Brahmos Devanagari is a display family with modular forms. Despite looking like a constructed typeface, its characters appear to have been written with a broad-edged pen. Curves are eschewed in favor of straight lines and (usually) right angles, but diagonals are still present. Each weight’s character set has 780 glyphs, including all of the necessary conjuncts and ligatures for typesetting modern Indian languages written in Devanagari.

Geometric, economical, functional... The good, wholesome, modernist values that once fired up the tutors and students of the Bauhaus became the inspiration for FS Dillon after an exploration of the work of the pre-war art and design powerhouse in the Fontsmith studio. The font combines simplicity and directness with a characteristic Fontsmith warmth. Letterforms are compact, with a generous x-height, and built for maximum clarity and impact. The Bauhaus sought beauty through function. FS Dillon achieves it.

Say hi to Defocus font family. My personal favorite in this season. Font family consisting of three different fonts (different designs with different rough textures) as well as Mix Font with random mixture of all the letters of all three designs that gives crazzzziness to your quotes and designs. All three fonts are perfect for using with different colors for headlines, short bold texts, logotypes, quotes in blogs, tangible goods (prints on textile, mugs, and so much more).

Linotype Freytag is a condensed display face with simple, geometric shapes. With its highly readable and trendy letterforms, it is perfect for flyers, advertising, packaging, posters and magazine headlines.

Andy Lethbridge had only just completed his graphic design BA at the University of Portsmouth when he was spotted by Jason, who’d seen Andy’s exquisite hand lettering at his degree show and on Instagram. Keen to push the handwritten theme further, having recently launched a digitally-created, chalky script font (FS Sammy), Jason offered Andy a job and the chance to develop a suite of more stylised, truly hand-drawn fonts. Andy duly got out his pads, pencils and pens, and started experimenting with styles and textures. Magic followed.

In 2008, Fontsmith were approached by their friend, Jon Scott, to investigate whether a typeface could assume the aesthetic of one artist’s body of work. Jon’s not-for-profit charity, Measure, was organising an event for the artist, Conrad Shawcross, whose giant mechanical installation, entitled Chord, was going on public display in the long-disused Kingsway tram tunnel in Holborn. Chord explores the way we perceive time, as either a line or a cycle. Two enormous machines with dozens of rotating arms and moving in opposite directions, weave rope with almost infinite slowness.

William Morris (1834-1896) was probably the most influential figure in the decorative arts and private press movements of the late 19th and early 20th century. In reaction to the increasing lack of quality that the industrial revolution brought on, Morris sought a return to the ideals of the medieval craftsman. Dissatisfied with the commercially available typefaces of the day, he undertook the design of the fonts for his books himself.