Ivyora Font Download

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Ivyora Font Download

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And gosh darn it, if it isn't that time again! It scarcely seems like five minutes ago since we were telling you all about the best fonts of 2023 to look out for. And now we're on the verge of 2024, so get ready for more typography-related goodness.

Below is a comprehensive list of the best fonts that demand your attention in 2024. We've compiled this comprehensive list by asking the creative industry for their favourites, analysing work from the last 12 months, and taking on board the design trends emerging right now.

But while we've tried to be as objective as possible, the following list is ultimately subjective. Quite honestly, we could have added 200 more incredible and inspiring fonts, but we really had to whittle it down to 50, and that was a challenge in itself. In doing so, we've managed to include a decent spread of indie foundries and designers, too.

Not only that, Tom thinks the future is open-source, but he has this warning: "We've seen a number of greater quality, better-designed open-source SIL fonts, making life very easy. But we've also seen a proliferation of boutique foundries open with vastly different pricing and licensing parameters, making things mind-bogglingly complex. So, it feels like a moment for brands to capitalise on demonstrating a level of altruism whilst showing their identities in a fresh way. And ensuring we don't see the same set of good open-source fonts overused."

Mark Nichols, creative director at WMH&I, loves this return to personality. "While bold, attention-grabbing fonts are still a favourite for many, recent feedback on high-profile rebrands like Johnson & Johnson and Nationwide hints at a tilt toward serifs or more classic styles. A standout? Trim Poster from Letters from Sweden. Its cleverly designed cuts infuse both character and allure, making a strong statement without shouting."

If it's true that perfection is taking a back seat and designers are starting to have more fun again, then 2024 is about to get super experimental. Take OhNo's Drawer or anything by Off Type as a major hint of what's to come. "Gone are the days of rigid font families and type-setting," says Jessica Strelioff of Goodside Studio.

Designer Chris Wilson agrees. He believes the influence of tech has made geometric sans typefaces the norm, and as others cling to classic fonts for nostalgic reasons, there seems to be a growing rebellion against the sea of sameness. It takes the form of experimental typefaces. "Unlike traditional constraints associated with serifs, sans-serifs, or script fonts, experimental typefaces are unconventional letterforms featuring irregular contours, exaggerated proportions, and abstract shapes.

"Thanks to advances in plug-and-play digital mediums, integrating non-standard fonts has become more accessible, and the rise of 3D type has allowed these fonts to create a sense of volume, movement, and interaction, which consumers now expect."

He adds: "I firmly believe that form should follow function in typography. Legibility and effective communication of the message are paramount. However, when applied correctly, I can see how experimental fonts can evoke a visual experience, tell a story, and, in some cases, even replace brand imagery or illustration. The challenge lies in determining when to use them and striking a balance between using type to convey a message and type that is purely a form of art."

Designed by Mat Desjardins, Neue Montreal is a versatile grotesque with the spirit of a display font. Inspired by the design scene in Montreal, it's already been used by many local brands, notably the most recent rebranding of the city's football club. The font has 14 weights (seven uprights and seven italics) and a slightly tighter kerning, including Cyrillic support.

Aktiv Grotesk is a grotesque sans typeface described as a 'Helvetica killer' with some justification. It comes with Weight, Width, and Italic variable font axes, support for ten global writing systems, and an extensive icon set. The combined work of 16 experienced type designers, this font is a powerhouse of versatility and functionality.

Now for something completely different. While most of the fonts on this list hope to grab attention, Degular aims to fade into the background in the spirit of a Japanese white noise machine. Designed by James Edmondson, it comes in seven weights, three optical sizes, in Roman and Italic.

LL Circular offers a fresh take on the genre of the geometric grotesque, marrying purity with warmth and striking a balance between functionality, conceptual rigour, skilled workmanship and measured idiosyncrasy. With real character and near-universal appeal, this friendly font comes in eight weights and is a good choice for editorial, advertising or branding contexts. It's particularly good in headlines or for body copy.

Designed by Robin Eberwein and Felix Pfffli, Noi Grotesk is a modern sans-serif that applies a sense of playful friendliness to the traditional Swiss model. It consists of 16 fonts across eight weights or as one of two variable font versions, optimised for either print or web environments.

ABC Ginto is a geometric-humanist typeface that brings the tension between circular and rectangular forms to life. It was designed by Seb McLauchlan while researching 20th-century sans-serifs, focusing on the shift from strict Modernist purity to the more baroque, animated styles of the 1950s and '60s. The resulting font brings these two impulses together to create a surprisingly dynamic and charismatic typeface.

Drawn for the redesign of the Financial Times (FT) in 2014, Financier is an elegant, authoritative serif. Made up of two complementary families, Financier Display and Financier Text, its aesthetic is drawn from Eric Gill's classic letterforms. Financier Text draws pragmatic detailing from Solus and Joanna; Financier Display takes Perpetua's stately charm. This font works well across all media, from wide-printed broadsheets to narrow mobile screens.

In contrast to many historically oriented serif fonts, Nice has a fresh look with a slightly nostalgic flair. Designed by Jan Fromm, it comes in four optical sizes. This enables it to cover a wide range in terms of design and legibility, from texts in very small sizes to large, expressive billboard-grabbing titles. It's also available as a variable font.

Ivyora is a Dutch Old Face revival produced from historical specimens found at the Museum Plantin-Moretus in Antwerp, mostly from a folio sheet called Proef van Letteren from the widow of Dirck Voskens issued in 1695. The new font, designed by Jan Maack, comes in Text and Display families, each in five weights with Roman and italic styles.

FH Total is a modern serif family for editorial typography inspired by traditional Dutch typefaces and inspired by the fonts produced by Jan van Krimpen in the late 1930s. FH Total Fine is a good choice for headline sizes, while FH Total Display can be used both on screens and in heading and subheading sections.

Inspired by a chapter on bones in an anatomy book, Fenul is characterised by thinner centres and heavier ends. Designed by Jana Papiernikova, it's since been honoured by both the ADC Award and Visuelt. This typeface is available in eight weights and eight styles and also as a variable font.

Designed by Nol Leu of Grilli Type, with help from Mirco Schiavone and Reto Moser, GT Super is the result of an extensive investigation into display serif typefaces from the 1970s and 80s. It takes the expressive and idiosyncratic nature of calligraphic motions and configures them into stable, typographic shapes. This font is available in 20 styles.

Migra is inspired by the features of migratory birds and is designed to add sparkle and grace to your designs. Featuring slightly condensed proportions and sharp and spiky serifs, it was designed by Valerio Monopoli. This font comes in 16 styles with 568 glyphs each, including italics.

Packed with personality, Blacker aims to be a modern classic used for bold statements and self-conscious brands. This font is a revised and extended version of the original wedge serif family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. The latter was developed as a take on the "evil serif" genre: typefaces with high contrast, old-style or modern serif proportions and sharp, blade-like triangular serifs. In the Pro version, two additional condensed variant families have been added (condensed display and condensed text) along with three titling uppercase-only variants.

Span is a modern glyphic type family with sweeping serifs and sculptural forms. Exuberant yet dignified, it's been designed primarily for luxurious headlines and titles. The font's strong vertical stress is softened by elegant organic curves, while its compact height accentuates deep serifs. The family offers five weights, each with three widths and italics.

Miniature combines a sturdy baroque structure with an unconventionally tall x-height. The result is an earnest display font that's a great choice for postmodern branding projects, editorial explorations and cultural exhibitions. Styles range from light to black across five distinct weights.

Roast is a friendly typeface characterised by a sense of summery fun. That makes it a great choice for display projects, including packaging, posters and branding. Designed by Andrei Robu, it's available in nine weights and as a variable font. e24fc04721