Mary Bacon

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.

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.

Krimhilde was originally designed by Albert Auspurg and released in 1933 with the type foundry Ludwig & Mayer.

The design mixes elements of German blackletter typefaces and geometric sans-serif designs, which became popular in the 1920s in the movement known as New Typography.

The FDI version of Krimhilde offers both original styles (regular and bold) as version A with a full Latin 1 character set.

Version B has alternative shapes for some letters to make the design more legible for people who are not familiar with the German blackletter shapes.

In addition, there are optional display styles available (outline, shadow and fill), which can be used separately or together to create a chromatic layout.

Hoyer Script is a fresh redesign of Hans Hoyers Schoenschrift, a slender vintage italic with a calligraphic touch.

This font should be used like my blackletter fonts. It means that the s-key is occupied by the long s, and the round s lies on the #-key.

By typing N, r, and period, you will get an old-style number sign.

In 1938 the Frankfurt-based foundry Ludwig & Mayer released Eugen Weiss beautiful fraktur Hoelderlin.

Carefully redrawn and redesigned, this digitized version is intended to add another gem to the enthusiasts treasure drove of blackletter types.

The font contains the historical long s which can be reached by the OpenType feature historical forms or by typing the summation sign [ ].

I never needed to digitize this early design from 1988. I found it in a drawer underneath layers of dozens of other type designs. The drawings were made with ink on paper, about 15 cm high, meticulously executed and retouched separate glyphs for a primitive photo-lettering.

I used a photographic magnifier to set words and lines in my darkroom. In 2018 I decided to make a font out of it just for fun...

Waba Pronounced Vah-bah, is a font family that I designed. The name comes from a historical variation on the Estonian word vaba meaning free, or at liberty.

More Back in 2017 I visited the Estonian Print & Paper Museum in Tartu to see its great collection of type (well worth a visit!).

While I was there I saw some big woodcut blocks of Reklameschrift Herold - a super Art Nouveau/Jugendstil style display font.

The Print & Paper Museums collection covers both Latin and Cyrillic faces and as a foreigner in these parts I'm kind of fascinated by the exoticism of Cyrillic.

How it is different but the same to the Latin letters I take for granted (as a humble Englander no excuses).

Not to mention, Jugendstil with its imitation of natural form, reverse-weights and looping-delicious curves (like you've left the window open all summer and the garden plants are climbing in).

This mix of Jugendstil, Cyrillic letters and the beautiful historical border town of Tartu inspired me to start drawing Waba.

Trimming the serifs from Herold, simplifying those angles and expanding the category of weights, then taking look at the magical logic of Berthold Block and doing a few things that just seemed right at the time Waba is a bit of love letter to Estonia, the Baltics and the visual history of Eastern Europe.

Waba Monogram Waba also contains a monogram face, which allows you to create any monogramming latin and cyrillic.

Simply type out your 2-3-4 characters in Waba Monogram, making sure Contextual Alternates is turned on them voila! Monograms can be customised manually using the OpenType select-pop-up in Adobe.

Also included are a few Discretionary Ligatures for Mc, De, Von etc. Monograms work best when Contextual Alternates is turned on.

Wieynck Gotisch, a 1920s font family created by Heinrich Wieynck, was completely redrawn and redesigned for modern usage.

Use this remarkable and eye-catching fonts in an appropriate context. This font contains a bunch of useful ligatures, and by typing N, r and period plus activating the discretionary ligatures you get an oldstyle numbersign.

The round s lies on the #-key.

Suprema is 14 fonts modern sans serif family precisely designed for geometric perfection. It has 7 weights with matching true italics. When it comes to Opentype it has lots of features such as tabular lining, proportional oldstyle, tabular oldstyle, ligatures, superscript, subscript, fractions and language localisations for Polish, Dutch, Romanian, Moldovian and Catalan.

Suprema fits perfectly to any kind of modern graphic design project, it can be strikingly beautiful to look at as a logotype or pleasure to read in a long text.

It will definitely add a modern look and sense of professionalism to any piece of typography.