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!

Silent Echo - the name just popped up! I didnt hear and echo, nor is it very silent here (with three kids running around).

Silent Echo is a handmade all caps font. Quite neat, very legible and full of swashes!

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.

Bluset Monospaced enlarges the re-worked and expanded text- and headline typeface family Bluest Now with 6 new cuts.

The concept for Bluest Now was based, in its original form, on a corporate design typeface by Elsner+Flake in 2004, ordered by the Landor Agency for a large German energy corporation.

Regularly re-worked and brought up to modern standards, the typeface is still used to this day.

More Because of its large x-height and its well-balanced appearance, Bluset Now Mono is also excellent for use in small typesizes.

The three Roman cuts, Regular, Medium and Bold, and the corresponding obliques, allow a clear differentiation of base- and display applications for every typesize.

The character complement has been created for 72 Latin-based language areas and thus allows a neutral text exchange across language borders.

Translation Inga Wennik

Pliego is a textface designed to offer a comfortable continuous reading, with humanist proportions, an even texture, and informal calligraphic details noticeable only at big sizes, that gives it a contemporary feeling.

Pliego has been named after Pliegos de Cordel, the Spanish word for the popular books that were common during the XVI, XVII and XVIII centuries.

These were rough, cheap books that basically consisted in a folded sheet attached to a string, hence the name.

Their content was varied, from popular tales to ballads and songs, but also crimes and mysteries.

They were cheaply made, roughly printed and bound. The name Pliego evokes the idea of a rough look, angular edges, informal taste, but classical look.

More To cover todays needs, Pliego includes five weights with matching italics.

Designed and engineered for continuous reading, the Book, Regular and Medium weights will perform at their best under 14 points.

However, dont be scared to use for headlines and titles: because of its quirky details and calligraphic flavour, Pliegos personality is accentuated when enlarged.

With an extensive Latin character set, Pliego covers a wide amount of Latin-based languages, including Latin Plus encoding and Vietnamese support.

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.

Newmark-Hebrew is in addition to the Jonahfonts Newmark. I have added Hebrew to Newmark but without cantillation marks. Very much used in everyday modern Hebrew. I have added Alternate Stylistics with just some additional cantillation marks which in some cases may be necessary, use Character Map (Windows) or Character Viewer (Mac).

This font does require OpenType-aware software.

As long as uniqueness is the main goal among the type designers, our goal in this project was to be far away from that uniqueness, build it with typography standards & holding with the type axioms since the beginning appearance of modern typography.

After more than 600 hours of working on create, produce & release the whole typeface family.

MB Grotesk is a flawless branching from the Original Grotesque category characterized by its 351 standard glyphs structures, combined geometric rules with grotesque type theories.

More MB Grotesk has 7 weights & their italics. And it supports many languages, starts from Western European until the Eastern & Cyrillic.

Other than that we looking for extending that version to present you condensed, extended & Arabic versions as soon as possible.

First designed in the early 1800s, Walbaum never achieved the audience or acclaim it deserved despite its easy elegance, and sophisticated persona.

Its been fully restored for this expansive family, which includes 32 weights including ornaments and two decorative cuts.

More Walbaum offers the kind of warmth thats missing from comparable typefaces such as Bodoni or Didot, feeling effortlessly approachable and legible.

Monotype team Carl Crossgrove, Charles Nix and Juan Villanueva have adhered to designer Justus Erich Walbaums original intentions, also incorporating work by the designers son into some of its more extreme display weights pushing the possibilities of Walbaum without compromising on its spirit.

Text weights work well for the demands of digital environments, while decorative and display weights offer more dramatic, sculptural forms.

Unusually, the family also includes a generous range of ornaments. From massive billboards, to micro-type on e-readers, Walbaum has it covered. The family is available as OpenType OTF font format, and includes over 600 glyphs with OpenType typographic features including small capitals, old style and lining figures, proportional and tabular figures, fractions and ligatures.

A user guide is available in PDF format from the gallery view. It gives an overview of the optical sizing available and provides a keyboard guide for the ornaments.

Blond is modern sans serif family with 22 members - 11 weights from Thin to Heavy with matching Italics.

Distinctive, recognizable and uniform, Blonde family is well balanced typeface that will find appliance in any situation - from editorial design to web design.

Contains extended Latin character map ans small Stylistic set.

Jiho Family is a modern sans-serif typeface that is clean, simple and highly readable. Letters in this type family are designed with minimal & modern shapes without any decorative distractions.

The spaces between individual letter forms are precisely adjusted to create the perfect typesetting.

Jiho is versatile type family of 18 fonts. Jiho family consists of 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy & Black) with their corresponding italics.

The Open Type fonts contain complete Latin 1252, Cyrillic, Central European 1250, Turkish 1254 character sets.

Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions, old style-figures and case features.

We highly recommend it for use in signage, books, web pages, screen displays, and so on.

Big modern sans-serif family, for multiple use.