5 fonts that will be popular in 2019
The ultimate Geometric typeface
Planned by the Swiss Typefaces Design Team and sold simply through their very own site, Euclid is charged as 'a definitive geometric'. Built from rudimentary shapes and monolinear lines, it's a thoroughly utilitarian typeface that is very moderate, and yet, amazingly delightful.
Monolinear Geometric Grotesque Typeface
GT Haptik is a monolinear geometric odd typeface structured by Reto Moser and Tobias Rechsteiner with an interesting turn: its capitalized letters and numbers are intended to be perused blindfolded, just by contacting them (ie, haptic). It's accessible in seven loads and 21 styles, and included with each style are interchange characters, just as relative and unthinkable figures.
A functional geometric sans with a warm touch.
Brandon Grotesque is impacted by the geometric-style sans serif faces that were well known amid the 30s, the text styles depend on geometric structures that have been optically revised for better readability. The little x-stature and the controlled structures loan it an unmistakable tastefulness. The Brandon Grotesque loads are extraordinary entertainers in presentation sizes. For longer messages and little sizes we made the consummately fitting Brandon Text Family.
The bold gothic style is reminiscent of gothic wood types
HWT Konop is a monospaced (fixed-width) typeface that is likewise square! Structured by Mark Simonson (Proxima Nova) as square characters that can be orchestrated vertically or evenly and in any introduction. To a conventional letterpress work printer, a text style like this wouldn't bode well. Be that as it may, to a cutting edge letterpress printer it is a surprising and imaginative structure toolbox.
Warmth and approachability of a humanist sans with the no-nonsense simplicity of a neo-grotesk.
Okay v2 is an updated and extended rendition of Alright Sans. It adjusts the glow and receptiveness of a humanist sans with the straightforward effortlessness of a neo-grotesk. The outcome is an adaptable workhorse with an unassuming warmth and agreeability. Okay is proficient, however not self-absorbed. A substantial scope of loads, widths, language backing, and OpenType highlights make it a brilliant go-to choice for ordinary typographic work.
