Category Archives: Font Highlight

Between: a new and unusually flexible design approach from Akira Kobayshi

Image: Monotype

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 wanted to design a DIN-like font that had a more humanist appearance and better performance in high-volume typesetting. In the end, he created Between in three versions. While the various styles share some letterforms, they are not simply different versions of the same design. Each style has its own concept with its own character and expression. The differences are not so major as to make it a large family, hence the name “between” was borne.

Image: Monotype

It started with the one in the middle. Between 2 strikes a balance between crisp and highly legible on one hand and organic and friendly on the other. Between 1 pushes towards the more technical and modern, while Between 3 goes the other way, with a lively, handwritten feel. The variations are subtle but telling. All three share the same cap height and x-height, and many letterforms – there’s a fluidity between them. But certain characters, like core components of a dish, make all the difference. Extract the ‘e’s and ‘g’s, for example, and it’s easy to see what the key ingredients are.

Image: Monotype

Image: Monotype

Kobayashi’s unconventional approach provides the designer with a new level of flexibility. The three unique styles complement and blend perfectly with one another. So get cooking with Between 1, 2 and 3, each in eight weights plus italics, and create something eggs-traordinary.

Between™ font family is designed by Akira Kobayashi in 2016.

Prices start from SGD49 per weight. Family Pack is available at discounted price.

To order fonts, please submit form:


Neue Haas Unica by Toshi Omagari: A subtle reworking of Helvetica


The 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 total of nine weights, from Ultra Light to Extra Black.



With its resolute clarity and excellent typographic support, Neue Haas Unica is suitable for use in a wide range of new contexts. The light and elegant characters can be employed in the large point sizes to create, for example, titling and logos while the very bold styles come into their own where the typography needs to be powerful and expressive. The medium weights can be used anywhere.

*Neue Haas Unica is a Linotype Originals collection.For more information, please contact

New font : Introducing the DIN Next Slab Family

DIN 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 characters with special “legibility” designs, such as the 7 with a crossbar and zero with a slash. DIN Next Slab 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.

Background of the Din typeface

The original shapes of the DIN typeface originated about 100 years ago, at the beginning of the 20th century. They were first used for locomotives and, a bit later, for signs in train stations. Designed by engineers, the DIN typeface is, above all, easily reproduced mechanically. To free the DIN typeface of its numerous typographic shortcomings and provide it with suitable features for graphic applications, DIN Next was created in 2009 under the direction of Akira Kobayashi at Linotype. DIN Next has seven weights, italic styles, small capitals and medieval characters. Now comes the next step, DIN Next Slab, which Kobayashi created with team members Sandra Winter and Tom Grace. This new font variant design is based on the optimized shapes of DIN Next. 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.


To order Din Next Slab, please email

Calligraphic typeface: Bradley Texting

With 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 and dynamically designed letters have round line ends, like those left by a felt-tipped pen. As a hand-written print font, the individual letters are not connected to one another. Nonetheless, they demonstrate the influence of a written font, such as the extended ends and the flowing transitions.


Clear forms with open counters and a large x-height guarantee Bradley Texting good legibility in the smaller font sizes. Bradley Texting is also effective under more challenging conditions, such as on mobile phones, e-book readers or tablets; the fonts friendly and lively character comes through. With Regular, Semibold and Bold, Bradley Texting is adequately equipped for use as a headline or text font in various sizes.


Use the dynamic and clear forms of Bradley Texting anywhere you need a friendly character with a personal accent. Bradley Texting is persuasive in the print realm, in advertisements or on posters, as well as on electronic devices.

To order font, please email

Fonts in Focus – Metro Nova

Metro Nova. A rediscovered classic with a new look

Introducing Metro Nova_mf
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 now.Metro Nova comprises seven weights, from ultra thin to extra black in regular proportions, and six weights as condensed designs. Each has an italic counterpart for a total of 26 fonts.
The family is available as OpenType® Pro fonts, which provide for the ability to easily insert typographic features such as ligatures, fractions and alternate characters. Pro fonts also offer an extended character set to support most Central European and many Eastern European languages.


Metro Nova

Metro Nova

Metro Nova

Metro Nova

Metro Nova Figures

Metro Nova Figures

Metro Nova is well equipped for a variety of applications. Metro Nova not only cuts a good figure in advertising and headlines, but thanks to its relatively high x-height it also makes a good impression in small font sizes. As a classic font with a modern aura Metro Nova is thus a strong typographic all-rounder, with the capacity to master the most diverse tasks to perfection.

Metro Nova Weights

Metro Nova Weights

About Metro Nova

About Metro Nova

Metro NovaMetro Nova

If you are interested in ordering the fonts, please email
To type sample text, click here

New fonts by Fontyou

Fontyou 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 designs with originality, quality, and character.

Exquise FY
Exquise FY is elegant and distinguished, it combines the strong vertical stress of classicist type (think Didot or Bodoni) with playful ornamental details. In spite of its 1800s pedigree, Exquise’s abrupt ductus changes and sharply cut drops make it an utterly contemporary font that is ideal for lifestyle magazines, fashion branding and prestige packaging. It comes in six styles, including a gorgeous Black weight.


exquise-fy3 exquise-fy2

Bruum FY
Bruum FY is not just another squarish sans-serif. It has plenty of features that give it just a little more oomph — from the peculiar shapes of ‘A’ and ‘E’ (they look hand-bent) to the quirky alternates for ‘a’, ‘g’ and ‘t’ (shown in the first line above). The abrupt transitions from curved to angular shapes and back give the font family a technical and look that makes for a robust headline; yet the simple and open shapes ensure good legibility in small sizes.

bruum-fy1Bruum FY – good legibility in small sizes.


Kaili FY
Traditionally, ligatures were designed to solve typographic problems — for instance, to avoid the clash of an overhanging ‘f’ and the dot on the ‘i’. Later, type designers began including ligature pairs to have fun with them. The OpenType font format allows the inclusion of dozens or even hundreds of ligated letter pairs in a single font — and Kaili FY sports a whopping 825 of them. You could say that ligatures are its main theme; but even without them the design would be remarkable, with its wide, supple, monolinear, flowing lettershapes

kaili-fy2 kaili-fy3Kaili FY has a total of 825 ligatures !

Respublika FY
Respublika FY is a typeface by Gregori Vincens — one of the non-collective designs in the Fontyou collection. With its five weights and matching italics, ample language coverage and large collection of numeral styles, it is a real workhorse. Stylistically this sans-serif strikes a nice balance between business and pleasure, clarity and friendliness.

respublika-fy1 respublika-fy2Respublika FY – Business-like and yet friendly at the same time.

Squirrel FY
Squirrel FY basically speaks for itself, and not too quietly either. It echoes some of the quirkiest display faces of the 1970s, but with a geometric logic all of its own. It’s the font used for the cover image at the top — and we chose it because it’s so gorgeous, and a little crazy.

squirrel-fy1 squirrel-fy2Squirrel FY ~Gorgeous and a little crazy.

Ella FY
Ella FY’s design principle — letterforms derived from handwriting and simplified into clean unmodulated lines — result in an interesting hybrid: a monolinear upright semi-italic. What makes it particularly attractive to today’s graphic designers is its ample arsenal of flourished ascender and descender alternates, offering endless possibilities to create one-of-a-kind headlines and logos. However, the basic characters are interesting enough to create charming text settings even when the drawers full of ornamented characters remain untouched. With three weights, the little family offers plenty of possibilities to combine large and small type on the same page.

ella-fy1 ella-fy2

To order Fontyou fonts, click here . For further enquiries, please email

FF Videtur

FF 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 and Frohloff collaborated to develop the TV-Videtur into a modern text face that harnesses the extreme limitations of the 1980s to deliver a solution for the increasing demands of today’s devices and media. Freed from yesteryear’s technical restrictions, all letters were drawn anew. The best characteristics of the earlier forms were kept, but the typeface’s vertical proportions, serif shape, and stroke contrast were carefully reconsidered.

FF Videtur’s four weights Light, Regular, Medium and Bold support the Latin-based European languages. In addition to both lining and oldstyle figures with proportional and tabular spacing options, the fonts include smaller-sized figures for fractions, scientific inferiors and superiors, as well as a series of arrows, symbols and ornaments.




FF Videtur

FF Videtur