M Zhi Hei's design concept comes from M Stiff Hei , where horizontal and vertical strokes (橫、豎) are direct, dots (點) are short but forceful, downstrokes(撇、捺) are straight and sharp - everything bold and straightforward. One big difference between M Zhi Hei and M Stiff Hei, is the similar thickness of horizontal strokes (橫) across all font styles, so that there would be a strong contrast formed by the thin horizontal and thick vertical strokes (橫、豎) in the bold face. Still, remains bright, neat and beautifully crafted, it is a multi-purpose typeface that convince audiences and cater for different needs.

Among the world of Chinese commercial fonts, M Qing Hua has a relatively high flexibility to be used in different areas, for instance, media of advertising. Its design concept is to combine the neatness of Hei typeface with the roundedness of Yuen typeface. The typeface tries to revitalize the boring traditional design by adding energy, simplicity and modernness to it, which could be shown in the small features in strokes like delicate and curvy finishings. More is the appropriate mix of masculinity and femininity, so as to enable a more effective communication, stronger visual attractiveness and higher affections.

To blend a handwritten style with a graphical aesthetic, Monotype designers paid attention to the balance between the two, hence harmoniously combine their qualities like a mix of tradition and modern. M Felt Pen references the unified stroke thickness and rounded terminals of rounded Heiti typefaces, imitating the fluidity of marker writing. The linked strokes are vivid and suggest the presence of the human hand.

M Kai 2 PRC is a handwritten style Simplified Chinese typeface. Handwritten font designs are derived directly from hand-drawn lettering or handwriting using analogue tools. Handwritten style Simplified Chinese fonts can include typefaces that reference or reinterpret traditional calligraphy, using classical exemplars by calligraphic masters.

The hand lettered credits from the 1931 melodrama “Safe in Hell” inspired the typeface Pre Code Movies JNL, which is available in both regular and oblique versions. The design is strongly influenced by the popular Art Deco style of thick-and-thin characters and also features rounded corners. The font’s name comes from the early era of talking pictures and the short period before the establishment of the Hays Office in 1934 when Hollywood did not self-censor itself. Many then-taboo topics were exploited on film until Will Hays cracked down on such productions. To read more about Pre-Code Hollywood, visit the Wikipedia link: https://en.wikipedia.org/wiki/Pre-Code_Hollywood

M Ying Hei™ is designed by type designer Kenneth Kwok and Robin Hui. Unnecessary details have been eliminated to pursue a minimal form. The structure of characters are well balanced, neat and dignified. Different components of a character are cooperating perfectly in an appropriate proportion. Thickness of strokes are modified according to the number of strokes, thus achieving an even texture throughout the paragraphs. Therefore a perfect choice for prints, user interface and signages. M Ying Hei™ is equipped with 7 weights, which is sufficient for various occasions like matching with different Latin typefaces and handling complex information hierarchy.

M Zuo Hei PRC is a graphic style Simplified Chinese typeface. Graphic font designs have strong personalities and visual impact. Graphic style Simplified Chinese fonts feature decorative elements and pronounced graphics characteristics, suitable for catching attention in display applications.

M Ying Hei™ is designed by type designer Kenneth Kwok and Robin Hui. Unnecessary details have been eliminated to pursue a minimal form. The structure of characters are well balanced, neat and dignified. Different components of a character are cooperating perfectly in an appropriate proportion. Thickness of strokes are modified according to the number of strokes, thus achieving an even texture throughout the paragraphs. Therefore a perfect choice for prints, user interface and signages. M Ying Hei™ is equipped with 7 weights, which is sufficient for various occasions like matching with different Latin typefaces and handling complex information hierarchy.

Zhi series is inspired from vertical shop banners/signages from Japan, where each banners is attached to a slim simple structured skeleton. M Zhi Ngai™ takes reference from M Zhi Hei’s straightforwardness and masculinity but inserted plenty of ornaments and gentleness. Featuring a strong thick–thin contrast in the strokes, the typeface looks bright, smart and contemporary, suitable for promotional materials and more other media.

M Banquet is a humanistic script written by a Chinese restaurant owner, which the name ‘Banquet’ comes from. It is a calligraphic style that always being seen in traditional Chinese banquet menu. Incorporated a feeling of masculinity, fill with strength and energy and attracts eyeballs of customers. It was written with a thin ball pen in a unique, personal and expressive writing style, such that it is realistic, natural and masculine. Contrast of strokes is low and the text is visible and eye-catching. Its light to medium stems (豎) make it suitable for small text to subheading with little conglutination. All strokes are irregular, inconsistent, irregularly oriented and tightly coupled. Spatial distribution, positioning, size and relative proportion of radicals fully reflect a natural and personal style. It is one of the few proportional-width font in a full scale. It is best suited for casual lively atmosphere, illustrations, set upright (non-slanted), non-condensed.

M Gothic Gold PRC is a modulated style Simplified Chinese typeface. Modulated font designs have apparent thick-thin contrast at the strokes, and often include special design characteristics at entry, finial and transitional points of the strokes. Modulated Simplified Chinese font design category includes traditional Song, Ming or Fang Song style typefaces which are popular for continuous reading.

M J Ngai PRC is a graphic style Simplified Chinese typeface. Graphic font designs have strong personalities and visual impact. Graphic style Simplified Chinese fonts feature decorative elements and pronounced graphics characteristics, suitable for catching attention in display applications.

Linotype Didot™ was drawn by Adrian Frutiger in 1991, and is based on the fonts cut by Firmin Didot between 1799 and 1811. Frutiger also studied the Didot types in a book printed by the Didots in 1818, "La Henriade" by Voltaire. This beautifully drawn family is the right choice for elegant book and magazine designs, as well as advertising with a classic touch.

Developed by Adrian Frutiger for Bauer in 1966, Serifa is a slabserif based on the principles that led to the success of Frutiger’s 1956 sanserif, Univers. Glypha, designed by Frutiger for Stempel in 1979, is a version of Serifa with a moderately larger x-height; Stempel has paid royalties on Glypha to Neufville since 1984. Serifa® font field guide including best practices, font pairings and alternatives.

Ornes is inspired by the runic alphabet with ornamentation based on the woodcarvings of the Urnes Stave Church (Norway), an old wooden church from approximately 1150 CE. The woodcarvings and their symbolism reach back to the pre-Christian era. The Ornes Pro styles each contain the runic alphabet, ornamented caps, small caps, ornamented small caps and other pro OpenType features (as shown on the "Pro" tab). Ornes Ornamented Rustic Pro features a subtle uneven lowercase, but does not include a set of regular uppercase characters.

Wilton's "Benjamin-Regular" is a delightful twist on a classic - reminiscent of Franklin Gothic, Helvetica and Frutiger with it's own contemporary twist.

Macha shares the same DNA as its sibling Anago, but is a completely different species than the former or any of my other sans serifs (Aaux Next, Air, Akagi Pro or Wasabi). It's no-nonsense construction bears many influences from Gill Sans and Frutiger while stubbornly blending my own humanist touch. The focus on developing Macha was just to get to the point with each letterform and discard the rest. Macha takes a little but gives a lot. A fully-loaded character set includes: Small Caps, Proportional Lining and Oldstyle Numerals, Tabular Lining and Oldstyle Numerals, Fractions, Ordinals, Inferiors, Superiors, Stylistic Alternates, Ligatures, Case-sensitive, and more.

Phoebus is one of Adrian Frutigers first typefaces which he made for the Deberny & Peignot foundry in Paris. The intention was to create a shadowed type with extra ordinary impression.

Today's digital font technology allowed the world-renowned typeface designer/calligrapher Hermann Zapf to finally realize a vision he first had more than fifty years ago: creating a typeface that could capture the freedom and liveliness of beautiful handwriting. The basic Zapfino™ font family, released in 1998, consists of four alphabets with many additional stylistic alternates that can be freely mixed together to emulate the variations in handwritten text. In 2003, Herman Zapf completely reworked the Zapfino design, creating Zapfino™ Extra. This large expansion of the Zapfino family was designed in close collaboration with Akira Kobayashi. Zapfino™ Extra includes a cornucopia of new characters. It features exuberant hyper-flourishes, elegant small caps, dozens of ornaments, more alternates and ligatures, index characters, and a very useful bold version, named Zapfino™ Forte. A version of the 1998 Zapfino typeface ships as one of the pre-installed fonts included with Mac OSX. The Mac OSX version's letters are four times larger than the Linotype standard. In order to minimize compatibility problems for Macintosh users, Linotype has created OSX versions of its Zapfino Extra Pro typefaces, which have been enlarged to correlate visually with the Mac OS Zapfino system font. These special Linotype fonts can be distinguished by the letter X" in their name. Zapfino Extra is an OpenType format font, which is available in two versions. Which version you purchase should depend on which software applications you use the most and what features they support! The Contextual version of Zapfino Extra Pro contains a treasure-trove of extra contextual features. When created in 2004, this was the most advanced OpenType font released to date. By purchasing this version, users of OpenType-supporting applications, such as Adobe InDesign, may access all of the features available in the entire Zapfino family through just two fonts, Zapfino Extra LT Pro (Contextual) and Zapfino Forte LT Pro! Unfortunately, most non-Adobe applications currently do not support the contextual features made possible by recent OpenType developments. Users of Quark XPress and Microsoft Office should instead purchase all of the non-contextual fonts of Zapfino Extra Pro family, in order to access all of the Zapfino Extra family's 1676 glyphs. The Zapfino Extra family's character set supports 48 western and central European languages. Use Zapfino Extra to produce unusual and graceful advertisements, packaging, and invitations. Zapfino Extra is so joyously abundant that it's tempting to over-indulge, so be sure to check out the tips for working well with the possibilities."

Designed as a typewriter face for IBM, Courier New was re drawn by Adrian Frutiger for IBM Selectric series. A typical fixed pitch design, monotone in weight and slab serif in concept.

This slab serif font of Adrian Frutiger is extremely legible and robust, making it suitable for most any use. Based on the forms of Univers, Serifa makes a harmonious and timeless impression.

Nami, the Japanese word for wave," is the latest collaboration between Adrian Frutiger and Linotype's Type Director, Akira Kobayashi. This typeface family is the most humanistic sans serif design ever to come from Adrian Frutiger, and it has an interesting twist: lapidar alternates that may be surfed through with the help of OpenType-savy applications. Adrian Frutiger began the design that would blossom into Nami during the 1980s. Although it would not be produced during the 20th century, it was quite forward thinking. The typeface included several seemingly avant garde alternates; these were "lapidary" versions of common letterforms. Revisiting the project in 2006, Akira Kobayashi reworked the concept into a working family of three typefaces. Each font contains 483 glyphs, including 11 alternates-two extra forms of the lowercase g, as well as new forms for a, e, h, l, m, n, r, t, and u."

This font is a collection of simple calligraphic ornaments suitable for invitations, gift tags, and anything that can benifit from a "spoonful of sugar" visually.

This font is a collection of simple calligraphic ornaments suitable for invitations, gift tags, and anything that can benifit from a "spoonful of sugar" visually. This font includes fewer line fillers, and more "ferns and fans" than our previous swirlies.

This font is a collection of simple calligraphic ornaments suitable for invitations, gift tags, and anything that can benefit from a "spoonful of sugar" visually.

This font is a collection of sketched spruce trees. Some are filled outlines, some are bare trunks and branches, and some are rough squiggles. Each can be used individually to suggest a tree, and the different shapes can be layered in different colors, to suggest texture, or snow cover. There is also a glyph of a mountain range, for a horizon behind your forest.

This font is a collection of simple calligraphic ornaments suitable for invitations, gift tags, and anything that can benifit from a "spoonful of sugar" visually.

Hand lettered with a pointed brush, this font strives to be evocative yet remain readable, even for medium length passages of text.

Drawn with a pointed brush, these have greater contrast and weight variation than the PR-Swirlies series.

The bushy weed commonly known as foxtail provides the inspiration for this set of ornaments, and reveals its connection to the prairies. The appearance has an affinity to cowboy themed work and would combine well with wood type decorative text.

This font is closely based on classical proportions, with flared terminals. Small Capitals are 7/8 the size of the capitals

This is a romantic set of ornaments inspired by Valentine’s Day. It includes calligraphic flourishes which include heart shapes, and many that can be combined to form heart shapes, as well as images of hearts, roses, and cupid’s arrows.

Inspired by food labels, signs and coats of arms, PR-Scrolls is a collection of images which can be used for framing text in contexts where antiquity, craftsmanship, or traditional quality are conveyed. There are several sets of glyphs which work together to make a variety of shapes, or banners of custom length. Most of the glyphs are presented in a range of four or more widths.

Inspired by food labels, signs and coats of arms, PR-Scrolls is a collection of images which can be used for framing text in contexts where antiquity, craftsmanship, or traditional quality are conveyed. There are several sets of glyphs which work together to make a variety of shapes, or banners of custom length. Most of the glyphs are presented in a range of three or more widths.

This font is a collection of simple calligraphic ornaments suitable for invitations, gift tags, and anything that can benifit from a "spoonful of sugar" visually.