100 Beste Schriften
About Bar The Survey
Scoring Criteria
Imprint
About Bar Roger Black (Danilo Black, Inc., USA)
Stephen Coles (Typographica, USA)
Jan Middendorp (Publizist, Berlin)
 
 
“Good typefaces offer a unique combination of usability, technical perfection, and original details. Other than that I don’t have any expectations of the way a font should look. My taste is broad ranging and a list of favourites can only ever be a snapshot.” Jan Middendorp



To date, Ruse is the only published typeface by the legendary typography teacher Gerrit Noordzij. The vertical stress gives it a modern appearance, “drawn with a pointed quill”. It is livelier than Bodoni or Didot.


Probably the first ever Humanist slab-serif – a new and surprisingly readable font family for long texts.


A refreshing approach to the modern style by Josef Tyfa, and proof of the Czech aptitude for designing typefaces that are both striking and practical.


Fred Smeijer’s Quadraat was an eccentric and extremely usable typeface from the beginning. Later additions such as the magnificent monospaced font and the various display forms have made it into a versatile font family.


The missing link between Gill Sans and Avenir. An extremely readable sans-serif font that is particularly well suited to body text.


Albert Pinggera’s FF Strada is one of the softest of all sans-serifs. It demonstrates that font families for corporate design need not be chilly or sober.


Much loved by packaging designers, Cocon has become the epitome of “velvety”. It’s easy to forget just how bold Evert Bloemsma’s typographical experiment was.


Cyrus Highsmith’s invenction is neither Humanist nor Neo-Geometric: a robust sans/slab (Dispatch) duo for display purposes and large texts that abandons formal clichés.


An enchanting Spanish type by Laura Meseguer in the advertising script tradition. It has three versions in varying sizes for different purposes.


A uniquely constructed display font family by Jeremy Tankard: the six wonderfully audacious fonts were inspired by the Grotesque and Egyptian forms of the 19th century.

And a quick run through of some other favourites: Joanna, Metro, Electra, Cooper Black, Thesis, Knockout, Proforma, Lexicon, FF Maiola, FF Absara, Sauna, PTL Touja, PTL Notes, Haircrimes, FF Hydra, FF Nexus, and most of Frantisek Storm’s body-text fonts.
 
Veronika Elsner (Elsner + Flake, Berlin)
Bertram Schmidt-Friderichs (TDC, Mainz)
Ralf Herrmann (TypoForum, Weimar)
Claudia Guminski (FontShop, Marketing, Berlin)
 
Fs
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