Introducing "Black Hearts," a cutting-edge freestyle graffiti font that brings an urban edge to your design projects. This font is a testament to the rebellious spirit and creative expression found in street art. With its bold strokes and dynamic letterforms, "Black Hearts" captures the essence of graffiti culture, delivering a raw and authentic feel to your designs. Freestyle Graffiti Design: "Black Hearts" is crafted with a freestyle approach, emulating the spontaneous and expressive nature of graffiti art. The characters showcase a mix of intricate details and bold lines, creating a visually striking and edgy aesthetic. Regular and Extruded Versions: Take your designs to the next level with the 3D flair of "Black Hearts." The font comes with both regular and extruded versions, providing you the flexibility to experiment with depth and dimensionality in your typographic compositions. Graffiti Swashes: Add an extra layer of creativity to your designs with the included graffiti swashes. These unique elements complement the font's style, allowing you to embellish your text with expressive strokes and energetic curves. Ornamental Elements: Elevate your design projects with the diverse range of ornamental elements included in "Black Hearts." From spray-paint-inspired accents to urban motifs, these ornaments provide additional creative options for making your designs truly distinctive. "Black Hearts" is perfect for projects that demand an authentic urban vibe. Whether you're working on street art posters, album covers, clothing designs, or any project that requires a rebellious and contemporary feel, this font is your go-to choice. Versatile Applications: Streetwear Branding Music Album Artwork Graffiti Art Exhibitions Skateboard Deck Designs Edgy Advertising Campaigns Contemporary Logo Design "Black Hearts" is more than just a font; it's a statement. Embrace the rebellious energy of the streets and infuse your designs with the raw, unapologetic style of urban graffiti culture. Unleash your creativity and make a bold impact with "Black Hearts." ——— Black Hearts features: A full set of uppercase and lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Layered Style +425 Total Glyphs +200 Graffiti Swashes and Ornaments included!

I've always been in love with fat didones. That’s the reason of Posh. In search of something unique, I started this family back in 2013 with the aim of creating the fattest yet readable bodonian typeface in the market: It was a challenge, because roman fonts need generous counters (or what some call white spaces) and taking them to the extreme of inexistence attempted against the construction of many glyphs. Ears, dots, terminals and serifs always need some extra space so I had to find the exact point of boldness to make characters which have those attributes work well in the middle of those which haven't. (1) After a while, I felt I was again ‘in my element’: Big contrasted letters, sexy and elegant curves, and that Lubalinesque feeling that characterise my fonts. (2) Words written with Posh are a explosion of elegance and sensuality due to the fact that its didone attributes were exaggerated. Since it’s full of alternate glyphs, one can change and choose them until a nice block of ‘‘black’’ is achieved. (3) To accompany the regular style, I designed Posh Inline, a font with the same quantity of glyphs than the regular one; an all caps style called Posh Capitals, and also a really playful Italic version. I hope you find this one delicious like I do! This font is dedicated to all who understand letters are not just meant to be read, but also to be appreciated in group and individually. Enjoy it. NOTES (1) In example, it can be easy to design a fat letter ‘n’ with almost no counter, but really tough to make a satisfactory letter ‘s’ with serifs to match that ‘n’. (2) Also, it wasn't my first attempt in fat didones. Take a look at my font Reina, made in 2012. (3) Posters above show many words with ball terminals that seem to dance above and below the words in order to fill those “undesired” blank spaces.

Buffalo Bill is a revival of an old favorite font that’s been around since 1888, the James Conner’s Sons foundry book of that same year is the oldest source I've seen for this old classic. If you're looking for the font used as the logo for Buffalo Bill’s Irma Hotel in Cody Wyoming please refer to the FontMesa Rough Riders font. New to the Buffalo Bill font is the lowercase and many other characters that go into making a complete type font by today’s standards. The Type 1 version is limited to the basic Latin and western European character sets while the Truetype and OpenType versions also include central and eastern European charcters. William F. (Buffalo Bill) Cody called America’s Greatest Showman was one of the United State’s first big celebrity entertainers known around the world, millions of people learned about the Old West through Buffalo Bill’s Wild West shows which traveled throughout the United States and Europe. William Cody, at age eleven, started work on a cattle drive and wagon train crossing the Great Plains many times, he further went on to fur trapping and gold mining then joined the Pony Express in 1860. After the Civil War Cody went on to work for the Army as a scout and hunter where he gained his nickname Buffalo Bill. In 1872 William Cody started his entertainment career on stage in Chicago along with Texas Jack who also worked as a scout, the Scouts of the Prarie was a great success and the following year it expanded to include Wild Bill Hickok and was eventually named The Buffalo Bill Combination. By 1882 Texas Jack and Wild Bill Hickok had left the show and Buffalo Bill conceived the idea for the traveling Wild West Show using real cowboys, cowgirls, sharpshooters and Indians plus live buffalo and elk. The Wild West shows began in 1883 and visited many cities throughout the United States. In 1887 writer Mark Twain convinced Cody to take the show overseas to Europe showing England, Germany and France a wonderful and adventuruos chapter of American history. The shows continued in the United States and in 1908 William Cody combined his show with Pawnees Bill’s, in 1913 the show ran into financial trouble and was seized by the Denver sheriff until a $20,000 debt (borrowed from investor Harry Tammen) could be paid, Bill couldn't pay the debt and the loan could not be extended so the assets were auctioned off. William Cody continued to work off his debt with Harry Tammen by giving performances at the Sell’s-Floto Circus through 1915 then performed for another two years with other Wild West shows. William F. Cody passed away in 1917 while visiting his sister in Denver and is buried on Lookout Mountain joined by his wife four years later. Close friend Johnny Baker, the unofficial foster son of William Cody, began the Buffalo Bill Memorial Museum in 1921, over the years millions of people have visited William Cody’s grave and museum making it one of the top visitor attractions in the Denver area. William F. Cody romantisized the West creating the Wild West love affair that many still have for it today through books and cinema.

Breaking the cycle of homelessness We are partnered with The House of St. Barnabas, a private members club in Soho Square, whose work as a not for profit charity aims to break the cycle of homelessness in London. Each purchase (of the family pack) comes with a one month membership to The House and 100% of the proceeds from sales of fonts go directly to the charity to help their essential work. This unique collection of 7 typefaces is based on the disappearing signs of Soho, at risk of being lost forever due to the ever changing landscape of the area. By re-imaging the signage as complete fonts, we have rescued this rich visual history from the streets and present the typefaces into a contemporary context for a bright optimistic future. FS Berwick Thanks to its humble tiled origins, this Egyptian serif type maintains a uniform character width, creating the irregular letter proportions found in the final alphabet. Broad-shouldered, the bracketed serifs firmly ground the font, whilst its extreme hairlines become a necessity due to the uniform width. Of note is the upside down ‘S’, to be found on the original sign on Berwick Street. Perhaps due to its ceramic origins, there is a surprising ‘slippiness’ to its final appearance. FS Cattle Cattle & Son is best described as a wide, but not overly extended, grotesque-style sans serif, showing a uniform width and carrying a robust strength to its form. Whilst lightly functional overall, the purposeful diagonal legs of the ‘K’, ‘R’ and the tail of the ‘Q’ add an urgency to its appearance. The reduced size of the ampersand gives away Cattle & Son’s hand-painted origins, and the oblique compacted ‘LTD’ found on the original sign is also included in the final set. This beautiful sign is tucked away under an arch in Portland Mews, sheltering from the weather. Perhaps this is why it has lasted so long. FS Century This somewhat elongated set of Roman capitals was originally rendered in paint circa 1940, but its roots trace back to the Trajan Column in Rome. Witness the slightly unbalanced ‘W’ and the painter’s hand is revealed. Century’s flared serif style is extremely short, sharp and bracketed. The ‘M’ is splayed and has no top serifs. Century has a uniform appearance of width, probably due to its sign-written origins. Yet is elegant, classic and exudes sophistication. FS Charity A true Tuscan letterform, the original is located on The House of St. Barnabas in ceramic tiles and was revealed in all its broken glory in 2014. FS Charity retains the option of using these incorrect characters (try typing lowercase in the test drive above and compare with the more uniform uppercase characters). FS Charity features fishtailed terminals on its strokes, a curious branched ‘T’ and the ‘S’ displays tear-drop ends to its serifs. Almost uniform in width, the ‘A’, ‘M’ and ‘W’ are the widest characters in this set. FS Marlborough The elongated Marlborough features diagonal terminals to some characters and numerals. Also retained is the space-saving contracted ‘T’ glyph from the original sign, while the ‘R’ features a distinctive wedge-shaped leg. Highly individual in this form, similar signage appears around Soho, but featuring a variety of widths in their design. FS Portland The sister type to Cattle & Son, Portland is oblique rather than italic. The serifs are not overly long, yet still enhance its rather rigid cap height and baseline appearance. Its ‘A’ has a top serif, the ‘M’ is square and the ‘G’ foregoes any spur. Particularly delightful is the open ampersand. Numerals align to encourage the horizontal flavour of the oblique style. Overall, Portland is both confident and graceful. FS St James A lineal Continental style, St James also displays a true sense of ‘Londoness’ in its titling form, perhaps influenced by early Underground signage. Irregular letterforms display a continental flavour, particularly evident in its Deco style ‘W’, ampersand and numerals. The rather high cross bar in the ‘A’ is also reflected in the raised middle strokes of the ‘M’. Noteworthy are the distinctive unions found on all of the characters and the additional small caps. The original lettering is still located on Greek St.

Mundo Sans, by Carl Crossgrove for the Monotype Studio, is distinctive, approachable – and ready to tackle jobs both big and small. Its open counters and large x-height, which give the design a straight-forward no-nonsense mien, are softened by inviting calligraphic undertones. With 10 weights and a complementary suite of cursive italics, there is little outside the range of the Mundo Sans family. The light weights are elegant in packaging and brochure design, the medium are easy readers in digital blogs and print periodicals and the bold command attention in banners and headlines. Mundo Sans is at home in a wide range of sizes, and comfortable in everything from wayfinding to mobile apps. Mundo Sans takes on complicated branding projects with efficient grace. The family enables companies and products to express their brand seamlessly in websites, advertising, corporate messaging, packaging – virtually everywhere visible engagement is possible. A large international character set, that includes support for most Central European and many Eastern European languages, ensures ease of localization. Mundo Sans was originally released with seven weights. The family was updated with three new roman weights and their italics in 2019 that extend and diversify its range of use: a fine hairline weight, a book weight, slightly lighter than regular, and a demi that is subtly lighter than the medium. The design is also is a good mixer. It easily pairs with everything from refined Didones to stalwart slab serif designs. And if you need a more harmonious palette, look no further than Mundo Sans’ relative, Mundo Serif. The two designs harmonize with each other perfectly in weight, typographic color and proportion. Mundo Sans’ italics are true cursive designs, with fluid strokes and obvious calligraphic overtones. The flick of the down-stroke in the ‘a,’ the descending stroke of the ‘f’ and baseline curve of the ‘z’ add grace to the design and distinguish it from more mechanistic styles. Mundo Sans is a design with deep roots. It was originally drawn to pair with classic Renaissance book typefaces like Bembo® and ITC Galliard®. With a hint of diagonal stroke contrast and gentle flaring of strokes, Mundo Sans complements these designs with warmth and grace. Crossgrove says that Mundo isn’t meant to be showy or distinctive. It is intended to follow the tradition of sans serif designs that have a wide range of uses, enabling comfortable reading and clear expression. Crossgrove has designed a variety of typefaces ranging from the futuristic and organic Biome™ to the text designs of Monotype’s elegant Walbaum™ revival. His work for Monotype also often takes Crossgrove into the realm of custom fronts for branding and non-Latin scripts.

Every year, more and more text is read directly on a computer screen in office applications, or from freshly printed sheets from a copier or laser printer. Clear, legible text faces are more imperative to office communication than ever before. Yet every worker desires a small bit of personality in the corporate world. Most office environments are only equipped with a few basic fonts that are truly optimized for use in text, with laser printers, and on screen. The Linotype Office Alliance fonts guarantee data clarity. All of the font weights within the individual family have the same character measurements; individual letters or words may have their styles changed without line wrap being affected! All numbers, mathematical signs, and currency symbols are tabular; they share the same set character width, ensuring that nothing stands in the way of clear graph, chart, and table design. In addition to being extremely open and legible, the characters in this collection's fonts also share the same capital letter height and the same x-height. The production and reading of financial reports is duly streamlined with the Linotype Office Alliance fonts. The Neuzeit Office family is designed after the model of the original sans serif family Neuzeit S, which was produced by D. Stempel AG and the Linotype Design Studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG's DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939. Intended to represent its own time, DIN Neuzeit must have struck a harmonious chord. DIN Neuzeit is a constructed, geometric sans serif. It was born during the 1920s, a time of design experimentation and standardization, whose ethos has been made famous by the Bauhaus and De Stijl movements in art, architecture, and design. Upon its redesign as Neuzeit S in the 1960s, other developments in sans serif letter design were taken into account. Neuzeit S looks less geometric, and more gothic, or industrial. Separating it from typefaces like Futura, it has a double-storey a, instead of a less legible, single-storey variant. Unlike more popular grotesque sans serifs like Helvetica, Neuzeit S and especially the redesigned Neuzeit Office contain more open, legible letterforms. Neuzeit Office preserves the characteristic number forms that have been associated with its design for years. After four decades, Neuzeit has been retooled once again, and it is more a child of its age than ever before. Akira Kobayashi, Linotype's Type Director, created the revised and updated Neuzeit Office in 2006. His greatest change was to retool the design to make its performance in text far more optimal. Additionally, he created companion oblique to help emphasize text. The other three families in the Office Alliance system include Metro Office, Times Europa Office and Trump Mediaeval Office.Some weights of the Neuzeit Office are availabla as soft rounded versions. "

Irrlicht is based on C. H. Kleukens’ 1923 typeface Judith Type . Whilst Dunkle Irrlicht is a fairly faithful rendition and extension of Kleukens’ typeface, the Licht style was initially added as a stand-alone stencil version; yet, the two styles work perfectly together – for different nuances, for emphasis or simply stacked/layered. Irrlicht is equipped with upper- and lowercase ligatures, contextual and stylistic alternates, fractions, superior and inferior figures, extended language support and a few extra goodies. Additional information – How Irrlicht came to life Christian Heinrich Kleukens cut his Judith Type in 1923, at the peak of German expressionism, exclusively for publications with the Ernst-Ludwig-Press, such as a limited series of biblical prints – the first being the Book of Judith , hence the original’s name. I stumbled upon this typeface a couple of years ago in a nice little 1930 booklet of the Gutenberg-Gesellschaft and was struck by its forceful darkness on paper and its seemingly simple, crude letterforms. The lack of a long-ſ in the final version of Judith Type – quite unusual for a German typeface of that time – adds to this feel of crudeness and spontaneity*. Judith Type seemed to me like a semi-blackletter cousin of Rudolf Koch’s typeface Neuland (cast in the same year). Besides its apparent affinity with expressionism, it reflects a lot of that deeply spiritual craftsmanship of the era – much like Neuland. A few months later, when I was working on a stencil project and looking for a typeface that could be cut into thin wooden plates easily, I remembered those dark, sharp letters that seemed to be lacking any curves at all. After enlarging a few letters and tracing them by hand, the whole set was redrawn digitally, using only straight lines. As for spacing, the goal was to keep the letters tight but to avoid touching characters – without ironing out all the original’s tension and rhythm. Deliberate kerning, subtle contextual alternates and ligatures help to deal with critical glyph combinations. Two additional versions were developed: a stencil version with open counters and, in reference to a popular style of the 1920s and inspired by dry, cracked wood, an inline version. These two additional styles were later merged into one font – Lichte** Irrlicht was born. — AARHAUS * Consequently, the original typeface’s German eszett is simply a ligature of the “round s” and standard z . In some of his publications, Kleukens dispenses with using eszett altogether and sets double s instead. Irrlicht , however, does feature a more common eszett (ß); the original, among other more faithful letter forms, can be accessed via the stylistic sets feature ** licht – literally bright – being the German term for inline typefaces – not to be confused with leicht ( light )

Patrick Griffin's sister is a really annoying individual sometimes. Not only is she into theater, but she thinks everyone else in the universe is into it as well. So once in a while tickets to local or provincial Shakespearean plays get delivered to the mailbox or dropped off on the living room's table. And once in a while the tickets just cannot be "lost" or ignored. Three or four times a year, Patrick must be subjected to Olde Englishe Speake, umbrella dresses and squeezetops, featherhats and men in leggings, rhyme and treason, mortality and immorality, drama inflicted by some mama, and it never ends. Last June it was Hamlet. Again. Someone's (wink wink) idea of a good time. There he goes, the Prince of Denmark, holding that skull with the tips of his fingers like it's an alien egg. Alas, poor Yorick! Yadda yadda boop-bop-a-loo-bop. And so the idea of a font made of skulls was born. And what can we possibly be but conduits for such abhorring ideas? Where be our gibes, our songs, our flashes of merriment? Skullbats has more skulls than you'll ever see in your lifetime. At least we hope so. Scary skulls, funny skulls, evil skulls, strange skulls, pixel skulls, fiery skulls, surprised skulls, happy skulls, sad skulls, cow skulls, sketched skulls, profiled skulls, light bulb skulls, cartoon skulls, techno skulls, alien skulls, expressionist skulls, pirate skulls, horned skulls, and skulls with whacky headgear. You name it, it's there. There's even a disco skull there for you. We lost count at 90 skulls, but there's a few more in there. For a complete showing of the skulls in the font, consult the image in the MyFonts gallery. Patrick's sister didn't turn out to be so bad after all. After making this font, he couldn't help but notice that her skull was a bit small compared to his. So now he takes every opportunity to remind her that the size of the cranium is relative to what it houses. Her upcoming halloween present will be a shirt with guess-what on it. Shirts, now there's putting Skullbats to good use!

Helvetica is one of the most famous and popular typefaces in the world. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. The original typeface was called Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas'sche Schriftgiesserei (Haas Type Foundry) in Switzerland. In 1960 the name was changed to Helvetica (an adaptation of Helvetia", the Latin name for Switzerland). Over the years, the Helvetica family was expanded to include many different weights, but these were not as well coordinated with each other as they might have been. In 1983, D. Stempel AG and Linotype re-designed and digitized Neue Helvetica and updated it into a cohesive font family. At the beginning of the 21st Century, Linotype again released an updated design of Helvetica, the Helvetica World typeface family. This family is much smaller in terms of its number of fonts, but each font makes up for this in terms of language support. Helvetica World supports a number of languages and writing systems from all over the globe. Today, the original Helvetica family consists of 34 different font weights. 20 weights are available in Central European versions, supporting the languages of Central and Eastern Europe. 20 weights are also available in Cyrillic versions, and four are available in Greek versions. Many customers ask us what good non-Latin typefaces can be mixed with Helvetica. Fortunately, Helvetica already has Greek and Cyrillic versions, and Helvetica World includes a specially-designed Hebrew Helvetica in its OpenType character set. Helvetica has also been extende to Georgian and a special "eText" version has been designed with larger xheight and opened counters for the use in small point sizes and on E-reader devices. But Linotype also offers a number of CJK fonts that can be matched with Helvetica. Chinese fonts that pair well with Helvetica: DF Hei (Simplified Chinese) DF Hei (Traditional Chinese) DF Li Hei (Traditional Chinese) DFP Hei (Simplified Chinese) Japanese fonts that pair well with Helvetica: DF Gothic DF Gothic P DFHS Gothic Korean fonts that pair well with Helvetica: DFK Gothic"

Full of life Hispanic Didot in 2 optical sizes Retiro is a daring interpretation of Spanish typography. Severe, austere and yet, full of life, Retiro is a vernacular version of Castilian and Andalusian in a typical Didot. Named after a lovely park in Madrid, Retiro started life as a a bespoke typeface designed to give a unique voice to the magazine Madriz. In 2006, the founder of Madriz was looking for a Didot for his new magazine. The Didot is the archetypal typeface used in high-end magazines. Retiro is a synthesis of these high contrast styles mixed with an Hispanic mind. Result is then, after 2-3 years of work, a typeface with countless variations to establish typographic shades adapted to different sections and pages of the Madriz. In 2014, it was necessary to further revise the typeface before its launch at Typofonderie. In order to keep its originality, the unique weight was retained, but complemented with optical size variants to set highly contrasted headlines into various sizes, visually balanced. How to use Retiro optical sizes? Each font provided in Retiro family is named according to the scale of body size: 24 pt and 64 pt. Of course, these names are referring to the body sizes used in typographic design. In the “glorious old days,” the letterpress period, it was customary to cut punches directly to the size at which typefaces would be used. The punchcutter had to visually adapt his design to the engraving size. The aim was to optimize the best contrast and general weight, but also to respect both design’s and reader’s needs. In Retiro’s case, intended for large titling sizes, it’s an adaptation of this ancient practice for our contemporary uses. Although each font is named by a typographic point size, do not feel obliged to use this font at this precise size, but why not, in larger or smaller. It’s rather the concept of gradients that must be preserved in layouts, rather than strictly size numbers. It’s up to the designer to select the right font size for his own designs. Granshan Awards 2012 Creative Review Type Annual 2011 Designpreis 2011 Club des directeurs artistiques, 41e palmarès Type Directors Club 2010 Certificate of Type design Excellence

Typefaces, like most other works of art, provide a small window into the personalities and sensibilities of the artists who create them. ITC Panache not only provides this window, it is also aptly named. Mr. Edward Benguiat the dreator of ITC Panache, has all the dash, verve (and panache) hinted at in the design, Creative, capable and prolific, Ed Benguiat has drawn hundreds of exciting and popular typeface designs. Benguiat's design goal was to create a sans serif typestyle that is versatile, utilitarian - and distinctive. We think he has succeeded admirably. ITC Panache's three weights mix exceptionally well to complement each other or provide emphasis where necessary. Extensive testing at text sizes and design fine-tuning has produced a typeface family which is remarkably homogenous and consistent in color. Text set in ITC Panache is inviting without dissapointment. It is exceptionally easy to read, even in long text blocks of copy or small point sizes. When set in larger sizes or used for headlines, ITC Panache's character traits becomes more apparent and pronounced to the reader. They help to create graphics with distinction and style. Big or small. a little or a lot. it's hard not to use ITC Panache well. If you could pigeonhole ITC Panache, it would probably be classified as a stressed sans", but this would not completely describe, or do justiceto, the design. There is a slight contrast in stroke weight, which becomes more pronounced as the familiy weight increases; but there is a more to distinguish ITC Panache from ather sans serifs. Perhaps most obvious is its high waist and correspondingly slight condensation of the top half of the "round" capitals. Both of these traits link ITC Panache with the sensuous forms of art nouveau creations. In contrast are the typicall old style "e" found in designs like Cloister and ITC Berkeley Old Style, and the two storied "g" common to the early 20th century sans serif designs. The capital "A" even has the cupped top found in Caslon designs. Part of the beauty of ITC Panache is that all of these seemingly unrelated desig traits are melded into a design of exceptional continuity."

Rev up your design game with Dealerplate, the typeface that brings the license plate style to your work. This typeface features 17 embossed designs from states and provinces across the United States and Canada, ensuring your work is always on point with the latest in license plate style. To truly capture the essence of the license plate look, be sure to turn off kerning in your design application. This will create a more authentic appearance, bringing the road to your design work. Not only does Dealerplate capture the essence of license plates, but it also includes OpenType fractions, numeric ordinals, mathematical symbols, and monetary symbols, making it a versatile and powerful addition to any design project. Don’t just settle for any license plate typeface, upgrade your design game with the stylish Dealerplate typeface today. The Dealerplate family includes plates from: California Florida Illinois Maryland Massachusetts Michigan Missouri North Carolina/Utah/Alaska New Jersey New York Ohio Ontario Pennsylvania Quebec Virginia Washington Wisconsin Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Helvetica is one of the most famous and popular typefaces in the world. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. The original typeface was called Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas'sche Schriftgiesserei (Haas Type Foundry) in Switzerland. In 1960 the name was changed to Helvetica (an adaptation of Helvetia", the Latin name for Switzerland). Over the years, the Helvetica family was expanded to include many different weights, but these were not as well coordinated with each other as they might have been. In 1983, D. Stempel AG and Linotype re-designed and digitized Neue Helvetica and updated it into a cohesive font family. At the beginning of the 21st Century, Linotype again released an updated design of Helvetica, the Helvetica World typeface family. This family is much smaller in terms of its number of fonts, but each font makes up for this in terms of language support. Helvetica World supports a number of languages and writing systems from all over the globe. Today, the original Helvetica family consists of 34 different font weights. 20 weights are available in Central European versions, supporting the languages of Central and Eastern Europe. 20 weights are also available in Cyrillic versions, and four are available in Greek versions. Many customers ask us what good non-Latin typefaces can be mixed with Helvetica. Fortunately, Helvetica already has Greek and Cyrillic versions, and Helvetica World includes a specially-designed Hebrew Helvetica in its OpenType character set. Helvetica has also been extende to Georgian and a special "eText" version has been designed with larger xheight and opened counters for the use in small point sizes and on E-reader devices. But Linotype also offers a number of CJK fonts that can be matched with Helvetica. Chinese fonts that pair well with Helvetica: DF Hei (Simplified Chinese) DF Hei (Traditional Chinese) DF Li Hei (Traditional Chinese) DFP Hei (Simplified Chinese) Japanese fonts that pair well with Helvetica: DF Gothic DF Gothic P DFHS Gothic Korean fonts that pair well with Helvetica: DFK Gothic"

Zuzana Licko's goal for Fairplex was to create a text face which would achieve legibility by avoiding contrast, especially in the Book weight. As a result of its low contrast, the Fairplex Book weight is somewhat reminiscent of a sans serif, yet the slight serifs preserve the recognition of serif letterforms. When creating the accompanying weights, the challenge was to balance the contrast and stem weight with the serifs. To provide a comprehensive family, Licko wanted the boldest weight to be quite heavy. This meant that the "Black" weight would need more contrast than the Book weight in order to avoid clogging up. But harmonizing the serifs proved difficult. The initial serif treatments she tried didn't stand up to the robust character of the Black weight. Several months passed without much progress, and then one evening she attended a talk by Alastair Johnston on his book "Alphabets to Order," a survey of nineteenth century type specimens. Johnston pointed out that slab serifs (also known as "Egyptians") are really more of a variation on sans serifs than on serif designs. In other words, slab serif type is more akin to sans-serif type with serifs added on than it is to a version of serif type. This sparked the idea that the solution to her serif problem for Fairplex Black might be a slab serif treatment. After all, the Book weight already shared features of sans-serif types. Shortly after this came the idea to angle the serifs. This was suggested by her husband, and was probably conjured up from his years of subconscious assimilation of the S. F. Giants logo while watching baseball, and reinforced by a similar serif treatment in John Downer's recent Council typeface design. The angled serifs added visual interest to the otherwise austere slab serifs. The intermediate weights were then derived by interpolating the Book and Black, with the exception of several characters, such as the "n," which required specially designed features to avoid collisions of serifs, and to yield a pleasing weight balance. A range of weights was interpolated before deciding on the Medium and Bold weights.