2025: Font reviews & tendencies

Sans Typefaces in the Spotlight: BlazeType and the Rise of Sans Serifs in 2025

Since 2024, BlazeType has been steadily orienting its catalogue toward sans‑serif typefaces. In 2025, this direction becomes a true structural backbone. Far from a passing trend, it reflects a deliberate editorial strategy grounded in robustness, versatility, and the ability to develop extensive typographic systems. Slab and stencil families reinforce this foundation, while several serif designs—more targeted and culturally driven—reintroduce historical and editorial depth. The resulting landscape is coherent and deliberate, combining technical rigor, commercial strength, and experimental openness.

2025 vs 2024

Typefaces : 24 in 2025 (+1 compared to 2024)
Total styles produced: 1391 styles (+516 styles compared to 2024)

Sans Serifs at the Core of the Catalog

Designed by Giuseppe Tangaro, **Quadro** stands out for its almost engineering‑like precision. Released in sixty styles—5 widths, 6 weights, and a Slanted option—it adapts seamlessly to industrial, institutional, and technical environments. Its square, rational geometry makes it a true workhorse typeface, well suited for corporate identities, signage, and user interfaces. In both scale and formal control, **Quadro** perfectly embodies BlazeType’s 2025 direction.

**Bloyd**, created by Alexander Rütten and Olivia Wood, revisits the grotesque tradition through forty carefully balanced styles. While it evokes the neutrality of modern classics, it distinguishes itself through refined proportions and a tension that borders on geometric construction. Bloyd positions itself as a contemporary alternative to historical standards, equally effective in branding and editorial contexts.

**Druto**, designed by Adrien Troy, comprises 24 styles and follows a logic of advanced functionality. By shortening ascenders and descenders and emphasizing horizontal structure, it increases text density without sacrificing readability. **Druto** directly addresses constrained digital and editorial environments, illustrating Blaze Type’s attention to real‑world typographic use.

With **Booster**, Maksym Kobuzan delivers one of the year’s most striking superfamilies. Encompassing one hundred and 65 styles, this experimental sans explores extreme weights and expressive variations. Designed for high‑impact branding and intensive visual communication, **Booster** demonstrates Blaze Type’s ability to invest in large‑scale families without losing formal identity. With **Booster**, Maksym Kobuzan delivers one of the year’s most striking superfamilies. Encompassing one hundred and 65 styles, this experimental sans explores extreme weights and expressive variations. Designed for high‑impact branding and intensive visual communication, **Booster** demonstrates Blaze Type’s ability to invest in large‑scale families without losing formal identity.

Around these pillars gravitate several additional sans‑serif families that reinforce the catalogue’s coherence. Aera JP, designed by Matthieu Salvaggio and Caio Kondo, offers a sober, structured linear typeface in eleven styles. Offset, developed by Salvaggio, Léon Hugues, and Pauline Fourest, explores the contemporary grotesque across eighteen versatile styles. Amsterdam Sans, designed by Yann Esnault, follows a revival approach: a sans serif that deliberately incorporates subtle stroke contrast, recalling certain European traditions of the twentieth century while remaining firmly contemporary.

The families developed by Karol Mularczyk—Phil, Big Sans, Galice, and Apoc Sans—form a major strategic axis. Phil, with its 243 styles, exemplifies the exhaustive superfamily, capable of covering nearly all professional applications. Big Sans and Galice extend this logic on a more compact scale, while Apoc Sans stands out for its refined elegance, echoing mid‑twentieth‑century French linear typefaces where neutrality is paired with discreet sophistication.

Slabs, Stencils, and Derived Systems

With Macrosoma Slab, Valerio Monopoli and Fred Wiltshire develop a true typographic system. Released in Slab, Stencil, and Slab Stencil versions—each comprising eighty‑one styles—the family methodically explores the full potential of a robust matrix designed for display, editorial, and decorative uses. Dean Slab, designed by Tim Vanhille and Ines Davodeau, acts as the heavy counterpart to Dean Gothic, adding display density to an already proven structure. Rules Serif, by Matthieu Salvaggio and Tim Vanhille, completes this ensemble with 90 Elzevir‑inspired styles, reaffirming the continued relevance of serif heritage within Blaze Type’s identity.

A Measured Return of Serif Typefaces

While sans serifs clearly dominate 2025, several serif families mark a significant yet controlled return. Seraphine, designed by Karol Mularczyk, reinterprets the Didone model through 22 styles, combining elegance, contrast, and systematic development. Ater, created by Nicolas Dupuis, offers 16 styles of a versatile contemporary serif. Chiswell, developed by Jose Carratala and Geneviève Cugnart, comprises 40 styles and embraces an explicit revival logic, where historical reference becomes an editorial and identity‑driven asset. Together, these families suggest a gradual reintroduction of serif typefaces—not as a dominant norm, but as a cultural and typographic counterpoint.

Signatures and Emerging Voices

The year 2025 confirms the importance of several key designers. Karol Mularczyk stands out for exceptional productivity, with four major families released in a single year. Valerio Monopoli strengthens his position as a system‑oriented designer while also exploring more conceptual territory with Proximity, a pixel‑based family of ninety styles. Alongside these central figures, Blaze Type welcomes a new generation of designers—Nicolas Dupuis, Gwennina Moigne, Adrien Troy, Yann Esnault, Giuseppe Tangaro, Maksym Kobuzan, Elsa Drevous, Alexander Rütten, and Olivia Wood—whose often more focused projects function as formal laboratories within a highly structured catalogue.

Volume and Density as Strategy

2025 emerges as a year of consolidation for Blaze Type. Sans serifs dominate, supported by expansive and coherent typographic systems, while slabs and serifs return as structuring and cultural counterpoints. Balancing industrial strength with editorial nuance, the foundry articulates a clear vision: to build a catalogue capable of meeting contemporary demands while preparing for future evolutions.

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