Designed as a typewriter face for IBM, Courier was redrawn by Adrian Frutiger for the IBM Selectric series. Courier is a typical fixed pitch design, monotone in weight and slab serif in concept. The Courier font is used to emulate typewriter output for reports, tabular work and technical documentation.

In 1952, Charles Peignot made a bold and fortuitous move: he invited a young Swiss designer to Paris to be the art director of the Deberny & Peignot type foundry. This started the professional type design career of Adrian Frutiger; and since then he has designed an astonishing range of masterful typefaces. One of the earliest for Deberny & Peignot was Président, a sharp-seriffed Latin titling face. Latin" is a typographic designation for roman typefaces with wedge or triangular-shaped serifs, a stylistic form that Frutiger would return to later with his beautiful typeface Méridien. Président™ has wide, solid shapes; very little contrast between thick and thin strokes; and an air of assurance. Use this titling font for business cards, announcements, or artistic signage."

Glypha was designed by Adrian Frutiger and appeared with D. Stempel AG in 1977. The font consists of ten cuts and is formally based on its predecessor, Serifa, although its lower case letters are a bit larger. Like Serifa, Glypha is also based on the general scheme used to design Univers.

NK_Fracht Square (meaning Cargo or Freight) is a stylized version of Neue Konstrukteur Square. It is more suited for headline and display purposes, but can also be used quite successfully for short blocks for running text and captions.

Linoset was created from cut and printed linoleum. The lettering is based on Helvetica Neue Condensed Bold – it has been cut, printed and re-drawn to take on a completely new life – it's rough, tough and downright nasty!

NK_Fracht Round (meaning Cargo or Freight) is a stylized version of Neue Konstrukteur Round. It is more suited for headline and display purposes, but can also be used quite successfully for short blocks for running text and captions.

Mark Jamra based the design for Jamille on the forms of the 18th century Modern Face fonts of Didot and Bodoni, but was also influenced by the work of artists like Adrian Frutiger, who reworked such fonts to adapt to the demands of modern technology. A very legible font, Jamille will give text a classic, elegant feel.

Unisketch is an homage to my favorite font Univers when I was at design college. Univers is a neo grotesk font by famous Swiss typeface designer Adrian Frutiger. Unisketch, with its worn, misaligned and slightly tilted characters, still retains some of the qualities that workhorse body copy requires: It is legible at small sizes and produces a compact ‘Schriftbild’.

The Book of Kells is a handwritten Irish text which dates back to the 8th century. Kris Holmes and Janice Prescott digitalized some letters from this book and some from a Grotesk font in the style of Frutiger. A computer filled in the blanks and the designers then gave the font its finishing touches by hand.

Geometos Soft is a geometric sans-serif display typeface family. It is a rounded version of Geometos Neue. An all caps family of seven weights, Geometos Soft is especially suitable for headlines, headings, branding, posters, packaging, titles and logos.

Frutiger based the design for his Meridien on the 16th century characters of Jenson, saying: As I designed Meridien, I wanted to avoid stiffness in the forms - I thought they should have a more natural line and flow. My main consideration was in creating a font which was both extremely legible and aesthetically pleasing. Meridien is proof of Frutiger’s success in his endeavor.

HK Requisite™ is a sans serif typeface inspired by the compactness of Neue Haas Grotesk and the strong character of Akzidenz Grotesk. The name came from the fact that fonts are elements that are necessary for the achievement of a specified end.

A font perfect for not just one, but many projects! Introducing Oceanwide Pro, a sans that loves to be used in just about any situation! Designed with ultra clean lines and versatility in mind, Oceanwide wants to be your new favorite sans! Oceanwide’s ultra clean letters work anywhere you want to communicate orderliness and competence, and designed to build trust and rapport with your audience. Its wide proportions make it ideal for display and logo use. Oceanwide especially shines for white/bright letters on black/dark backgrounds! That’s because the inside shapes are nearly perfect circles in many weights. Here's a quick video tour of Oceanwide Pro by Dave Lawrence, including all the great things Oceanwide can be used for! We've tested Oceanwide for these industries, with stunning results!: Tech Arts Fashion & Style Business & Branding Corporations Logistics Architecture Food and many more... Oceanwide can be used for: Headers Subheadlines Logos Even body text, if tracked. Print & Screen The styles it can take are also many. It's great for: Modern/minimalist design Flat design Cut out design User Interface (UI) Technical designs In combination with text effects, even for grunge and other situations. And many others... DESIGN FEATURES Simplicity Tall x-height Hand-sloped obliques (italics) Narrow spacing Semi-wide proportions Expert kerning Well proportioned, usable lights & extra lights Large caps Great ALL CAPS MODE Uppercase punctuation Uppercase spacing with California Type Foundry’s Smart Tracking™ Advanced fraction support Proportional lining figures Thick joins Smooth curves Sturdy—great for textures and effects Variable font available Latin Pro character set for Central European languages. That's the writing for over 782 languages and transliterations worldwide! DESIGN STORY—THE FORGOTTEN SANS by Dave Lawrence, Lead Designer, California Type Foundry Adrian Frutiger was the 20th century master of sans, but I didn't realize he had made—not one—but TWO geometric sans! It wasn't until I had purchased the book “Adrian Frutiger: Typefaces”. I had hoped to someday meet Adrian Frutiger, but he passed away that very same year. Here is the story of Frutiger's forgotten sans. Back in 1968, Frutiger was approached by Pentagram to make a design for British Petroleum. They wanted a "new version of Futura". However, they wanted him to make a couple adjustments. First, they felt that Futura was "too fiddly." By this, they meant that it narrowed too much at the joins. (Joins are for example where the round and straight parts of the 'd' meet.) This is something that is necessary for small print text (to prevent ink clogging), but is not necessary at large sizes. Second, they wanted it to be entirely geometric, using the circular shape with minimal optical corrections. Unfortunately this font was not even used very consistently in the BP brand. A haphazard mix of Futura and Frutiger's BP font ensued. It was then replaced by another font design very soon after. My design is different in several ways. First, the commas and quotes are a more modern style. I tried his original commas, but these just didn’t work to 21st century eyes. Second, in his drawings, Frutiger went for a more standard u with a downstroke on the right. However, Oceanwide has a simpler u. Third, I made more optical adjustments. At the direction of his employer, Frutiger reluctantly put no font optical corrections into the letters. So I think my optical adjustments are similar to what Frutiger would have wanted. Fourth, I extended the weight into the light and extra light ranges. Fifth, the rest of the font I created according to the principles of Adrian Frutiger, but with no sources for inspiration. Here is Frutiger’s design philosophy, in his own words: “If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.” The words about the spoon were the ones I kept in my mind as I tried to make the curves ultra smooth, and the shapes ultra simple. Hopefully this font is a worthy successor to the font that inspired it. Released on the 93rd birthday of Adrian Frutiger, to celebrate the life and achievements of this amazing designer. ——————— Simplicity. Versatility. Oceanwide.

Ondine is one of the early typefaces of Adrian Frutiger. It looks as though it were written with a broad tipped pen, however, Frutiger actually cut the forms out of a piece of paper with scissors. The forms of Ondine are reminiscent of the humanist period, the high point of the Italian Renaissance text typefaces of the 15th century. This movement was centered in Florence, the base of the Humanist movement overall, and the home of a famous type school of the time. The main goal of the educated writers was to faithfully recreate the writing of the admired literary works, whose aesthetic was as important as their content. Ondine displays a regular and open character. Texts set in this typeface give the impression of being hundreds of years old. Ondine should be used in point sizes of 12 and larger and is best for short texts and headlines.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura , Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to ExtraBlack.

Morning Sweetest and Morning Sweetest Neue is a Classic feat Modern serif family. It's clean and smooth with 9 variable weight combining the regular and italic and much alternative inside. Suitable to create any branding, product packaging, invitation, quotes, t-shirt, label, poster, logo etc.

American Uncial™ was designed by Victor Hammer in 1943. Uncial typefaces consist of letter forms of the Capitalis Monumentalis and the majescule cursive. The origins of Uncial faces date back to the 5th century. In 1953, American Uncial was expanded to include some new figures, also designed by Hammer, and was rereleased by Klingspor with the name Neue Hammer Unziale. The forms are based on old scripts in books of antiquity and the early Middle Ages and the font is a new variation of a classic. Neue Hammer Unziale font has been a favorite for certificates and diplomas and is recommended for headlines and shorter texts in a point size of 12 or larger.

Modern typeface for projects for videogames, furutis, space, action,...

Ironwood is an Adobe Originals typeface designed by Joy Redick in 1990. Ironwood font is a homage to the old woodtypes made popular by the wanted posters in Western films. Adrian Frutiger designed his typeface Westside with the same idea in mind. Ironwood font is reminiscent of the Wild West and its shoot-out heroes, and its robust figures are particularly good for headlines.

Ergo is a relatively new font oriented on the form philosophy of Univers and Frutiger, namely, that a font which the eye should see as correct cannot be constructed. The eye tends to enlarge horizontals and to perceive verticals as weaker, and the stroke differences of Ergo are therefore designed to accommodate this tendency. Ergo makes a dynamic and modern impression and is extremely legible.

Old Town No. 536 is a homage to the old woodtypes. These became especially popular through their use on wanted posters in Wild West films. Adrian Frutiger also designed his typeface Westside in this style. Due to its robust figures, Old Town No. 536 is particularly effective when used in headlines. It belongs stylistically to the Italienne typefaces, whose serifs are thicker than the strokes.

In drawing the Avenir® typeface, Adrian Frutiger looked to both the past and the future for inspiration. His goal was to reinterpret the geometric sans serif designs of the early part of the 20th century in a typeface that would portend aesthetics of the 21st century. He succeeded handsomely. In doing so, Frutiger added a bit of organic humanism to the design, freeing Avenir from the rigid geometric overtones of the earlier designs. Avenir is employed on signage at Dallas Fort Worth and Hong Kong international airports. The city of Amsterdam adopted Avenir as its corporate typeface in 2003. The original Avenir family is made up of designs with gradual weight changes in order to satisfy the needs of specific text applications. While the book and light weights have similar stroke widths, the book weight is well suited for body text, whereas the light was designed for captions and subhead text. Featured in: Best Fonts for Resumes

The Masqualero™ family is a versatile solution for a deep and broad range of applications. In large sizes, the heavier designs are dark and handsome, while the lighter weights are charming and friendly in text copy. Thanks to its many variations and distinctive demeanor, both print and interactive designers will find that Masqualero expands their creative options, while setting the perfect tone to catch and hold readers’ attention. It’s About the Design Like the legendary jazz song of the same name, Masqualero is haunting and sophisticated. Drawn as a tribute to Miles Davis, its letterforms are as beautiful as his “Masqualero” composition. “I approached drawing the letters as if they were marble sculptures,” Says Jim Ford about his typeface. “Many sharp, black, modern sculptures filling a large park. All of them created with the same qualities – the flair of Miles' electric funk and rock sounds, the sparkly smooth finish and serifs like trumpet bells, the sweet lyricism and the tone and clarity of Miles’ horn.” What’s Available With six weights and italics, in addition to Stencil and Groove display designs, Masqualero is available as a suite of OpenType Pro fonts, providing for the automatic insertion of small caps, ligatures and alternate characters. Pro fonts also offer an extended character set supporting most Central European and many Eastern European languages. Thoughts About Use A book or album cover set in the Masqualero design sends a message: what’s inside is of value. Like jazz, the Masqualero typeface takes ordinary basic concepts and slips them into something special. Readers take notice and immediately recognize that what they’re viewing is a cut above – and radiates quality. “I see Masqualero as a luxurious typeface for exquisite typography,” says Ford. “I wouldn’t use it to sell toys or hot dogs. Masqualero sells diamonds, boats, real estate and champagne.” Perfect Pairings Antique Olive™ Neue Kabel® Neue Frutiger® Quire Sans™ Trade Gothic®

You are on the page of the old display version of the TT Supermolot font. In 2019, we released an entirely new, completely redesigned and significantly expanded version of the typeface called TT Supermolot Neue. In addition to 54 styles, TT Supermolot Neue has stylistic alternates, ligatures, old-style figures and many other useful OpenType features. Before you buy the old display version of the font, we suggest that you pay attention to the new superfamily TT Supermolot Neue and study it in more detail. - TT Supermolot Condensed is the narrow version of the TT Supermolot font family. Thanks to its open forms, TT Supermolot Condensed fits perfectly into any contemporary technological design and navigation systems. We've already seen this font family in the sports theme (as the main font for hockey teams branding), we've seen TT Supermolot as the main font inside the gameplay of a popular 3D-shooter. Information transfer in the high-tech areas is the ideal environment for this font family, also TT Supermolot Condensed fits well into army, space, and innovation themes. We've tried to create a maximum number of convenient weights (Thin, Light, Regular, Bold, Black) for you to be able to use this family anywhere, from mobile apps and web pages to big state fairs branding.

You are on the page of the old display version of the TT Supermolot Condensed font. In 2019, we released an entirely new, completely redesigned, and significantly expanded version of the typeface called TT Supermolot Neue. In addition to 54 styles, TT Supermolot Neue has stylistic alternates, ligatures, old-style figures and many other useful OpenType features. Before you buy the old display version of the font, we suggest that you pay attention to the new superfamily TT Supermolot Neue and study it in more detail. - TT Supermolot Condensed is the narrow version of the TT Supermolot font family. Thanks to its open forms, TT Supermolot Condensed fits perfectly into any contemporary technological design and navigation systems. We've already seen this font family in the sports theme (as the main font for hockey teams branding), we've seen TT Supermolot as the main font inside the gameplay of a popular 3D-shooter. Information transfer in the high-tech areas is the ideal environment for this font family, also TT Supermolot Condensed fits well into army, space, and innovation themes. We've tried to create a maximum number of convenient weights (Thin, Light, Regular, Bold, Black) for you to be able to use this family anywhere, from mobile apps and web pages to big state fairs branding.

Iridium™ was designed by Adrian Frutiger in 1972 for Linotype. It is in the modern" style like Bodoni or Didot, in that it has the sparkle created by a high thick/thin contrast and a symmetrical distribution of weight. But the sometimes harsh and rigid texture of the modern style is tempered by Frutiger's graceful interpretation. Iridium itself is a very hard, brittle and strong metal; yet the Latin and Greek roots of the word mean rainbow, or iridescence. And indeed, this font is infused with a more lustrous and complex spirit than the average rather stark modern typeface - note the stems that gently taper from waist to serif, the nicely curved ovals of the round characters, and the slight bracketing of the serifs. Iridium was originally designed for phototypesetting, and Frutiger himself cut the final master photo-mask films by hand. This digital version has all the craftsmanship of that original and includes the roman, a true italic, and the bold weight. Iridium works particularly well for book and magazine text and headlines."

Linotype Univers is a completely reworked version of the original Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. The systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming.

Linotype Univers is a completely reworked version of the original Univers Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. T he systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming.

Kingkey and Kingkey Neue is a serif family comes with Classic and Modern. It's clean and smooth with 9 variable much ligature inside. Suitable to create any branding, product packaging, invitation, quotes, t-shirt, label, poster, logo etc. Feature Uppercase & Lowercase Number & Symbol International Glyphs Multilingual support Alternative Ligature If you need anything else just shoot me message.

Maison is a mono-lined grotesque constructed using rigid elements to achieve a minimalist industrial feel in homage to the early twentieth century modernist design concepts.Originally created as a mono-spaced typeface family—with less optical corrections than its successor Maison Neue—Maison has been further developed to work equally in both mono-spaced and proportional alignments.

Pedell ist eine neue Schreibschrift, die das Schreiben mit Kreide simuliert. Ein Font mit eben diesem ‚Kreidecharakter’ fehlte bisher noch in der profonts Library. Also wurde der Schriftdesigner Ralph M. Unger beauftragt, eine Kreideschrift zu schreiben und zu digitalisieren. Pedell ist eine gut lesbare, lebendige und nicht kindische Handschrift, die nicht nur für schulische Zwecke hervorragend einsetzbar ist.

Linotype Univers is a completely reworked version of the original Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. T he systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming. Univers Next Variable are font files which are featuring two axis and have a preset instance from Light to Heavy and Condensed to Extended. Univers® Next font field guide including best practices, font pairings and alternatives.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

The goal of this font design was to create forms which could be used and reproduced electronically and remain legible. Technicians from the European Computer Manufacturers’ Association and Adrian Frutiger combined strict mathematical criteria with typographic tradition to solve both technical and aesthetic problems. OCR was the resulting font and was made a world standard in 1973. The font has an objective, technical character and was created specifically for multimedia, although its distinctive appearance has also made it a popular typographical trend.

Mentone is a new general purpose typeface, an attempt at extending the line of the great sans-serifs of the previous century, Frutiger - Stone Sans - Myriad. The font has round corners and subtle chamfers, which are all but invisible at text sizes, but add an upbeat, irreverent expression at display sizes. The typeface is named after the beautiful bayside suburb of Melbourne, Australia, where the designer lives. This new version (2.01) was spaced and kerned by Igino Marini of iKern. The semibold cuts are now free!

Really excited to introduce British Classical and British Classical Neue is a Classic serif family. It's clean and smooth with 9 variable weight combining the regular and italic and much alternative inside. Suitable to create any branding, product packaging, invitation, quotes, t-shirt, label, poster, logo etc. If you need anything else just shoot me on email at: Suandana_Ipandemade@hotmail.com Hope you enjoy it.