The Between typeface is a delicious typographic concoction: one sans-serif typeface, expertly poached, boiled and scrambled into three new and unique styles by master type chef Akira Kobayashi of Monotype. The history of Between can be traced back to the 1990s. Kobayashi realised that many companies preferred a friendly neutral sans typefacefor their brand. He initially […]
Read moreThe Neue Haas Unica™ family is a reimaging of the 1980s Haas Unica design, a suite of typefaces intended to be an updated alternative to the Helvetica® family. While Neue Haas Unica’s design foundation is firmly based on the earlier version, it has also been restructured for current imaging technologies. Neue Haas Unica has a […]
Read moreDIN Next Slab Akira Kobayashi Linotype An addition to a stalwart superfamily, the characters in the Din Next Slab typeface designs echo the underlying shapes, proportions and industrial precision of the popular DIN Next family. Character shapes remain simple and counters open, ensuring high levels of legibility. The fonts also contain OpenType® features that can replace the default […]
Read moreWith Bradley Texting, Richard Bradley has published another calligraphic typeface that recalls the style of Bradley Hand and Bradley Type. In this case, however, Bradley has advanced the style with clearer forms for display on electronic instruments and on other formats. The letters for Bradley Texting began with a marker on paper. The somewhat narrow […]
Read moreMetro Nova. A rediscovered classic with a new look With Metro® Nova type designer Toshi Omagari is presenting a revival of the classic font, Metro, designed in the 1920’s and 30’s by William Addison Dwiggins. The rediscovery of the original design thus shows a facet of the popular font, which has been largely unknown until […]
Read moreFontyou is a new Paris-based initiative with an ambitious plan, that is finding new ways to design and produce fonts. Using online tools, Fontyou establishes fruitful relationships between people with complementary skills — lettering artists, type designers, font technicians, and more. The outcome: something that’s greater than the sum of the parts — collaborative font […]
Read moreFF Videtur is a new Serif font family of 4 weights by Axel Bertram and Andreas Frohloff, suitable for Film & TV, Editorial & Publishing, and Small Text. The concept for FF Videtur is based on bitmap fonts created by Axel Bertram for the state television broadcaster in East Germany (GDR-TV) during the 1980s. Bertram […]
Read moreThe digital revival of the Neue Haas Grotesk typeface by Christian Schwartz The first weights of Neue Haas Grotesk were designed in 1957-1958 by Max Miedinger. The typeface was later revised and released as Helvetica by Linotype AG. As Neue Haas Grotesk had to be adapted to work on Linotype’s hot metal linecasters, Linotype Helvetica was […]
Read moreAdrian Frutiger designed Avenir™ in 1988, after years of having an interest in sans serif typefaces. 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 […]
Read moreThe Sans™ typeface family is a humanist sans serif font that is part of a larger family of fonts designed by Berlin, Germany based designer Lucas de Groot. Since its inception in 1994, The Sans design has grown to have a large following, and is thought to be one of the most widely used sans […]
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