It’s been an amazing year for all sorts of lovers. There’s never been a better time to find the right fonts for your designs, with more small foundries launching than ever before and the existing names of the industry turning out fresh specimens every month. We’ve done a little analysis to discover the top 20 typefaces that are proving popular with graphic designers as we start to analyse another year at Innovative Boom, and those we think will be a major success in 2021. We have thrown in some established well-known fonts as well as brand new rivals, from sans serif and slab to serif and display, all built to give your work the edge you have been searching for while retaining critical consistency and readability. Here we have the best free modern fonts.
It is not necessarily expensive to choose a great font. You can always go with a free font, especially if you’re working on a personal project or an artistic experiment. Fonts come with patterns and compositions of all sizes. In this set, we cover all those types of fonts. These fonts can be considered as the best thing for your inspiration. Serif fonts, sans-serif fonts, script fonts, and more are used. They have high-quality templates that you can use in creative projects, even though the fonts are cheap.
Not only that, but making sure that the lettering style you settle on suits the rest of your selected design elements is also super critical. For the rest of the project, if the font is not on-brand, it would clearly look amateur and unprofessional. For your next project, we’ve rounded up the best modern fonts for you to consider. Any choice is included, ensuring that you are sure to find your new go-to modern typeface here. Bold, sleek, vintage-inspired, serif or sans. In this article, we have discussed everything you need to know about best free modern fonts.
As Monotype unveiled the Helvetica Now typeface, one of the biggest headlines of 2019 was. It was the first update in 35 years of what many say became the most ubiquitous font in the world, Helvetica, created from size-specific drawings and with size-specific spacing. Each character has been redrawn and a host of helpful alternatives have been introduced to help you face the challenges of modern-day branding. Over the past six months, it has proven really popular; we think it’s only going to continue.
After years of making his own font family, Mark Bloom of Mash Creative has just launched his own foundry, CoType. It comes in seven weights and italics, so that the family can make good use of it.
Content is still king. And in 2020, it will go nowhere. This is why we love the current typeface system from Character Type, NewsSans. It allows you to create a varied typographic look, easily ranging from loud and expressive to subtle and reserved, incorporating no less than 90 styles. Combined with low ascenders and descenders, the broad x-height makes for tight and successful designs.
Beatrice is a new kind of typeface by New York foundry, Sharp Type. The family is an experiment of contrast methodologies, incorporating varying elements of canon expansionist structures, reversed contrast, and regular sans-serif grotesque contrast behaviour. “These methodologies were dissected and used as cornerstones in building our own system, with the final result landing largely in unexplored territory,” explains Sharp Sort.
Brought to you by Klim Foundry in New Zealand, Untitled Sans is a simple, Neo Grotesk sans validated by the ideas of the Super Usual project of Jasper Morrison and Naoto Fukasawa. It has the same concepts applied to it as its additional typeface, Untitled Serif, which is taken from the genre of styles of the old-style: the post-Caslon, pre-Times workhorses provided by almost every foundry of the time of the metal type. This is a typeface that we use over and over again.
With a bit of geometry, Gilroy is a classic sans-serif. Crafted by Radomir Tinkov, it is the younger brother of the original font family of Qanelas and comes with contrasting italics in 20 weights and 10 uprights. Very wonderfully, the weights of the Light & ExtraBold are free of charge, so you can use them to the comfort of your heart.
DIN is the iconic typeface that you still root for-the one you want to use, but since it is constrained in its variety of weights and widths, you can not get yourself to it. The century-old architecture has proved to be timeless, but a new redesign was needed.
Colophon’s Fann Grotesque has upright forms that appear to capture the wider spirit of British Grotesque from the 19th century, exploring the idiosyncrasies and imperfections. I’ll send you an example: for a sans serif, the floral italics adopt an oddly cursive design, a gesture inspired by a page from a specimen of the Fann Street Letter Foundry type.
Doyle, a period piece and a “loving synthesis of two iconic styles that became the visual backdrop of a generation” is another one to come out of Sharp Type.
Albertus Nova, courtesy of Monotype, is a modern revival of Albertus’ earlier version by Berthold Wolpe. This latest version extends the font collection from its previous two weights into a comprehensive set of five, all with expanded language support, including Cyrillic and Greek, varying from slim to black.
It includes 10 weights from Hairline to Black. It has figure-set options, each in tabular and proportional widths, old-style and lining figures.
TT Norms Pro
TT Norms Pro, considered one of the best-selling geometric sans ever published, is a versatile workhorse. This is a family that can be readily tailored for various purposes. In large text arrays and small headings, TT Norms Pro fits equally well, and it is the only’ fundamental geometric grotesque.
Coign by Colophon is an exhaustive study of simplified types based on the Elongated Sans from the DeLittle type foundry. A quoin, Coyne, coigne or in this case, Coign, is a wedge-like device used to lock type and space material into place within a chase in letterpress printing.
Neue Haas Grotesk
The first Neue Haas Grotesk weights were developed by Max Miedinger with input from Eduard Hoffmann in the late 1950s. Neue Haas Grotesk was to be the solution to the British and German grotesques that, thanks to the popularity of functionalist Swiss typography, had become immensely popular.
Harriet is Okay Type’s serif typeface brought to you. It’s something of a contemporary Baskerville reimagination of a Scotch Roman dash. It has two optical sizes and a number of weights, and is a flexible family. The show types are exuberant enough for large scales to sparkle, whilst the text styles are more subdued, with a robustness more suited for daily use.
Akira Kobayashi collaborated to carry Avenir Next Pro to life alongside Avenir’s revered founder, Adrian Frutiger. It’s an expansion of the original concept that takes the font to the next level, a new take on a classic.
The final family is a mix of multiple influences. Created initially for the Museum of Fine Arts in Ghent, Belgium, in near partnership with the head of their architecture department, Ruud Ruttens.
The guy behind Silk Serif is Rakel Tómasdóttir, a high-contrast typeface with thin, pointy, strongly bracketed serifs and ball terminals in the appropriate positions, as well as bracketed junctions in different letter shapes. The disconnection between the bowls and the stems is the key feature of this fragile and legible typeface. The cup, though is very close to the stem, causing the linking illusion. A refined range for your designs.
Originally designed as a custom typeface for the design conference and competition identity of Visuelt (Oslo, Norway) in 2013 and 2014, also known as the National Norwegian Design Awards.
Natalia is a stunning handwritten font that is suitable for use in almost every size or use, from text bodies to innovative styles, with a classic retro look. This old-style font comes with a set of customizable characters and is available to download for free from Inventive Tacos.