Quebra Cond is an extend display sans-serif font family, available with four widths (Extra Condensed, Condensed, Normal and Expanded) and ten weights, italics versions are available. The main strokes contain small breaks simulating modulated variations on the letterforms, these details are more present on large body sizes. All font versions contain Latin and Cyrillic encoding characters and also ligatures, case-sensitive forms, fractions, oldstyle and finally tabular figures.

'Obvia' appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes Expanded, Wide, Normal, Narrow and Condensed The idea behind 'Obvia's design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a 'geohumanist' tone to the font. This first family of 'Obvia' has 9 weights ranging from Thin to Black, delivering a strong typographic identity, from the paper to the pixel.

Every day we are faced with designing on small screens and new formats; This is where condensed fonts have great potential, as they make the most of tight spaces in big headlines. Manchester Condensed is a typeface family designed by Vástago to be applied in large headlines in different formats, such as web, editorial or packaging. Just to mention a few. Different Manchester weights enhance performance at large type sizes, providing hierarchy and imposing style with its elongated shapes. Its use in capital letters is remarkable and fits perfectly into very precise diagramming spaces.

“It’s all about Soul!” – Strong, decided and edgy. The Americane super family is inspired by the old wood type specimen books. Delivering some glorious vibes of the handcrafted values from the pioneers AND keeping one eye on todays demands and technology, Americane is made for high professional use. Americane Condensed & Americane is a super family of 24 fonts in total – a normal and a condensed width in six weights with matching italics. Made for complex, professional typography, the OpenType fonts feature five variations of numerals, alternate letters, arrows and an extended character set to support Central and Eastern European as well as Western European languages.

Moderna Condensed is a modern condensed Sans-serif font, simple and neutral, especially for short texts, headlines, and sub-headlines, logos, posters and branding, includes some alternate characters, arrows and labels.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

Sánchez, designed by Daniel Hernández, is a serif typeface belonging to the classification slab serif, or Egyptian, that bears a strong resemblance to the iconic Rockwell, but with rounded edges— offering contrast and balance to the square structure. Sánchez & Sánchez Condensed comprises 12 variants, ranging from extra light to black, each of the same x-height. Regular and Italic variants are available for free.

With all the features of its wider relative, Rehn Condensed has been specifically designed for those situations where space is a premium. Rehn and Rehn Condensed together offer a complete package suitable for a wide range typographic applications.

Remastered in 2019. Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades… the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps were​ produced and the original single weight alphabet was replaced with six new weights. Wasabi has several ‘lighter’ weights primarily because the thin lines and simple transitions produce very elegant relationships… and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises. Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested; so, try them all!

Paying homage to the 1960s and 1970s designs of Tom Carnase and Herb Lubalin, Homage Condensed is a digital revival and recutting of LSC Condensed in two weights along with italics and numerous stylistic alternate characters.

Say hello to the new Magallanes Condensed Family, a contemporary neo-humanist sans serif font designed by Daniel Hernández. Its strokes and terminals are related to the calligraphic strokes from humanist typefaces. It comes with 8 styles, from Ultra Light to Black, each with its true italics. Every weight comes with alternative glyphs for a more dynamic use. Magallanes is the perfect titling font to complement text faces in magazines, logotypes, etc. Languages supported include Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Romanian, Pan African Latin.

Avancar Condensed Font Family showcases the exquisite pairing of modern grotesque style and soft sans-serif design. These conjunctions provide the effect of owning two subfamily typefaces and are an amazing solution for designers. The main feature of this font family is a semi-condensed design with a slightly higher x-height. And, while having the same skeleton design and stem width, they provide a completely different look and feel.

The condensed version of Hans van Maanen's Aragon is a headline star. The elements that made Aragon a popular "Dutch Garamond" text repeat here, with the slight stress shifts and tapering stems optimized for headline use. Aragon Condensed also comes in bold and italic variations. All three fonts contain extended language support, superiors and inferiors, and class-based kerning.

This font is the condensed version of Queulat, but keeping the same features as the original typeface. Queulat Cnd is a hybrid typeface that combines different styles, reflecting charm, freshness and, especially, a strong personality.. Since it is a condensed font, it is well-suited for publishing and subheadings. The font is inspired by Modern and Grotesk styles. The former is shown in some characteristic features such as teardrop terminals, which give the typeface an attractive unique look, making it an ideal choice for logotypes and labelling. The latter, with its rationality, makes Queulat Cnd a stable and strong face for headings and subheadings. The combination of styles can be clearly seen by comparing the Regular with the Alt version. The Regular version is more simple than the Alt one. Differently, the alternative version possesses more features of the Modern style, like teardrop terminals in ‘k’ and ‘v’.

Prelo was designed to be a neutral, highly readable typeface, for identity, editorial and information design. With nine weights and nine true italics, from Hairline to Black, Prelo is a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others. Like other DSType fonts, most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters. The curves are soft and smooth, providing legibility, even in very poor conditions and the neutrality allows this typeface to be used with any serif companion.

A very glitzy Blitz! Blitz-Condensed is an addition to my normal Blitz family. Both are topheavy fonts and are meant to be used together. The font gets a special shine because of this effect. And it stays readable despite its special design. Your designer of surprising typefaces, Gert Wiescher

Candide Condensed is the complement for Candide and widens greatly the possible applications of the Candide family. Through Its moderately condensed proportions, it also works superbly as a discrete space saving text face. Candide Condensed comes with the same character layout and features as Candide. Candide Condensed consists of 16 styles. It comes in OpenType format and provides an extended language support. All weights contain standard and discretionary ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternative characters.

Breuer Condensed is a mechanical sans ideal for captions and headline settings, and may also be suitable for moderate lengths of body copy with its comprehensive offering of OpenType features. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs to provide a warmer read. The overall design ensures a distinct aura of technical precision in a personable tone. This family of eight fonts is designed to accompany the Breuer Text and Breuer Headline sets released in 2007. Breuer Condensed offers a 76% narrower footprint compared to Breuer Text and is fine-tuned to render typographic color equivalent to each sibling Text weight.

The Unit Gothic series was released by Hamilton Manufacturing Co. in 1907. This sans serif family features one of the first multi width/weight type 'systems' anticipating the Univers font system by 50 years. This set of 7 fonts was designed to aid in press room efficiency and with its incremental variation in widths gave poster printers unprecedented flexibility in fitting copy while using consistently harmonious fonts. This HWT release is the first ever digital version of these fonts. Each font contains 600 glyphs including Greek and Cyrillic character sets as well as alternate characters which are based on the actual special character production patterns from the Hamilton Wood Type Museum collection. HWT Unit Gothic system features: •HWT Unit Gothic 716 - 50% wider •HWT Unit Gothic 717 - 25% wider •HWT Unit Gothic 718 - (Standard width which others are based on) •HWT Unit Gothic 719 - 25% narrower •HWT Unit Gothic 720 - 50% narrower •HWT Unit Gothic 721 - 62.5% narrower •HWT Unit Gothic 722 - 75% narrower

German type designer Erik Spiekermann and American type designer Christian Schwartz created this display and sans FontFont in 2008. The family has 6 weights, ranging from Light to Ultra and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards as well as wayfinding and signage. FF Unit Rounded provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Unit super family, which also includes FF Unit and FF Unit Slab.

The typeface One United Font is designed from 2020 for the font foundry Typo Graphic Design by mäd • madeleine maros × Manuel Viergutz as a political statement #leavenoonebehind The display font is inspired in the past and present. 3 font-styles (Bubble, Bubble Behind, Outline) + 1 icon-style with 390 glyphs (Adobe Latin 1) incl. 100+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ❤ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (3 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE!

Pine Nuts-United is the little sister of the popular "Pine Nuts" and "Pony Tale" family fonts. It's a connected (United) version with some new ligatures, stylistic alternates and alternate glyphs, small-caps are also included. See the 'Pine Nuts', 'Pony Tale' and 'Pony Tale Pro' versions.

German type designer Erik Spiekermann, American type designer Christian Schwartz, and New Zealand type designer Kris Sowersby created this slab FontFont in 2009. The family has 14 weights, ranging from Thin to Ultra (including italics) and is ideally suited for editorial and publishing, logo, branding and creative industries as well as web and screen design. FF Unit Slab provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic and Greek writing systems. This FontFont is a member of the FF Unit super family, which also includes FF Unit and FF Unit Rounded.

Now even more design possibilities with the popular DIN Next. With its technical and neutral character, DIN Next has earned a permanent place in contemporary typography. Now, DIN Next Slab expands the font family further, offering new design potential. Now comes the next step, DIN Next Slab, also produced under the direction of Akira Kobayashi. On a team with Sandra Winter and Tom Grace, Kobayashi is creating the new font variant based on the optimized shapes of DIN Next. The expansion will make the popular font all the more flexible and versatile. Apart from that, the geometric slab serifs underline the technical and formal nature of the font and emphasize a central design element of DIN Next. However, the team did have some challenges to overcome. While it is relatively easy to imagine DIN Next Light with slab serifs, the amount of available space quickly disappears when it comes to the Black styles. Winter explains that many tests and trials were necessary to find a compromise between space, letters and the serif shapes. Experiments with modified contrast in the weight or only one-sided serifs were quickly abandoned. The central, technical and powerful character of the font changed too much. Nevertheless, it was necessary to simplify slightly the shape of some letters, such as the ‘k’ or ‘x’, for example. These changes, first developed in the Black styles, were applied to all weights in order to lend the font a consistent appearance. Like DIN Next, DIN Next Slab also has seven weights, which cover the range from Ultralight to Black, each with matching italic. There are various character sets in all of the styles and the four middle weights have small capitals available. DIN Next Slab harmonizes perfectly with the styles of DIN Next: the basic letterforms and weights are identical. Both versions of the font can work together perfectly, not just in headlines and body text, but also within a text; they complement each other very well as design variations. With the new DIN Next Slab, Monotype expands the DIN Next super family consistently. With DIN Next Slab, you can underscore the technical and formal nature of the understated font not only in headlines, but in texts, as well. In this way, you have new and diverse potential for application, thanks to the way the different styles of DIN Next combine perfectly.

In 1948, Mergenthaler Linotype released the first weights of Trade Gothic, designed by Jackson Burke. Over the next 12 years Burke, who was the company’s Director of Typographic Development from 1948 through 1963, continued to expand the family. Trade Gothic Next is the 2008 revision of Jackson Burke’s design. Developed over a prolonged period of time, the original Trade Gothic showed many inconsistencies. Under the direction of Linotype’s Type Director Akira Kobayashi, American type designer Tom Grace, a graduate of the MA Typeface Design in Reading, redesigned, revised and expand the Trade Gothic family. Many details were improved, such as the terminals and stroke endings, symbols, and the spacing and kerning. Moreover, there are newly added compressed widths and heavy weights perfect for setting even more powerful headlines. Trade Gothic Next brings more features and better quality for today’s demanding typographers. Trade Gothic Next® font field guide including best practices, font pairings and alternatives.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

Cyntho Next Slab is a totally reworked typeface based on our previous bestseller Cyntho Slab Pro. Cyntho Next Slab is the slab serif companion to Cyntho Next . It is a modern geometric slab serif based on a hybrid waterdrop-like shape with extensive language support including Cyrillic, rich with OpenType features, perfect for magazines, posters, advertising, corporate identity, and much more.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal 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. This family is not only an update though; in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from ultralight to heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal 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. This family is not only an update though; in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from ultralight to heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic.

Frutiger Next is Adrian Frutiger's and Linotype's completely new interpretation of the well known typeface Frutiger released in 2000. For these revised forms, the areas of application are almost limitless. Frutiger Next can be used for anything from office communications to multimedia to complex printed materials. The Frutiger Next family contains small caps, oldstyle figures, and other figure options in every font. Adrian Frutiger's eponymous typeface has been used for decades, everywhere from airport signage to book text to corporate logos to the smallest web graphics. The Italics in the original version of Frutiger were based very closely on the Roman forms; in Frutiger Next, they have been re-designed to be true Italics.

TT Travels Next Update 1100. We've expanded the range of stylistic alternates and added a calmer version for lowercase letters t f, uppercase Q, and ligatures fi ffi fj ffj. Thanks to the calmer alternative characters, TT Travels Next can be used in more conservative layouts or in designs that require a certain austerity. TT Travels Next in numbers: • 21 styles: 9 upright, 9 italics, 1 variable font and 2 outline styles • 757 glyphs in each style • Support for more than 190+ languages: extended Latin, Cyrillic and many other languages • 26 OpenType features in each style: stylistic alternates, ligatures, old-style figures, numbers in circles, arrows and other useful features • Amazing Manual TrueType Hinting TT Travels Next useful links: Specimen PDF | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Travels Next: The idea to create an alternative version of the TT Travels font family emerged at the “Mail.ru Design Conf x Dribbble Meetup” that took place in August 2020 in Moscow. All conference branding was designed using the TT Travels font family, and, even though the set was very beautiful, we found that if the typeface were more radical and display, it would have complemented the event's graphics even better. Thus, was born the idea for the TT Travels Next typeface, which was to create a very trendy and modern wide display sans serif for use in different sets, be they print or web. TT Travels Next is an experiment answering the "what-if" question of what would happen if the original TT Travels looked different, less compromising and more radical. The typeface has very wide proportions and characters that almost do not get narrower as you move from the bold styles to a light one. TT Travels Next has an exaggerated closed aperture, low contrast, noticeable visual compensators, and a harmonic combination of soft and sharp shapes. In inclined styles, we have purposefully increased the slant up to 14 degrees so that you can type slashing dynamic inscriptions. In addition, the TT Travels Next typeface has two great outline styles which match the upright styles perfectly and complement them, and also work well as display styles. The TT Travels Next typeface consists of 21 fonts: 9 upright and 9 corresponding italics, two outline styles, and one variable font with two variability axes (weight and slant). Each style consists of 757 characters and supports over 190+ languages. The typeface has 26 useful OpenType features, such as stylistic alternates that change the design of characters responsible for the style, ligatures, pointers, circled figures, and many other useful features. TT Travels Next OpenType features list: aalt, ccmp, ordn, locl, subs, sinf, sups, numr, dnom, frac, tnum, onum, lnum, pnum, case, dlig, liga, calt, salt, ss01 (Alt. Latin & Cyrillic), ss02 (Romanian Comma Accent), ss03 (Dutch IJ), ss04 (Catalan Ldot), ss05 (Turkish i), ss06 (White Circled Numbers), ss07 (Black Circled Numbers). TT Travels Next language support: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani +, Banjar, Basque +, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Bosnian (lat), Breton +, Catalan+, Cebuano+, Chamorro+, Chichewa, Chiga, Colognian+, Cornish, Corsican +, Cree, Croatian, Czech+, Danish, Dutch+, Embu, English+, Esperanto, Estonian+, Faroese+, Fijian, Filipino+, Finnish, French, Frisian, Friulian+, Gaelic, Gagauz (lat), Galician+, Ganda, German+, Gikuyu, Guarani, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish, Italian+, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Kamba, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Kikuyu, Kinyarwanda, Kirundi, Kongo, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian+, Livvi-Karelian, Luba-Kasai, Ludic, Luganda+, Luo, Luxembourgish+, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay+, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Meru, Minangkabau+, Moldavian (lat), Montenegrin (lat), Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish+, Portuguese+, Quechua+, Rheto-Romance, Rohingya, Romanian +, Romansh+, Rombo, Rundi, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (lat)+, Seychellois Creole, Shambala, Shona, Silesian, Slovak+, Slovenian+, Soga, Somali, Sorbian, Sotho+, Spanish+, Sundanese, Swahili, Swazi, Swedish+, Swiss, German +, Tagalog+, Tahitian, Taita, Talysh (lat), Tatar+, Teso, Tetum, Tok Pisin, Tongan+, Tsakhur (Azerbaijan), Tsonga, Tswana +, Turkish+, Turkmen (lat), Uyghur, Valencian+, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Walser+, Welsh+, Wolof, Xhosa, Zaza, Zulu+, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian. TT Travels Next font field guide including best practices, font pairings and alternatives.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

Avenir Next Paneuropean is a new take on a classic face—it’s the result of a project whose goal 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. This family is not only an update though, in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from UltraLight to Heavy, this 56-font collection offers condensed and semi condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Complete your designs with these perfect pairings: Dante™, Joanna® Nova, Kairos™, Menhart™, Soho® and ITC New Veljovic®.

Syntax was designed by Swiss typographer Hans Eduard Meier, and issued in 1968 by the D. Stempel AG type foundry as their last hot metal type family. Meier used an unusual rationale in the design of this sans serif typeface; it has the shapes of humanist letters or oldstyle types (such as Sabon), but with a modified monoline treatment. The original drawings were done in 1954; first by writing the letters with a brush, then redrawing their essential linear forms, and finally adding balanced amounts of weight to the skeletons to produce optically monoline letterforms. Meier wanted to subtly express the rhythmical dynamism of written letters and at the same time produce a legible sans serif typeface. This theme was supported by using a very slight slope in the roman, tall ascenders, terminals at right angles to stroke direction, caps with classical proportions, and the humanist style a and g. The original foundry metal type was digitized in 1989 to make this family of four romans and one italic. Meier completely reworked Syntax in 2000, completing an expanded and improved font family that is available exclusively from Linotype GmbH as Linotype Syntax. In 2009 the typeface family was renamed into a more logical naming of "Syntax Next" to fit better in the Platinum Collection naming."

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.

VAG Rounded Next brings a classic 1970s typeface up to date, keeping all of its easy going, approachable personality but adding some much-needed versatility and language support. Originally commissioned by Volkswagen, VAG Rounded remained in use by the company until the early 90s and has also been used by Apple, Skype and Myspace. Its enduring appeal lies in its appealingly rounded terminals, and its immediate, informal tone of voice. “When you look at the Volkswagen Beetle it has these curves that are timeless and legendary,” says Steve Matteson, who led the creation of VAG Rounded Next. “I think that's what stands out in this design – that friendly aesthetic, and the simple line and circle.” This new version offers 700 glyphs with pan European language support (including Greek and Cyrllic), as well as 10 weights of upright and italic styles. New display weights Shine and Rough – which create “chocolate popsicle” and “rust” effects – are begging to be used in branding, packaging and editorial projects, while the lighter weights are well suited for text. VAG Rounded Next Variables are font files which are featuring one axis and have a preset instance from Thin to Black.