Lanz Family is a clean & warm sans serif family with 7 weights - 7 uprights and matching italics. Its open apertures and large x-heights make text more legible and readable at small sizes. Recommended for editorial design, a header for an article and a various range of typography.

Actium is a contemporary multilingual sans serif typeface developed to help perfect typography automatically. Type Mafia has focussed on words with odd combinations of capital letters and numbers, such as product names and postal codes such as WD40 and H1N5, jump out of the text. They sit awkwardly together as the numerals have been designed to work with the lowercase, not the uppercase letters – affecting readability.To fix this Type Mafia invented Smart Capo™. Smart Capo™ Smart Capo is a feature that automatically activates once you type an uppercase letter together with a number. When a capital letter is sat next to a numeral, Smart Capo converts the letter to a mid-cap — a contemporary alternative to small caps — and the default old-style numeral to a lining numeral. Actium’s mid-caps and lining numerals have been designed with the same height (between cap and x-height) so they sit comfortably next to each other and fit more harmoniously into text. Smart Capo applies equal attention to capitalised words without any numbers, such as NAVO and USA, and are also automatically set into mid-capitals. Working on its own, Smart Capo saves time and money for the typographer — taking the pain out of text formatting — and makes it a more pleasurable experience for the reader. This feature is made possible by the use of ‘contextual alternates’, an OpenType feature used in modern font software, working with a set of characters specially designed at mid-cap height. By default these changes automatically take place so it doesn't need to be switched on, it will just work. Actium Actium’s design has an unusual diagonal contrast — much more common in a serifed face than in a sans serif — giving it more bite. The typeface looks elegant when set in large sizes and remains very legible when shown in small sizes. The family consists of six weights in two styles, making a dozen fonts. Weights range from light to black in roman and true italic. All fonts are fully loaded with functional elements. Actium boasts an extended Latin character set and with Greek. This means a wide range of Western languages are supported: perfect for use in bilingual publications and packaging. For numerals, each font includes old-style and lining figures in both proportional and tabular widths, with superiors and inferiors. These allow you to select the right set of numbers for the right task.

Designed by Cosimo Lorenzo Pancini with Francesco Canovaro as a development and reinvention of Tarif by Andrea Tartarelli, Ambra Sans is a humanist sans typeface family, drawn around a lively, expressive skeleton but developed with a contemporary, post-digital sensibility that implies low contrast and tall x-height. In designing Ambra Sans, the authors wanted to research the elusive natural signature of handmade humanist letter shapes, in the effort of preserving it while still developing all the capabilities of type as a technical tool in the digital age. Like a frail insect preserved in amber, humanist design is the "ghost in the machine" of this font, that aims at seducing the viewers with its soft, welcoming text flow, firmly opposing the rigid, formal tone of most sans serif fonts. Born to provide a useful tool to graphic designers with branding and editorial needs, Ambra Sans develops around two subfamilies with slight but fundamental differences. The display family offers a taller x-height, optimizing readability and spacing in headings and display use, while offering a single story lowercase g to provide more consistent branding usage. The text family, on the other side, goes for a smaller x-height to give more traditional proportion to the text and removes the slight tapering in the stems to provide better rendering on screen in small formats. Both subfamilies of Ambra Sans develop around a wide range of seven weights with corresponding true italics, with Ambra Display sporting an extra heavy weight for maximum versatility. In total the family counts 30 fonts, each with over 600 glyphs for a wide language coverage. Open type features and glyph alternates further enrich the usage possibility of this typeface that wants to offer contemporary designer an alternative, unexpectedly human approach to contemporary sans type, softly preserving the spirit of handmade calligraphy while encasing its frail nature in a transparent, strong and powerful design language.

Cocogoose Pro Narrows has been completely re-engineered in 2020 to include extra features and technologies. A darkmode weight range has been added to the whole family, to keep consistency of effect when the typeface is used in reverse on the web and in dark mode interfaces. Also, a new Ultra Compressed subfamily has been developed for display usage. Designed by Cosimo Lorenzo Pancini in 2013, Cocogoose was first expanded in 2015 with the help of Francesco Canovaro who co-designed the decorative display weights and Andrea Tartarelli who developed the condensed widths. In 2020 a full redesign of the typeface has been published: Cocogoose Pro now includes new widths, weights, open type features and characters, thanks to the help of Mario De Libero. Influenced by vernacular sign-painting and modernist ideals, Cocogoose is drawn on a classic geometric sans skeleton, softened by rounded corners and slight visual corrections. Its very low contrast, dark colour and tall x-height make it a solid choice for all designers looking for a powerful display typeface for logos, headings and vintage-inspired branding. The tall x-height makes texts set in Cocogoose very readable even at small sizes, while the bold regular weight allows for maximum impact when used as a branding, signage or decorative typeface. Cocogoose Pro was designed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs, starting from its wide range of widths and weights. Its 2000+ latin, cyrillic and greek characters make sure it covers over 200 languages worldwide, while its comprehensive set of open type features allows faultless typesetting thanks to small capitals, positional numbers & case sensitive forms. A wide range of alternate letterforms, developed along nine different stylistic sets, gives you an extra level of design fine-tuning. The layerable and colour-ready display variants include inline, outline, shadow and a letterpress version that can simulate the effect of old print, also thanks to programmed randomization of its letters.

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.

Varstate Slab font family is a collection of fonts inspired by the varsity sports team name's lettering seen on apparel such as Letterman jackets, t-shirts and hoodies. The fonts can be used in combination to provide a variety of design options and different looks in genres such as sports, leisure and industry. The font family consists of fonts in 4 weights; Normal, Semi Light, Light and Extra Light. Each font includes Latin basic characters which includes uppercase, lowercase, numbers, punctuation and much more.

Varstate Rounded font family is a collection of fonts inspired by the varsity sports team name's lettering seen on apparel such as Letterman jackets, t-shirts and hoodies. The fonts can be used in combination to provide a variety of design options and different looks in genres such as sports, leisure and industry. The font family consists of fonts in 4 weights; Normal, Semi Light, Light and Extra Light. Each font includes Latin basic characters which includes uppercase, lowercase, numbers, punctuation and much more.

The Core Sans GS Family is a rounded version of Core Sans G and a part of the Core Sans Series such as Core Sans N, M, A, E, D. Core Sans GS is constructed of straight, circular or square shapes. These geometric shapes are inspired by classic geometric sans (Futura, Avenir, Avant Garde etc.). Every stem is a rectangle or a straight line and every letter, lowercase or uppercase, seems to be in perfect geometric form and even weighted. The small x-height makes readability clean and clear. Core Sans G can be used equally well in headings or in body copy. The Core Sans GS Family consists of 9 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy, Black) with maching Italics. It also includes alternate characters (a,g,t) and a bunch of ligatures. The Core Sans GS provides a wide range of character sets to support (Cyrillic, Central and Eastern European characters) and advanced typographical support with features such as proportional Figures, tabular Figures, numerators, denominators, superscript, scientific Inferiors, subscript, fractions, standard ligatures, discretionary ligatures and stylistic alternates. Core Sans G is an ideal font family for use in magazines, web pages, screens, displays, and so on.

Leopoldo Sans is a modern sans serif typeface. He has a small family and its members are: light, regular and bold. Each weight includes small caps, ligatures, and tabular numbers. It could work perfectly in your design, web, editorial and corporate works.

Ratatouille was inspired by wooden faces of old with pointed serifs. Very suitable for Packaging greeting cards magazines posters and Advertising Ads. Designed in four weights from Extra-Light to Bold including Italics, covering a large range of editorial and advertising applications.

Amity Signature is a stylish and versatile font family featuring four distinct weights: Light, Regular, Medium, and Bold. This collection offers an elegant impression and flexibility for all design needs, such as logos, branding, signatures, posters, labels, product packaging, invitation designs, and more.

Introducing Votrag - 10 Modern Font Collection, a versatile typeface set that encompasses a spectrum of design possibilities. With five distinct weights - thin, light, regular, semibold, and bold - each accompanied by both clean and textured versions, Votrag offers a total of ten unique fonts.

Ribelano is a serif display font that represents clear, contrast, and sharpness. The font comes in 6 different weight styles from Light to Black and it comes with 300+ glyphs. Perfectly suited for display needs such as heading, branding, logos, poster, etc.

Remedia is a simple linear typeface with a wide range of font weights, from a hairline Ultra Light to Extra Black. Legible in body copy and a great starting point for a unique logo, Remedia is a creative typeface for everyday uses.

FlyHigh is a decorative text face with slab serifs. It comes in eight styles: plain, semibold, bold, extrabold, italic, semibold italic, bold italic, and extrabold italic. Its low x-height makes it more appropriate for uses such as invitations than for book text.

Modny is a simple and elegant sans serif family with high contrast strokes. By its characteristics, Modny is gentle, smooth and geometric at the same time, neutral to blend into every project. Comes in five weights with tall x-height, file stylistic sets, bunch of ligatures, initials and terminal forms, containing more than 600 glyphs for all Latin languages support. Special addition is an Inline version made out from Bold weight, to increase the effect of decorative elements in each letter.

ASF Diana is a Serif family font. It has 5 upright weights and their Italics and supports Latin, Armenian and Cyrillic alphabet systems. The weights from Regular to Bold and their Italics can be used as text fonts. ASF Diana can be used as Display fonts too. It is an easily readable two side serif font and the eyes don't get tired while reading. ASF Diana has a contrast style and at the same time is quite bright and clear.

Plasto is a complete grotesk sans serif family. The quirky letterforms and its slight width variation characterized the typeface as fun and playful as "plastic" in a graphic layout, fit for various design spaces, fit for both informal or functional purposes, fit for large display and also small text. Plasto complete family contains 54 styles with two axes; Weight and Width. The weight consists of 18 styles from Thin to Black, and the width consists of 3 styles, condensed, normal and expanded.

RBNo3.1 is a sans serif typeface with a technical and geometric appearance. The family includes 9 weights with matching italics. Its large x-height makes it especially legible at small point sizes. RBNo3.1 feels comfortable in technical surroundings with short text passages, in brochures, catalogs, magazines, posters, websites, headlines or logos.

This 1935 design from Monotype is an extremely condensed display font that has a slight flavor of nineteenth-century wood type. Runic Condensed font is tall and lean with a huge x-height and hairline serifs. It is an ideal display type for eccentric pieces where space is at a premium.

Edigna is a clean, rounded sans-serif with a tall x-height. It contains five different weights and a matching inline style. The font family supports a variety of languages, including Western, Southern, Northern and Central European as well as Eastern European. It's good for headlines, posters, brands, and magazines.

Ballarih is a contemporary humanist typography, including 16 fonts with 08 weights and italics. Characterized by a prominent x-height and excellent readability for both web and print. Ballarih contains 820 glyphs including tabular figures, ligatures, fractions, small caps, alternate glyphs,case-sensitive forms, superscripts, subscripts and extensive language support.

Ahimsa is a dynamic humanist sans serif family. It comes in 6 weights with matching italics. It contains a lot of contrast in the connection to the stems in order to give it a more dynamic feel, and also has low descenders and a large x-height and great legibility.

Discover Cocogoose Pro Narrow Weights! Designed by Cosimo Lorenzo Pancini in 2013, Cocogoose was first expanded in 2015 with the help of Francesco Canovaro who co-designed the decorative display weights and Andrea Tartarelli who developed the condensed widths. In 2020 a full redesign of the typeface has been published: Cocogoose Pro now includes new widths, weights, open type features and characters, thanks to the help of Mario De Libero. Influenced by vernacular sign-painting and modernist ideals, Cocogoose is drawn on a classic geometric sans skeleton, softened by rounded corners and slight visual corrections. Its very low contrast, dark color and tall x-height make it a solid choice for all designers looking for a powerful display typeface for logos, headings and vintage-inspired branding. The tall x-height makes texts set in Cocogoose very readable even at small sizes, while the bold regular weight allows for maximum impact when used as a branding, signage or decorative typeface. Cocogoose Pro was designed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs, starting from its wide range of widths and weights. Its 2000+ latin, cyrillic and greek characters make sure it covers over 200 languages worldwide, while its comprehensive set of open type features allows faultless typesetting thanks to small capitals, positional numbers & case sensitive forms. A wide range of alternate letterforms, developed along nine different stylistic sets, gives you an extra level of design fine-tuning. The layerable and color-ready display variants include inline, outline, shadow and a letterpress version that can simulate the effect of old print, also thanks to programmed randomization of its letters. Cocogoose Pro has been completely re-engineered in 2020 to include extra features and technologies. A variable font version allows you to fine tune precisely the appearance of the text while minimizing download size on the web. A darkmode weight range has been added to the whole family, to keep consistency of effect when the typeface is used in reverse on the web and in dark mode interfaces. Also, a new text subfamily has been developed for body text usage, to keep the look and feel of Cocogoose while maximizing readability on screen and on the printed page.

Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their corresponding Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. For international communication, the W1G versions offer the appropriate character set. They contain Latin, Greek and Cyrillic characters and thus support all languages and writing systems that are in official use in Western, Eastern and Central Europe. Century Gothic Variable is features two axes: Weight and Italic. The Weight axis has preset instances from Light to Black. The Italic axis is a switch between upright and italic. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.

Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their corresponding Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. For international communication, the W1G versions offer the appropriate character set. They contain Latin, Greek and Cyrillic characters and thus support all languages and writing systems that are in official use in Western, Eastern and Central Europe. Century Gothic Variable is features two axes: Weight and Italic. The Weight axis has preset instances from Light to Black. The Italic axis is a switch between upright and italic. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.

ROMANICA is a relaxed humanist sans with subtly curved corners and slightly flared glyphic terminals that are expressively angled where appropriate. Romanica has the authority of the ages without the harshness of many classically inspired typefaces. All eight fonts include a full complement of Latin Extended-A characters, Welsh diacritics, Irish dotted consonants, and additional oldstyle numerals. ROMANICA is available in three packages - • Basic Family (Regular, Italic, Bold & Bold Italic) • Light (Light & Light Italic) • Medium (Medium & Medium Italic)

This typeface comes from a self initiated project called Sápmi, which aims to contribute to keep a group of minority languages alive through solving issues in the education environment. This re-thought edition takes the name of Aanaar and joins our library with a bigger character set and two new weights which complete the typeface providing a big typographic palette as well as adding stylistic two-story a and g for more advanced readers as well as to enable the typeface to be used in other environments. The typeface was originally designed for children’s text books. Analysing kid’s typeface design, we identified some important problems and solved them within the boundaries we had. The main concern in a typeface which will be used by children is letter recognition, as they have not yet fully develop their reading skills. For example, letters like “a” and “g” share a very similar structure in this particular kind of typefaces, where the only distinctive part is the descender of the “g”. It is known that the lower part of the letter is the less important feature when reading, therefore we decided to make a clear distinction between them by having an “a” with a spur on the top right. This also helped distinguishing “a” and “o”. Children typefaces usually have one story “a”, making “a” usually too close to “o”. Additionally we moved the joint in “a” upwards and narrowed very slightly the “a” to make sure they cannot be mistaken. More generally, the x-height is fairly tall and the typeface has a bit of movement which give it a good rhythm helping moving along nicely when reading. Aanaar consists of 5 weights (Light, Regular, Medium, Bold and Black) plus two Italics (Light Italic and Italic).

Mucho Sans is a geometric sans serif type family that comes in six weights with matching Italics. The design is very clean, yet friendly and modern. Some of its characteristics are the generous x-height, the Ascender-height that matches the Cap-height, the friendly looking real italics and the low contrast. The result is a contemporary versatile type family that is excellently suited for both display and text uses and that supports a wide range of languages. Mucho Sans is equipped with many Opentype features such as five numeral styles, numerators, denominators, superiors, inferiors, automatic fractions, alternative a and g, case sensitive forms and ordinals.

Where most fonts are available in varying weights, 52-Kfx is a family consisting of 3 heights; High, Mid and Low. These offer the typographer a full palette, Low is readable for setting copy while at the opposite end High is better suited for display—names, headlines and logotypes. 52-Kfx has a sophisticated and elegant period feel with clean, modern lines that remain relevant for contemporary application. Exaggerated ascenders and descenders of the lowercase and a tall cap-height give it a lofty stature while the low x-height keeps characters grounded. The spacing and lyrical rhythm are perfectly in sync and epitomized by the fluidity seen in the ligatures.

Chopsee is a fun, fluid, versatile font family of 8 weights and matching italics designed by Dan Jones for TypeUnion. The font aims to encompass movement and fluidity with its accentuated curves and terminals. The raised x-height creates more synergy between the lowercase and uppercase characters thus enhancing the visual appearance. The family of 8 weights & italics means you have plenty of usage options whether digital, branding or print - Chopsee black is perfect for that new brand idea you have, while the lighter weights provide a subtle support to clean layouts whether it’s call out text on a website or in print applications such as posters or magazine layouts.

Kansas Casual offers a more upright, gothic, and modern alternative to the conventional sign painter's one stroke. Kansas provides a completely unique take on a overdone classic with proportions and crossbar heights inspired by the more friendly Chicago style. This all-caps set provides six weights so that you can adjust size with weight to maintain that authentic single brush weighted look. The proofing process included projecting, tracing, and then painting the letters out to see how true the small details were to the medium. The set also includes wide language support, opentype fractions, and arrows. You can learn more about its development here.

Modérnica is a sans serif type including roman & oblique styles in 9 weights. Originally published in 2014, then in 2020 we released version 2.0, in which we expanded the language coverage and character set, adding a new Fat weight, tabular figures, smart fractions & arrows. We’ve improved the OpenType features adding new Stylistic Sets. Besides this, we have retuned the letters spacing in the whole family. Seeking for the best performance, we added a bit of spacing between letters in the text versions (middle weights from Book to Bold), while as for the display variants (extreme weights from Thin to Fat) we made them gain space in the light versions and loose it in the blacks.

DIN Serif: Specimen Manual PDF The DIN Type System: A Comparison Table This is the first ever release of a true serif companion for the popular DIN typeface. DIN Serif originated in a custom project for a watchmaking journal which required a modern serif to work in unison and match the inherent simplicity of DIN. As a result, a solid, confident and well-balanced typeface was developed which is simple and neutral enough when set at small sizes, but sturdy and powerful when set at heavier weights and bigger sizes. It utilizes the skeleton of the original DIN and retains its basic proportions such as x-height, caps height and descenders, whereas ascenders were slightly increased. DIN Serif makes no attempt to impress with ephemeral nifty details on individual letters, but instead it concentrates on a few modern, functional and everlasting novelties which express an overall distinct quality on the page and set it apart from most classic romans. This is a low contrast typeface with vertical axis and squarish form which brings out a balance between simplicity and legibility. Its narrow proportions offer economy of space which is critical for newspaper body text and headlines. At small sizes the text has an even texture, it is comfortable and highly readable. The serifs are narrow at heavy weights and when tight typesetting is applied at large sizes, the heavier weights become ideal for headlines. DIN Serif was inspired by late 19th century Egyptian and earlier transitional roman faces. Bracketed serifs were placed on the upper part of the letterforms (this is where we mostly concentrate our attention when we read) whereas small clean square serifs were placed on and under the baseline to simplify the letterforms. In order to reduce visual tension at the joins and make reading smooth and comfortable, a slight hint of bracketed serif was added at the joins in the form of a subtle angular tapered serif, which softens the harsh angularity. These angular tapered serifs tend to disappear at smaller sizes (or smooth out the joins) but stand out at bigger sizes exuding a strong, modern and energetic personality. What started out as a custom 2 weight family, it has developed into a full scale superfamily with 10 styles from Regular to ExtraBlack along with their italics. Additional features were added such as small caps, alternate letters and numbers as well as numerous symbols for branding, signage and publishing. All weights were meticulously hinted for excellent display performance on the web. Finally, DIN Serif supports more that 100 languages such as those based on the Latin, Greek and Cyrillic alphabet.

611 Studio proudly presents Gojet, Sans Serif font family with calm, gentle and friendly look. Gojet is available in six different weight, makes it flexible and widely usage possibilities, text, headlines, even logotype. Mix and matching different weight is absolutely the right decision to make your project more attractive, eye catching. The other fact that Gojet is based on ANSI encoding is additional point, multilingual support makes most languages can use this typeface properly.

Primate is a typeface family that works both as a display font for reading, casual and informal as it approaches the forms of nature, hence the name Primate. Primate's family comes in a full range of weights, from the thin Ultra Light to Heavy Black, all weights are also presented in italics and all have ornaments. Primate is a natural and fun to compose texts, giving the design work of a contemporary look.

Eurotypo Sans Family is a classic modern Sans Serif typeface. This family contains six weights of fonts starting from Light to black, with a matching italic face for each weight. Each font of the family contain 359 glyphs and advanced typographical support with OpenType features such as, ligatures, discretional ligatures and case- sensitive forms. It also contain diacritics for Central European languages. All aspect of readability and accurate kerning were carefully controlled.

NovaHispane typeface is a serif typeface with a clear, serious, elegant, old and modern touch at the same time. This typeface is perfectly suitable to be used in books, magazines or any printed media that requires showing a set of traditional or modern styles. Its four weights Light, Regular, Bold, and Heavy make a well-marked visual game for highlighting words from text; in addition to having the italic forms for each weight.

Éric de Berranger likes to multitask, and often works on two typeface families at once. Such was the case with Mosquito, a jaunty sans that was developed at the same time he was creating the more traditional Maxime. Mosquito represented a sort of recreation," says de Berranger. "When I grew tired of working on one design I could work on the other and then come back to the first, full of courage and desire!" Mosquito is built from simple, straightforward shapes, but its distinctive stroke terminals and slight oblique weight stress distinguish the design from more conventional sans serif faces. The relatively large x-height and open counters add to the legibility of the design. The capitals are straightforward (with just a hint of Peignot), while the lowercase has a softer, more inviting demeanor. "I drew Mosquito with the hope that it would be pleasant to look at and to read," says de Berranger. "I think the end result is almost feminine." Mosquito comes in three weights, with complementary italic designs and a suite of small caps, old style figures and alternate characters."