Mary Bacon

Enough talk. Metcon is not here to talk. Its simply here to PUMP... YOU UP.

UMBA Sans is a contemporary typeface designed by Anita Jürgeleit. The wide shaped curves show a new aesthetic appeal in an unexpected pleasant way. Umba Sans fulfills your corporate design needs as well as your editorial demands and helps to push your design to the next level.

Thirty styles from thin to bold and matching italics - as well as small caps and alternates - help you create a contemporary design.

Umba Sans provides a wide range of variations. Your design may have many faces but it all matches together. More Separate styles for alternate and small caps will show up in your font menu, making sure that you stay aware of the wide range of possibilities your new favourite typeface provides.

Want to know more? Lets get in touch! INSTAGRAM @anitajuergeleit +++ FACEBOOK AnitaJuergeleitTypefaces +++ TWITTER AnitaJott

Calps Sans is a variant of the original Calps typeface. Import to be more corporate, Calps Sans family use flat corners instead of rounded corners (Calps).

Calps Sans is a prominent, eye-catching and unique typeface. It comes with 9 weights and Slim version in order to suit for a multifunctional usage, especially for cooperative work, such as website, magazine, editorial, publishing , as well as packaging.

Manifest is a geometric type family that based on the principles of simplicity, modernity and functionality.

With low-contrast design approach, it performs excellently in any project from print to digital.

It comes in five weights with an extended character set includes 240+ glyphs per typeface, supports Western and some Central European languages.

PiS Koernig is inspired by handwritten alphabets from Max Körners book Das Neue Schriftenbuch from 1949 featuring bold and decorative display type for use in sign painting and advertising.

It features clean and readable glyphs as well as quirky deco alternate letters in Max Körners original style to add some 1950ies flavour to your projects.

Be sure to use E and F caps + alternates for some labyrinth-esque patterns!

This four-piece family is the DIN design, but not as you know it. The famously, crisp, clean and precise typeface has been given a textured update thats reminiscent of rusted metal, or rubber stamps.

Underneath this lies the same sturdy, geometric shapes that have allowed DIN to stand the test of time, but with a new sense of tangibility.

This kind of treatment is more about creating a feeling or a mood that goes beyond the communication of the words themselves, explains Monotype Studio director Tom Rickner.

I think it expands the repertoire of what DIN Next can express. More Designed for display, these four typefaces DIN Next Rust, DIN Next Shadow, DIN Next Slab Rust and DIN Next Stencil Rust show a new side of DIN Nexts personality, as if the surface of each letterform has been gradually worn away over the years.

Manifest is a geometric type family that based on the principles of simplicity, modernity and functionality.

With low-contrast design approach, it performs excellently in any project from print to digital.

It comes in five weights with an extended character set includes 240+ glyphs per typeface, supports Western and some Central European languages.

Ordax is a condensed display sans-serif type family. Simple, clean and modern, it was designed to assert reliability and gravitas to the content.

It is particularly suitable for projects that demand simplicity and space economy.

Details include four weights with matching italics, 447 characters and the Opentype features.

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.

Sfera is inspired by bullet resistant combat helmets of titanium. It is based on geometric object, like sphere. Sfera in various styles - Regular, Italic and Stencil - each with its own unique personality.

Query was born out of that lineage of experimentation and developing a voice within type. I wanted this typeface to have a strong personality but also give room for legibility.

The typeface was inspired from people like Karl Heinz, to Hamiltons Class L fonts, and even civil rights posters from 1968.

My original intent was to make a single font that transformed the spirit of woodtype, but done in my voice today.

A college compared it to a modern Trade Gothic, which I never envisioned, but feel it is an accurate observation.

More As I continued to refine the work, I made sure that the personality, tone and voice was still there but also refining it so that when used, it was legible but still unique to anything I have seen.

I included over 400 glyphs that support many languages and also included three levels of stylistic sets for extra use and style.

Query is as fun to use as it is to look at.

Neptune is a large family of geometric sans serif fonts. Its designer Gaetan Baehr has created 12 styles: six different weights, ranging from Extralight to Extrabold.

Each has an upright and an oblique font on offer. Letters in all of Neptunes weights are drawn with virtually mono-linear strokes. Its lowercase letters have a tall x-height, but still leave enough room for the fonts diacritical marks.

These are actually quite large; theyll always be noticed, even in small sizes.

Neptunes a and g both have single-storey forms. The dots on the i, j, and diacritics are round, as are the punctuation marks, too. Despite being a geometric sans, Neptune features letters that break away somewhat from what previous fonts in that style have offered.

The Qs tail has been simplified into a short, vertical stroke. The strokes on both the S and the s terminate in vertical cuts, instead of having horizontal or diagonal terminals.

The lowercase k and t each have traits that come from our alphabets handwritten origins.

These details give text set in Neptune a different feeling from other geometric sans serifs.

Neptune is an excellent choice for both corporate design and editorial design projects, both because of its range of weights as well as its legibility in text.

URW Geometric is a sans serif typeface inspired by the German geometric typefaces of the 1920s but designed for modern usability.

The character shapes have optimized proportions and an improved balance, the x-height is increased, ascenders and descenders are decreased.

These design characteristics increase the usability and legibility tremendously. Accordingly to the URW Geometric, Boutros Fonts designed the URW Geometric Arabic. 10 weights, which harmonize perfectly with the Latin ones, were created from Thin to Black.