Day 4 brings us the last of the list for 2019's Best Sellers!

Day 4 has reached us and it brings more DISCOUNTED killer font families! Check them out before this ship sails... [View in Browser]( [Hot New Fonts]( | [Best Sellers]( | [What's New]( | [Special Offers]( | [Bundles]( | [WhatTheFont]( Sliding into Day 4 and we've still got lots to offer! Check out these awesome families along with their equally awesome discounts. Don't forget to check out the great interviews from the type designers that we've added to each section! [Winslow Book]( #20 Best Selling New Font: [Winslow Book]( by Kimmy Design Winslow Book highlights: - 12 fonts in the family - 6 weights and packed with styling features - Delicate features give it a playful feel - Winslow was designed to be a perfect typeface for text and display purposes Because optionality is always fun, Winslow comes with an array of alternative features that add an extra bit of flair. From stylistic alternatives to tail serifs (in K, k, d, h, m, n) to complete new character designs (for g, y and &) a designer can choose which style they need for any project. Discretionary ligatures also create alternatives to all capital letter combinations. [Winslow Book]([$125.00]([|]([$45.00](| 12 fonts]( [Winslow Book]( Q1) What inspired you to design this typeface? Were you designing for a specific use case or customer? Or were you more focused on a particular artistic vision? Or some combination of the both? I started Winslow during college. I’ve always loved childrens’ books and how type interacts with illustration, so I decided to create something to be used in shorter text settings, such as children’s books, artist publications and magazines. Hours at bookstores helped me find a design foundation: Scotch Roman and Didone style types. I found their high contrast, vertical stress and thin serifs refreshing alongside imagery and illustrations. Extensive research in type specimen books helped me narrow down specific characteristics: a delicate balance between a design that was elegant and refined, yet also playful and whimsical. Q2) Walk us through the process of designing this typeface. Was there anything different about it, compared to your usual process? Did it come along more easily than others, or were there unique challenges? Winslow Book was my first foray into designing a text typeface. Display typefaces are designed to be noticed, while text typefaces are drawn to deliver a message without standing out. They require completely different design approaches. When I started sketching, I focused on the details that would give Winslow Book a unique character while keeping within my design goal. I wanted the underlying structure to look as though I had created it using a marker. To achieve this effect, I rounded corners, created serifs that swelled at the edges and applied ball terminals of the s and c. I decided to depart from the traditional Didone italic styling and make something a little more contemporary. I wanted it stand out, but not feel out of place, while keeping the overall style and proportions of the roman. Testing is an important aspect of designing type for me – it’s also the most fun part. Q3) Looking ahead, are there new projects you're excited about? Anything you haven't tried yet but are eager to explore? I’m currently working on other Winslow styles. I plan to release a display version with higher contrast, swashes, ligatures and other fun features. A monoline version is also in the works. After I complete the Winslow family, I will be developing some revival style typefaces based on 19th century artistic printing style designs. There is a lot of work ahead, but they are also really exciting projects! [Shop Winslow Book]( [Mundo Serif]( #21 Best Selling New Font: [Mundo Serif]( by Monotype Mundo Serif highlights: - 18 fonts in the family. - Nine weights, each with an italic companion - Captions, subheads, pull quotes and long-form copy can be melded to create a welcoming page of modulated text - Generous inter-character spacing Mundo Serif is ready to take on just about any project. Carl Crossgrove drew the suite of typefaces to complement his Mundo Sans family’s classic humanistic design traits – and added a subtle modern influence. [Mundo Serif]($299.00]([|]([$149.50]([|]([18 fonts]( [Mundo Serif]( Q1) What inspired you to design this typeface? Were you designing for a specific use case or customer? Or were you more focused on a particular artistic vision? Or some combination of the both? Mundo Sans was designed 18 years ago as a companion to Roman serif book types like Bembo, Galliard, Dante, Garamond, and Sabon. Now, so many years and technological changes later, those same excellent roman types tend to need a lot of adaptation to maintain their clarity and strength in digital reading environments. We are collectively developing new reading habits based on our device use. Mundo Serif is an attempt to update and strengthen the Renaissance Roman for digital environments. As Mundo Sans was intended to be a workhorse sans, Mundo Serif is intended to perform in a wide range of tough situations. Q2) Walk us through the process of designing this typeface. Was there anything different about it, compared to your usual process? Did it come along more easily than others, or were there unique challenges? Mundo Serif has the same skeleton and origins as Mundo Sans, so the design could start with the essential shapes and proportions of Mundo Sans. Much had to change in order for letters and spacing to be balanced, but the process was aided by the presence of the Sans as example. There were a lot of unresolved details for a long time. Until a meaningful number of characters are designed, and the type can be viewed in context (long texts on screen), it’s hard to know what is undesirable noise and what is useful. This design needed a lot of testing in late development so that its performance would be solid. Q3) Looking ahead, are there new projects you're excited about? Anything you haven't tried yet but are eager to explore? I have an experimental alphabet of ornaments in the works, which is a departure for me, because most of my work derives from classic western calligraphy. Reducing letters to abstract shapes is a fun change of focus. If I can find the time, I’ll be releasing a couple new families this year, a retro display type family, and something kind of weird. That’s all I can say! [Shop Mundo Serif]( [Blacker Pro]( #22 Best Selling New Fonts: [Blacker Pro]( by Zetafonts Blacker Pro highlights: - 69 fonts in the family - Blacker has been developed in two optical subfamilies - The display version offers tighter tracking, higher contrast and sharper corners - The text variant offers better readability and screen rendering at smaller sizes Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs. [Blacker Pro]([$284.00]([|]([$113.60]([| 69]([fonts]( [Blacker Pro]( Q1) What inspired you to design this typeface? Were you designing for a specific use case or customer? Or were you more focused on a particular artistic vision? Or some combination of the both? The redesign and extension of Blacker that led to Blacker Pro was influenced by many, as I was fascinated by “wedge serif” typography, where serifs are rendered with a simple triangular shape. Jeremiah Shoaf ‘s "evil serif” visual style stimulated my creative juices. Modern serifs (typefaces like those designed by Bodoni, where there’s a strong interplay between straight edges and soft curves, and a tension between mechanical, rigid shapes and calligraphic, elegant solutions) were also a source of inspiration. Q2) Walk us through the process of designing this typeface. Was there anything different about it, compared to your usual process? Did it come along more easily than others, or were there unique challenges? The weight system was developed keeping in mind the hybrid nature of the project. The lighter and heavier weights were designed mixing different historical influences. For example, the transitional wedge serif shape is more recognizable in the bolder styles, while the thin variants are more similar to modern Didones. The process included deriving from traditional punch-cutting to allow for the co-existence of display and text version, while maintaining the readability at small point size. Blacker Pro now includes more widths, decorative titling versions and an extended charset. Q3) Looking ahead, are there new projects you're excited about? Anything you haven't tried yet but are eager to explore? Blacker Pro typeface is still open to future developments. We would like to extend the titling variants to include more decorative styles and extend the glyph set to include Arabic scripts. [Shop Blacker Pro]( [Kitsch]( #23 Best Selling New Font: [Kitsch]( by Zetafonts Kitsch highlights: - 32 fonts in the family - Roman weights as Stylistic Alternates - Standard and Discretionary Ligatures - Small Caps and Case Sensitive Forms Kitsch is a typeface happily living at the crossroads between classical latin and medieval gothic letterforms. But, rather than referencing historical models like the italian Rotunda or the french Bastarda scripts, Kitsch tries to renew both its inspirations, finding a contemporary vibe in the dynamic texture of the calligraphic broad-nib pen applied to the proportions of the classical roman skeleton. [Kitsch]($195.00]([|]([$78.00]([| 32]([fonts]( [Kitsch]( Q1) What inspired you to design this typeface? Were you designing for a specific use case or customer? Or were you more focused on a particular artistic vision? Or some combination of the both? I was always interested in gothic script and my sketchbooks are filled with possible ways of reinventing the traditional blackletter shapes. Kitsch was born as an experiment in giving the blackletter texture and feel to a more traditional humanist serif skeleton. The challenge was to create a typeface that could appear like a traditional serif in text size, revealing his sharp blackletter details only at big point size. Q2) Walk us through the process of designing this typeface. Was there anything different about it, compared to your usual process? Did it come along more easily than others, or were there unique challenges? There have been many attempts to create typefaces at the crossroads between classical Latin and medieval gothic letterforms. Rather than referencing historical models like the Italian Rotunda or the French Bastarda scripts, I wanted Kitsch to renew both of its inspirations - finding a contemporary vibe in the dynamic texture of the calligraphic broad-nib pen applied to the proportions of the classical roman skeleton. As usual, I started with a sketching phase that was later digitized. The first draft of the typeface was then defined together with our team of designers: Andrea Tartarelli added Cyrillic and refined the charset, while Maria Chiara Fantini worked with him on the italics adding her love and knowledge of classical Italian letterforms. Q3) Looking ahead, are there new projects you're excited about? Anything you haven't tried yet but are eager to explore? Our newest typefaces will be exploring the incredible design opportunities offered by variable type. We currently offer variable versions for Hagrid, Codec Pro and Kicker. Variable type is fun, provides solutions for usage on different media and gives designers a new set of great tools for creativity. [Shop Kitsch]( [Eckhart]( #24 Best Selling New Font: [Eckhart]( by ROHH Eckhart Highlights: - 74 fonts in the family - Delivered in four optical sizes - Equipped with ligatures, swashes and alternates - Eckhart consists of 74 fonts in 4 optical sizes Eckhart is a modern didone, high-contrast typeface designed to create elegant, original and expressive character. A complete type system for all kinds of use, from branding to setting paragraph text. It is equipped with ligatures, swashes and alternates to enrich design possibilities and make it very distinctive as a display typeface. [Eckhart]([$180.00]([|]([$45.00]([|]([74]([fonts]( [Eckhart]( Q1) What inspired you to design this typeface? Were you designing for a specific use case or customer? Or were you more focused on a particular artistic vision? Or some combination of the both? The main idea behind the Eckhart family was to design a typeface for fashion and beauty magazines and advertising. The design process was driven purely by artistic vision of a playful Didone type family with humanist axis - elegant yet dynamic at the same time. Q2) Walk us through the process of designing this typeface. Was there anything different about it, compared to your usual process? Did it come along more easily than others, or were there unique challenges? Eckhart's design process was similar to my other fonts. First came the general idea coupled with the future purpose of the final design. Next, I worked on the first letter sketches and the main characteristics of the family, having in mind that the bold weights would be of the greatest importance for this particular project given its display character. Afterwards, I created the whole alphabet - lots of adjusting and testing were involved here to get the proportions perfect for what I imagined Eckhart to be. The idea of adding a color font variant was born at this stage. After seeing the outcome, it was natural and obvious to have an even more playful and organic version for some use cases. Q3) Looking ahead, are there new projects you're excited about? Anything you haven't tried yet but are eager to explore? Most of my font library consist of sans serif families. However, I am currently focused on exploring serif typefaces and the possibilities of merging modern design elements with calligraphic roots of type. I am striving for optical richness and dynamism while keeping crisp, modern lines and good legibility in these projects. [Shop Eckhart]( [Jazmin]( #25 Best Selling New Font: [Jazmin]( by Latinotype Jazmin Highlights: - 32 fonts in the family - Features different proportions, curves, serif shapes and contrast - contains 566 characters which support over 200 Latin-based languages Jazmín is ideal for magazines, short text, logos, branding design, packaging and advertising. [Jazmin]([$]([189.00]([|]([$66.15]([|]([32]([fonts]( [Jazmin]( Q1) What inspired you to design this typeface? Were you designing for a specific use case or customer? Or were you more focused on a particular artistic vision? Or some combination of the both? The inspiration behind this typeface was born from a very personal search to find a design that would catch my attention and that had particular characteristics. I found one in the ATF catalog of classic typefaces, and moved forward with my reinterpretation. Q2) Walk us through the process of designing this typeface. Was there anything different about it, compared to your usual process? Did it come along more easily than others, or were there unique challenges? A unique challenge was the need to strike a baAs for the design process, what I think I did differently was the research. I looked at many different references to develop my version of the typeface, and I experimented with the width, height, terminals and so on until I found the design that pleased me the most. I accomplished this with the help and guidance from the Latinotype Team. I listen to my voice as well as their opinion and guidance, as I am a self -taught typographer who learned how to design under Daniel Hernández - cofounder of Latinotype and my brother. I don't know if the project was developed more easily, but I can say that it went a lot more fluently. I took the necessary time for each process, which kept my anxiety in check and allowed me to develop each step in a calmer manner. The process left me with many learnings and satisfactions. Q3) Looking ahead, are there new projects you're excited about? Anything you haven't tried yet but are eager to explore? I am excited about my new project as it is also born from a very personal search. One could say that it is an evolution of Jazmín, a maturation both in drawing and my own approach. The challenge that this typeface presents me with is to design a real italic for the very first time. [Shop Jazmin]( Because you scrolled all the way down, we will share the [Top 25]( list with you now. Share it on your social channels using #BestNewFonts2019 and mention @MyFonts. | | | | The Monotype Brand Family MyFonts Inc. 600 Unicorn Park Drive Woburn, MA 01801 United States of America The promotions featured in this email newsletter are only valid for purchases made online at [MyFonts.com](. It is never our intention to send unwanted e-mail. [Click here]( to instantly unsubscribe from emails like this. MyFonts and MyFonts.com are trademarks of MyFonts Inc. registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions. 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