Mary Bacon

Inspired by the elegance of Herman Zapfs designs crossed with the readability of early 20th century Gothic fonts by Morris Fuller Benton, 19-PRA is a sans-serif with a visible stroke contrast and a humanist tone of voice.

The large x-height seen in fonts like News Gothic and Palatino increases legibility and condensed proportions give excellent readability making it perfect for newspaper and magazine publishing.

A typeface that can serve for both body text and titling the uppercase excels for headlines and renders beautiful brand names when tracked out.

More It sets well with both a serif or sans serif and has various open type features including: 12 standard ligatures, 3 discretionary ligatures, tabular figures, old stye figures as well as European accents.

Qilla is a simple and elegant font for your projects. Can be used for various purposes such as headings, logos, wedding invitation, t-shirt, letterhead, signage, labels, posters, badges etc.

Qilla comes with two styles, upright and slanted version can be an alternative choice to suit your needs.

Bon Ami is a hand lettered condensed font perfect to add a fun feel and individual look to everything you create including cards & invites, logos, souvenirs, stationary, and so on.

It also works perfectly when pairing with other fonts, f.e. with my Paramaribo font (as in the image with the cupcake). The font consists of Latin multilingual support as well as uppercase letters, lowercase letters, numbers and basic punctuations.

Quell is a novel attempt to bridge the gap between geometrically constructed shapes on the one hand, and modulated strokes and subtle calligraphic influence on the other hand.

The visual tension in Quell stems from conflict between two tendencies: The perfectly round shapes are geometrically constructed, yet the contrast of stroke widths and oblique line terminations suggest calligraphic roots.

How this dualism affects typographic impression is up to designers and typographers using Quell as variable font the seamless transition between modulated contrast and linear appearance offers unique typographic possibilities.

Linear appearance gives the text a solid and compelling voice, whereas the modulated styles convey elegance, vibrance and a delicate tone.

More Quell is suited to display setting, headlines, way finding and identity.

The combination of linear and contrast variants provides typographic range to convey different stance while rooted in the same visual heritage.

In short paragraph typesetting the fonts have a modern look and characterful tone, but should not be overused for longer texts.

Quell has been in development for over a year, and is the proud first release under the Underscore label.

Released in 2018 this design by Johannes Neumeier is available from the Underscore webshop as well as selected retailers.

Ginger John is a strong and expressive sign painting style brush script family with three weights.

Ginger John is equipped with automatic Contextual Alternates and Standard Ligatures that ad variety in the flow and keep connections smooth.

If that isnt enough theres Swash, Stylististic and Titling Alternates for every standard uppercase and lowercase character.

Ginger John Extras is a pack of strokes and swashes that can be used as underlining endings for words.

More Ginger John is an outstanding display font that works great for any display use from branding to packaging to logotype.

Bonny is a family of decorative serif fonts, designed for display typography. The letterforms are very condensed. They also contain a lot of stroke-contrast. Bonnys thin strokes often terminate in flourishes; these flourishes pair well with the typefaces serifs, which are both thin and short.

Bonnys uppercase letters are very top-heavy; the upper halves of B, E, F, H, K, M, R, S, and X are so large that they look almost like caricatures.

This feature is carried over the some of the lowercase letters, too. For example, Bonnys a, c, f, g, k, r, s, t, y, and z are all extravagant and lovely.

The v and w have calligraphic flourishes on their right-hand sides; similar expressions appear throughout rest of the the typeface, too.

Each font includes 13 f-ligatures. An alternate j may be automatically substituted into text, via the Contextual Alternates feature, preventing collisions with glyphs coming before it.

The fonts numerals are oldstyle figures, which match the rhythm of the lowercase letters.

From the Polish type designer Barbara Bigosinska, Bonny is an excellent choice for use on greeting cards and in packaging design.

Its fonts should be set in large point sizes, so that its details have enough space to really shine.

With its animated contours, and set in an appropriate size, the Garamond Rough typeface attempts to simulate printed hot metal typesetting.

Its roughened edges make it appear softer and less crisp, and, thus, takes the harshness out of the type image.

The size of the offered type complement as well as the number of its affiliated symbols makes it ideal for differentiated text setting.

Furthermore, its display types make surprising visual accents possible. More The origins of the design of Garamond Rough go back to the middle of the 16th century.

They are ascribed to Claude Garamond who was one of the first typographers who designed typefaces specifically for the setting of books.

During the course of the past centuries and decades, many different variations and new design interpretations of the Garamond typeface were developed to accommodate the most diverse typesetting and printing practices in many different countries.

As such, todays designers can take advantage of a comprehensive digital repertoire for text and display applications.

Translation Inga Wennik

Harlan is from another place and time. But not just one specific place or time with its barely-there, knifes-edge serifs, and its smooth curves and flourishes, Harlan feels both vintage and modern; both feminine and masculine.

Inspired by the Baltimore bar WC Harlan, which in turn was inspired by the old candle-lit bars of France, the tucked-away osterias of Italy, and the antique books and journals one might find in a patrons hand.

Its a font you'll reach for when you're looking for something refined and elegant, but not too stylized or stuffy.

Blautha versatile and contemporary sans serif typefacecomes in 8 weights, ranging from Thin to Black, with matching italics and contains a set of alternate characters.

Its small x-height gives it an elegant feel that reminds us of classic typefaces.

Blauth is well-suited to continuous text and its uppercase set is ideal for high-impact headlines while its softened corners give your designs a warm and contemporary look.

SATURDAY CHAMPAGNE is a monoline modern calligraphy script. Perfect for titles, headings and logotypes for blogs, ads, quote prints, home decor, book title, invitation, birthday, custom product, lifestyle imagery (like quotes and stuff).

This font is written by the amazing hand letterer and fellow artist of mine, Leah Chong, and is a collaboration project.

The character set contains Western and Eastern European accents and extra characters, symbols and the following open type features: More Ligatures: ff ll oo rr th tt ty Finals: b c d l g p y z Instagram: @leahdesign @rolandhusedesign https://leahdesign.

sg https://rolandhuse.com Awesome background image for main poster by Simon Buchou from Unsplash https://unsplash.com/@simon_buchou Background mock ups for Girls Night Out and White Sea Cosmetics are from graphicburger.

com http://graphicburger.com The Quote Reality aligns with your mindset is my favorite and is from Matt Lopez from the Lambo Goal podcast, picture is taken and photoshopped by me.

Thank you I hope you like this font & good luck with your project! Roland

Shueitai is a typeface that has been undergoing development for more than a century, starting from the days when Dai Nippon Printing Co.

, Ltd. (DNP) was still known as Shueisha. As Japan underwent rapid modernization during the early years of the Meiji era, Shueisha, believing that printing was a business befitting a modern civilized society, began operations with a focus on letterpress.

Before long the company expanded into developing its own typefaces. In 1912 it completed a full range of Mincho type, in sizes from Sho-go (#0 size, 42pt) through Hachi-go (#8, 4pt), which it called Shueitai a new style that came to form one of the two mainstreams of Japanese typefaces and continues to have a significant influence on font design even today.

More The Shueitai typeface is distinguished by abundant variations matching the size of type and the changing demands of the times.

Whether it is the spirited and powerful Sho-go, the delicate and flowing San-go (#3, 16pt), or the bright and solidly reassuring Shuei-Mincho L, all Shueitai typefaces share a vibrant brushwork that adds an expression of eloquence and a burst of brilliance to every printed word.

Currently, Shueitai is composed of 17 kinds of fonts useful for various purposes.

The world has witnessed vast changes in the environment surrounding the printed world, with the tran-sition first from letterpress to Desktop Publishing, and most recently to e-books.

But no matter how this environment might evolve, the written word remains the basis of communication, and the importance of beautiful and readable typefaces stays unchanged.

In preparation for the changes that will inevitably come during the future, DNP will continue to evolve the Shueitai designs from now on.

Through its continual reinvention, Shueitai, a typeface consistently adopted at the vanguard of the industry, perhaps represents Japanese innovation at its very best.

Couture Sans is a Sans Serif with moderate stroke contrast.