Yearbook of Type V (Vol. 5) 2021/22

It’s gre­at to see that more peop­le than ever under­stand how important typo­gra­phy is. The choice of a typeface and the design of a text can have a dra­ma­tic impact on its mea­ning. Typefaces don’t need words to con­vey a mes­sa­ge. The respon­si­bi­li­ty for gra­phic desi­gners in choo­sing the right typeface is the­re­fo­re cru­cial. But how do you find the right typeface in the infi­ni­te uni­ver­se of pos­si­bi­li­ties? The Year­book of Type 2021/22 makes it easy to get an over­view of recent­ly publis­hed typefaces from around the world while under­stan­ding their visu­al language.

Each typeface is pre­sen­ted on a dou­ble-page spread. On the left side, a spe­ci­men gives an idea of pos­si­ble app­li­ca­ti­ons and shows the beau­ty and cha­rac­ter of each typeface. This year’s the­me is music. As music con­veys emo­ti­ons through melo­dies and lyrics, typo­gra­phy does so through its form and balan­ce of let­ters. The right page pro­vi­des detail­ed infor­ma­ti­on about the desi­gners and found­ries, as well as an over­view of the typefaces’ features.

The Year­book of Type is com­ple­men­ted by a seri­es of essays that offer back­ground infor­ma­ti­on about typo­gra­phy, histo­ry, tech­ni­cal details and how-to gui­des, and the latest trends in cur­rent type design. An index sorts typefaces by clas­si­fi­ca­ti­ons, bes­i­des lis­ting desi­gners, found­ries, and Open­Type fea­tures. Last but not least, an online micro­si­te pres­ents all fea­tured fonts, so that users can test or purcha­se them.

Feel inspi­red and lis­ten to type, the sound­track of our lives!

– Detail­ed pre­sen­ta­ti­on of 192 recent typefaces
– Exten­si­ve back­ground information
– Index of typeface classifications
– Index of all 201 type desi­gners and 105 found­ries from 33 countries
– Explana­ti­on of all Open­Type features
– Intro­duc­tion by Vero­ni­ka Burian
– Essays by Murat Çil, Mat­t­hieu Cor­tat, and Eva Kubinyi
– Online micro­si­te, lin­king the typefaces to the found­ries’ websites

Pre­sen­ted type found­ries: 205TF, 29Letters / 29LT, 3type, A2-TYPE, Abs­tract Office, AG Typo­gra­phy, Ain­si­Font, Alex­an­der Slobzhe­ni­n­ov, Anti­pi­xel Type Stu­dio, APK Type, ATS Type, Aty­pi­cal, Bin­nen­land Type Found­ry, Bla­ze Type, Bonez Designz, Brass­Fonts, Bureau Roffa, Bureau Sebas­ti­an Moock, bvh­ty­pe, Cana­da Type, Cape Arco­na Type Found­ry, CAST, Cine­ty­pe, Coll­lett­tivo, CSTM Fonts, Dega­rism Stu­dio, DSTy­pe, Due Stu­dio, ECAL Typefaces, Fabio Haag Type, Floo­d­fonts, Fon­ta­dor, Font­Peop­le Ltd, Font­werk, FSde­sign, Gra­di­ent Type, Gurup Stü­dyo, HvD Fonts, In-House Inter­na­tio­nal, Jere­my Tank­ard Typo­gra­phy, Juli­en Fincker, Kanon Found­ry, Kim­my Design, Kon­tour, La Bol­de Vita, Laïc: Type Found­ry, Lati­no­ty­pe, Lazy­dogs Typefound­ry, Leo Cola­lil­lo, Let­ter Palet­te Found­ry, lo-ol type, Los Andes Type, Lukas Diem­ling, Lux Typo­gra­phic + Design, make type not war!, Manu­el von Geb­har­di, Mark Simon­s­on Stu­dio, Mark van Lee­u­wen, Michal Torn­yai, Mori­sa­wa, NEW LETTERS, Noo­ty­pe, Nort, Nova Type Found­ry, Occup­ant Fonts, P22 Type Found­ry, Pan­gram Pan­gram, Para­ty­pe, Peg­go Fonts, Petra Wöhr­mann, PSY/OPS, R9 Type+Design, Sacha Rein, San­doll Inc., Schrift­la­bor, Sharp Type Co., Six, Stan Hema, Stu­dio Rene Bie­der, Sud­ti­pos, sug­ar­gliderz, Supe­ri­or Type, Syn­th­view Type Design, The Found­ry Types, The Ivy Found­ry, Tipo­gra­fiaRa­mis, Tipo­gra­fies, Tipo­Ty­pe, Tour de For­ce Font Found­ry, Type­dif­fe­rent, TypeMa­tes, Typer­ota­ti­on, Typeta­nic Fonts, Type­Tog­e­ther, Type­Ty­pe, Typo­ga­ma, Typo­gra­fi­sche, Unders­core, Vet­ter­le Kom­mu­ni­ka­ti­on­de­sign, Wan­na­ty­pe, WELTKERN, Wise­Ty­pe, Zeta­fonts Foundry