</post-id>	</item>
		<item>
		<title>Tangly</title>
		<link>https://typographica.org/typeface-reviews/tangly/</link>
					<comments>https://typographica.org/typeface-reviews/tangly/#respond</comments>
		
		<dc:creator><![CDATA[Marina Chaccur]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 19:30:06 +0000</pubDate>
				<category><![CDATA[Emigre]]></category>
		<category><![CDATA[Symbol/Picture]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<category><![CDATA[Zuzana Licko]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=26767</guid>

					<description><![CDATA[Tangly’s characters are composed by lines with subtle differences in thickness as they move through their square units. Connecting points are consistently placed on the four sides of each unit, so they can be all combined with each other, allowing almost endless possibilities of patterns. It is simply dazzling!]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">26767</post-id>	</item>
		<item>
		<title>Garnett</title>
		<link>https://typographica.org/typeface-reviews/garnett/</link>
					<comments>https://typographica.org/typeface-reviews/garnett/#respond</comments>
		
		<dc:creator><![CDATA[Quentin Schmerber]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 19:00:45 +0000</pubDate>
				<category><![CDATA[Connor Davenport]]></category>
		<category><![CDATA[Sans Serif]]></category>
		<category><![CDATA[Sharp Type]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=26819</guid>

					<description><![CDATA[“Over the past few years, Sharp Type have assembled an eclectic team of skilled young designers in an effort to produce audacious, high-quality work, while trying to change the industry from the inside. At the heart of this team is the workaholic memelord Connor Davenport. … I watched Garnett grow and evolve, both on Davenport’s Tumblr and on his Instagram. And — with all of its quirkiness — it started to grow on me, too.”]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">26819</post-id>	</item>
		<item>
		<title>Study</title>
		<link>https://typographica.org/typeface-reviews/study/</link>
					<comments>https://typographica.org/typeface-reviews/study/#respond</comments>
		
		<dc:creator><![CDATA[Graham Bradley]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 19:00:01 +0000</pubDate>
				<category><![CDATA[Jesse Ragan]]></category>
		<category><![CDATA[Rudolph Ruzicka]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<category><![CDATA[XYZ Type]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=27368</guid>

					<description><![CDATA[‪For Study, Jesse Ragan transformed Rudolph Ruzicka’s 1968 hand-lettering into a typeface that “feels somehow calligraphic, metal, and digital all at the same time.”]]></description>
		
					<wfw:commentRss>https://typographica.org/typeface-reviews/study/feed/</wfw:commentRss>
			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">27368</post-id>	</item>
		<item>
		<title>Mizan</title>
		<link>https://typographica.org/typeface-reviews/mizan/</link>
					<comments>https://typographica.org/typeface-reviews/mizan/#respond</comments>
		
		<dc:creator><![CDATA[Nadine Chahine]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 17:00:51 +0000</pubDate>
				<category><![CDATA[Arabic]]></category>
		<category><![CDATA[Kristyan Sarkis]]></category>
		<category><![CDATA[TPTQ Arabic]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=26774</guid>

					<description><![CDATA[Mizan strikes a balance between aesthetics and legibility and, as such, provides a great starting point for graphic designers working with the Arabic script.]]></description>
		
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			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">26774</post-id>	</item>
		<item>
		<title>Beatrice Display</title>
		<link>https://typographica.org/typeface-reviews/beatrice-display/</link>
					<comments>https://typographica.org/typeface-reviews/beatrice-display/#respond</comments>
		
		<dc:creator><![CDATA[Marta Bernstein]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 16:00:40 +0000</pubDate>
				<category><![CDATA[Connor Davenport]]></category>
		<category><![CDATA[Display]]></category>
		<category><![CDATA[Lucas Sharp]]></category>
		<category><![CDATA[Sharp Type]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=27176</guid>

					<description><![CDATA[A typeface’s identity rarely lies in the design of a single glyph but rather in the texture and rhythm created by the sequence of letters, words, paragraphs. And this is where Beatrice Display is at its best.]]></description>
		
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			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">27176</post-id>	</item>
		<item>
		<title>Rizado Script</title>
		<link>https://typographica.org/typeface-reviews/rizado-script/</link>
					<comments>https://typographica.org/typeface-reviews/rizado-script/#respond</comments>
		
		<dc:creator><![CDATA[Florence Fu]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 16:00:17 +0000</pubDate>
				<category><![CDATA[Kostić Type]]></category>
		<category><![CDATA[Nikola Kostić]]></category>
		<category><![CDATA[Script]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=27380</guid>

					<description><![CDATA[Some strokes wind with a slight kink, some more traditionally swing into curve, and others are blunter, abruptly tapering and expanding. This is one of many instances where this typeface plays with contrast by harmonizing and mixing curves with sharp, straight edges.]]></description>
		
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		<post-id xmlns="com-wordpress:feed-additions:1">27380</post-id>	</item>
		<item>
		<title>Fern</title>
		<link>https://typographica.org/typeface-reviews/fern/</link>
					<comments>https://typographica.org/typeface-reviews/fern/#comments</comments>
		
		<dc:creator><![CDATA[Agyei Archer]]></dc:creator>
		<pubDate>Mon, 16 Dec 2019 15:00:33 +0000</pubDate>
				<category><![CDATA[David Jonathan Ross]]></category>
		<category><![CDATA[DJR]]></category>
		<category><![CDATA[Serif]]></category>
		<category><![CDATA[Type Reviews]]></category>
		<category><![CDATA[Typefaces of 2018]]></category>
		<guid isPermaLink="false">https://typographica.org/?p=26842</guid>

					<description><![CDATA[DJR pushes type past expected usage: whether it’s his super-heavy take on De Vinne that exists somewhere beyond the intended design’s theoretical limits, or the Venetian-inspired Fern that performs robustly at tiny sizes while retaining calligraphic style, gesture, and intention.]]></description>
		
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			<slash:comments>1</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">26842</post-id>	</item>
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