Welcome Mass-Driver, our newest partner foundry, and their new grotesque, MD Primer. MD Primer revels in the quirks and inconsistencies of early sans serif designs, and is available in five weights. Not to mention, when you purchase fonts from Mass-Driver, you can do so under their new licensing model, a simple system which determines price based on the size of the company using the fonts, rather than on the number of actual users.

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With support for Latin and Cyrillic scripts, Pangram Sans Rounded joins the already extensive Pangram Sans Collection. The design includes upright and italic fonts, along with a not-often seen back-slanted Reclined style – and this in six condensed widths. The sausage shapes, especially in the heavier, slanted styles, will add a playful edge to your next project.

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Designed by Robert Janes, Gravity is a display font in as many as twelve widths, ranging from XXXX Compressed to Wide. Special positioning features will let you make its letters jump over the baseline or hang from the top, while its many stylistic alternates will let you create playful, super compact title arrangements. And because Dinamo is Dinamo, along the typeface was also launched a stretchy resistance band to put Gravity – and your fitness levels – to the test.

Charles Mazé’s Mercure draws from mid-nineteenth century typefaces crafted for transcribing classical inscriptions in print. The result is a tight-knit family comprising three styles (Regular, Italic, and Transcript) along with a set of fragmented, false, broken or missing letters and symbols that were used for transcription. Together they offer a unique palette that can be imaginatively used for branding and editorial design.

Staff Grotesk is a welcome addition to the multi-width Staff family. Tempering the unusual features and large-size letterforms of his extensive neo-grotesque, Rui Abreu has created a new sans serif design intended for text settings. This subfamily, Staff Grotesk, comes in four weights and matching italics, all while keeping the integral vitality of the original.

Designed by Lucas Bihan, Self Modern finds its inspiration in traditional serif Japanese typefaces. The deep ink traps, wide proportions and eccentric details in the uprights, and the reverse contrast in the italic make this one a stand out design. Extended weights, drawn in collaboration with Roxane Gataud, were added to Self Modern this year.

Stemming from wood type, Production Type’s latest offering, Tempel Grotesk, makes a strong impression. Its chunky, heavyset letter shapes, and the white spaces within and between them build a rhythmic visual cadence. Available in four widths from condensed to wide, it provides a ready toolkit for making striking typographic compositions.