As a graphic designer, selecting the best fonts for the design project you are working on is just as crucial as actually producing the design itself. It all comes down to picking the one that works best with your design and communicates the essence of what you’re trying to say.

The importance of typography in our day-to-day lives cannot be overstated. Legibility, hierarchy, and awareness of the brand are all improved as a result of its presence. Every designer should make a conscious effort to become good at typography since it is one of their most crucial talents.

Typography plays an essential role in each and every kind of design, whether print or digital. Graphic designers who have mastered typography are capable of creating content that has a purpose and effectively communicates messages to the audiences they are trying to reach.

Below you’ll find a handpicked selection of my favorite typefaces that I use most of the time in the following section. Fonts are an excellent method to breathe new life into your projects and give them a unique and modern style. I hope this offers you a superb selection of ideas for the next design project you work on.

So here you go. Spend the next five minutes reading them over! You might find something you’re looking for.

Cooper Black

Fonts by Cooper Black

Cooper Black, created by Oswald Bruce Cooper and published by the Barnhart Brothers & Spindler type foundry in 1922, is a solid serif typeface meant for exhibition purposes. It was designed by Cooper as a bolder variant of his “Cooper Old Style” font family. The popularity of this font caused it to be licensed by American Type Founders and replicated by numerous printing companies.

Nautica

Fonts by Nautica

Nautica is one of the most well-known adobe fonts. They were invented by Giuseppe Salerno. From Resistenza. The Nautica font family was developed as a modern interpretation of the script style of Copperplate’s ductus. It has a high contrast ratio and is a unique, distinctive font. Nautica’s full professional typographic features include over 800 glyphs and extensive language support. The ligature and swashes are reminiscent of brush pen strokes.

Ohno Blazeface

Ohno Blazeface Typeface

Ohno Blazeface Typeface

Ohno Blazeface is a display serif that is a true fat fatty at heart. When James looked at works in the fatface genre, he saw that the stories all shared two common characteristics: an inability to deal with troublesome letters effectively and a constantly conventional framework. Ohno Blazeface was conceived as a result of his firm belief that a rounder face may convey a sense of superior coolness. Because Ohno Blazeface is available in nine distinct optical sizes, it may be utilized at a wide variety of scales.

BN Super-Sized

BN Super-Sized Typeface

BN Super-Sized Typeface

Brandon Nickerson’s BN Super-Sized is a new sans-serif display typeface. What I enjoyed about utilizing these fonts is that each has a distinct feature that helps me highlight the most critical information and communicate more clearly to viewers. Furthermore, its powerful typography gives me a sense of vintage yet current on my design. This is the ideal typeface for poster design, retail, or logos.

BN Nokyo

BN Nokyo Typeface

BN Nokyo Typeface

BN Nokyo is a new modern Art-Deco-influenced display typeface that will set your design out from the crowd. Brandon Nickerson designed this typeface. He is a brilliant type designer, and his website is my go-to source for discovering a new contemporary typeface for my next project. This typeface is quite lovely and enjoyable to use.

BN Numa

BM Numa Typeface

BN Numa Typeface

BN Numa is a contemporary serif display typeface that exudes many characters. BN Numa it’s a perfect typeface for designing posters, logos, and a variety of other things. This is by far the most beautiful and impressive typeface I’ve ever purchased (and no, I’m not being paid to say that; I’m not sponsored in any way).

Oggle

Oggle Typeface by Natalie Rauch

Oggle Typeface by Natalie Rauch

The origin of Oggle is an antique bookstore located in blustery and overcast northern England. To shape Oggle into the typeface, it is now required a lot of sanding and polishing, as well as some gentle unbending, and careful consideration of new ways to present information visually. But now that it has been magnificently digitized as a tribute to times gone by, there is no question that it will attract the attention of a lot of people. Oggle is ideal for writing attention-grabbing headlines and establishing a memorable, lighthearted ambiance.

Klaster Sans

Klaster Sans Typeface by Max Kobuzan

Klaster Sans – Type Department

Like the earliest geometric typefaces developed in Germany, Klaster Sans is a large geometric sans-serif. Clear but rough outlines and imprecise curves, along with few optical compensators, provide the impression of heft and strength. There are 14 weights of Klaster Sans, including italics. If you’re working on a design project, you really must use this font.

Grotta

Grotta Typeface by Due Studio

Grotta Typeface – Type Department

Grotta font family created by Due Studio. Grotta is an irreverent and modern neo-Grotesk font. Solid geometric accents and sharp contrasts characterize its shape, and it has narrow apertures and a dynamic sense.

This font was designed to capture the mood of evolving modern aesthetics, reflecting the perpetual transition and change we find ourselves. To this purpose, Grotta is brimming with energy, movement, and vigor while maintaining a clean, clear-cut presence.

Sporting Grotesque

Sporting Grotesque – Velvetyne Type Foundry

Lucas Le Bihan is the creator of Sporting Grotesque. In the summer of 2017, George Triantafyllakos modified the Greek. The Velvetyne Type Foundry published a bulbous and sinuous old-school Grotesque design, Sporting Grotesque, as an open-source typeface.

This style has a significant amount of calligraphic influence, as seen by terminals that have a pen-finished quality, a contrast between thick and thin, pinching around bowls, and very narrow apertures. To tell you the truth, I really like the velvetyne foundry font. I am a big fan of the velvetyne foundry typeface.

Outward

Outward – Velvetyne Type Foundry

Outward is a display font family that comes in three styles: regular (Block), italic (round), and border (bold). Outward Block was initially developed in capitals only to eliminate white spaces to achieve a black type color rather than the perfect grey sought.

Freitag

Freitag Typeface by Zetafonts

Freitag Typeface by Zetafonts

Cosimo Lorenzo Pancini designed the typeface Freitag to tribute to the time period’s typography. His starting point was to create a robust sans serif with condensed humanist proportions, flaring stems, and reverse contrast. This design spawned both the primary font family as well as a variant display subfamily.

Non Natural Grotesk

Non Natural Grotesk by Non Foundry

Non Natural Grotesk – Type Department

Non Natural Grotesk, designed by Jonathan Saucedo, sits quietly and confidently across weights and sizes due to meticulous, subtle elements like the breadth of the counters and pleasant breathing apertures. This font is so appealing because it just takes a moment for you to be drawn into its interesting nuances and departure from uniformity.

Pangram Sans

Pangram Sans Collections by Pangram Pangram

Pangram Sans is a font that is both strong and vast. It was intended to be daring and powerful, but it also has the potential to be delicate and adaptable. This entire font family is certain to become your new “go-to” font and will undoubtedly elevate the projects you create.

Pangram Sans Rounded

Pangram Sans Rounded by Pangram Pangram

Pangram Sans Rounded is the sibling of Pangram Sans, known for its lively and playful nature. Although it has 144 different styles, it has a friendlier and more accessible side, even though it is still a solid and vast geometric workhorse. This premium font family, which you can sample for free, was inspired by some of the best geometric types, and it will undoubtedly become your new “go-to” rounded font to elevate your projects.

Editorial New

Editorial New by Pangram Pangram

Editorial New is polished, elegant, and delicate. It’s simple to see it utilized in fashion, such as in brands or publications. The normal weight is ideal for long-form editorial content because of its exact readability, but it is far from a blend. It will offer your content a one-of-a-kind vibe and flair. This typeface is a must-try on any design when combined with the lush and curving italics.

Just to recap…

It can be challenging to decide which font to use. But, don’t let this confuse you. There are no hard-and-fast rules for selecting the most suitable font; there are a number of tried-and-true concepts that may be learned in a short amount of time and used when making a proper typeface selection.

I hope that this post helped. If you have any questions in mind or other cool resources, please leave them in the comments. If you just want to talk, feel free to reach out.

For more tips and inspiration, I was hoping you could keep coming back and check out another cool resource I made for you.

Like what I share? Please send this to someone you know who might have so much potential in what they’re doing.

Check out the latest post, 33 Best Mockups Site to Impress Your Client as a Designer.