Tag Archives: alt.TYPE

New Chinese Font – Monotype’s Ying Hei™

Monotype’s Ying Hei™

1539855-2Monotype’s Ying Hei™ is a new Chinese sans serif typeface family designed and built for performance and elegance on screen and in print. It is available in five weights covering text and display sizes, with versions for Simplified and Traditional Chinese.


M Ying Hei was designed to the highest standards by the Monotype Hong Kong team, led by Kenneth Kwok and Robin Hui. It features ample inter-character spacing, open shapes, varying proportions and unambiguous forms to ensure consistent and optimal legibility in a range of challenging usage environments. M Ying Hei conveys a professional, rational and efficient image for any document. With a minimal and contemporary design, M Ying Hei is free from extraneous details, with a well-considered skeleton and refined stoke designs. This allows it to help readers to quickly recognise a message, and improve reading efficiency.

Perfect companion for Neue Helvetica
For the Latin characters, M Ying Hei features the famous Neue Helvetica® typeface integrated in a refined and thoughtful manner. M Ying Hei’s flexible design can also be used with a variety of other popular Latin san serif typefaces including Avenir® Next, Neue Frutiger®, and Univers® Next typefaces among others.



MYingHeiPRC – W3, W4, W5, W7, W8 – 5 Weights in Simplified Chinese

MYingHeiHK – W3, W4, W5, W7, W8 – 5 Weights in Traditional Chinese

Please contact alt.TYPE if you are interested in ordering the fonts.


New font release – Neue Frutiger Thai

Neue Frutiger Thai

In collaboration with Adrian Frutiger, Thai font designer Anuthin Wongsunkakon has expanded Neue Frutiger Neue Frutiger with a Thai variant. The Thai characters are available in traditional and modern style.

Neue Frutiger Thai

Neue Frutiger Thai

According to the font designer Anuthin Wongsunkakon, the Frutiger Thai fonts are multi-purpose: one has terminal loops, the other does not. The two alternative letterforms result from their observations of current and former trends in Thai typography, as well as a desire to create fonts that complement the minimalist of the Latin Frutiger.



For type work that involves mixing Thai and English scripts, Frutiger Thai provides designers with the convenience to either set a Thai font with loops, or one without, alongside the sans serif Frutiger. The traditional-minded compositors, who believe that Thai body text is the sole domain of loop terminals, may go for the loops; while those with a modernist outlook may opt for the loop-less face.

Neue Frutiger Thai is available in 6 weights: Light, light italic, Regular, Regular Italic, Bold and Bold Italic. To order font, please email info@alttype.com.sg

To view more Thai fonts, click here.

Bestselling Fonts of all times

FB Agenda – recommended for Newspaper, Magazine, Web and Corporate use
Designed by Greg Thompson, Agenda offers a high-style alternative to the contemporary Swiss sans. Agenda is a fresh humanist sanserif inspired by Edward Johnston’s magnificent London Underground face, drawn in 1916. Italics in particular are vital styles of their own, forming interesting alternatives to customary sloped romans. Large and capable, the series offers fifty-two versions of the design.

Akzidenz-Grotesk BQ – an excellent choice for headlines requiring heavily-weighted strokes
H. Berthold first published Akzidenz-Grotesk in 1896. The design originates from the type used in Germany by job-setters and trade printers of earlier centuries.This early sans serif preceded the first weight of Helvetica by over 40 years. Throughout the years, H. Berthold has expanded this extremely popular and versatile family. AG Super was developed in 1968 by Günter Gerhard Lange and is an excellent choice for headlines requiring heavily-weighted strokes.

Linotype Avenir – harmonious looking for both texts and headlines
Adrian Frutiger designed Avenir in 1988, after years of having an interest in sans serif typefaces. In an interview with Linotype, he said he felt an obligation to design a linear sans in the tradition of Erbar and Futura, but to also make use of the experience and stylistic developments of the twentieth century.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.

FB Benton Sans – recommended for Newspaper, Magazine, Book and Corporate use
Developed as a re-imagining of Morris Fuller Benton’s 1908 classic, the News Gothic™ typeface family, Benton Sans retains much of the workhorse flexibility of its predecessor, while introducing new features and refinements unavailable in the original design. With a wide range of weights and styles, Benton Sans has gained popularity in publishing and many other forms of print media. Benton Sans is recommended for Newspaper, Magazine, Book and Corporate use.

Corporate A BQ

Corporate S BQ
Corporate S is a clean and crisp sans serif design that’s very legible and readable.
Both Corporate A and Corporate E are part of the Corporate ASE typeface trilogy designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate A (Antiqua), Corporate S (Sans Serif), and Corporate E (Egyptian) is a design program of classical quality, perfectly in tune with each other. Weidemann says: “My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography!”

DIN Next – good for use in books and magazines
Din Next_mf
The name DIN refers to the Deutsches Institut für Normung (in English, the German Institute for Standardization). The typeface began life as the DIN Institute’s standard no. DIN 1451, published in 1931. It contained several models of standard alphabets for mechanically engraved lettering, hand-lettering, lettering stencils and printing types. These were to be used in the areas of signage, traffic signs, wayfinding, lettering on technical drawings and technical documentation.

FF Dax – ideal for advertising use, especially packaging and logo
FF Dax_mf
German type designer Hans Reichel created this sans FontFont between 1995 and 2000. The family has 36 weights, ranging from Light to Black in Condensed, Normal, and Wide (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, poster and billboards, wayfinding and signage as well as web and screen design. FF Dax provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters.

FF Din – ideal for advertising use, signage and website design
FF Din_mf
Dutch type designer Albert-Jan Pool created this sans FontFont between 1995 and 2009.The family has 20 weights, ranging from Light to Black in Condensed and Medium (including italics) and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design

Frutiger – good for signage: easy recognition from a distance
World renowned typeface designer, Adrian Frutiger, was commissioned by the Charles De Gaulle Airport near Paris in the late 1960s to develop a typeface for airport signage. Instead of adapting his previously designed Univers® family, he developed something new that would also go on to become a classic – the Frutiger® typeface. The new design was completed in 1975 and installed at the airport that same year.

Futura – a popular typographic choice to express strength, elegance, and conceptual clarity.
Paul Renner (type designer, painter, author and teacher) sketched the original drawings and based them loosely on the simple forms of circle, triangle and square. The design office at Bauer assisted him in turning these geometric forms into a sturdy, functioning type family, and over time, Renner made changes to make the Futura fonts even more legible.

Helvetica – one of the most famous and popular in the world !
The Helvetica® typeface is one of the most famous and popular in the world. It’s been used for every typographic project imaginable, not just because it is on virtually every computer. Helvetica is ubiquitous because it works so well. The design embodies the concept that a typeface should absolutely support the reading process – that clear communication is the primary goal of typography.

Neue Helvetica – quintessential sans serif font, timeless and neutral, and can be used for all types of communication !
Neue Helvetica_mf
In 1983, D. Stempel AG redesigned the famous Helvetica typeface for the digital age, creating Neue Helvetica for Linotype: a self-contained font family. Today, this family consists of 51 different font weights. Neue Helvetica contains 51 different font weights. All weights are also available in Central European versions, supporting the languages of Central and Eastern Europe. Lastly, 34 weights are available in Cyrillic versions. Read more about Neue Helvetica…
Complementary fonts:
Chinese fonts that pair well with Neue Helvetica: MHei HK (Traditional Chinese), MHei PRC (Simplified Chinese).
Korean fonts that pair well with Neue Helvetica: YD Gothic 100 (Korean)

PMN Caecilia – recommended for magazines
The PMN Caecilia® design is a slab serif font with subtle changes in line thickness, large counters (the area enclosed completely or partially by a letter), and a taller than usual base height. Because the lines of this font follow writing patterns rather than shapes, many people find this font easier to read.

Interstate – recommended for Newspaper, Magazine, Book, and Corporate use.
Interstate continues to enjoy wide popularity on everything from advertisements, website, publications, corporate branding, television programming, product design, book covers, and more.

FF Meta
FF Meta_mf
The FF Meta® design is a sans serif, humanist-style typeface that was designed by Erik Spiekermann for the West German Post Office (Deutsche Bundespost).In 2011, FF Meta was added to the MoMA Architecture and Design Collection in New York. This FontFont is a member of the FF Meta super family, which also includes FF Meta Correspondence, FF Meta Headline, and FF Meta Serif. FF Meta is suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, small text as well as web and screen design.

Metro Nova – a versatile and distinctive sans serif typeface
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 development of the Metro typeface began as a “design dare.” First released in 1930, Metro was the wildly popular result of a challenge to create a new, versatile and distinctive sans serif typeface for Linotype typesetters. Over 80 years later, Toshi Omagari welcomed the opportunity to update this seminal design for digital imaging. The new typeface, Metro Nova, builds on the foundation of the original Metro, preparing it perfectly for today’s taste and technology.

Museo Sans – clean geometric design style that works well in both text and display sizes
museo sans_mf
Museo Sans is a full-featured, highly legible sans serif font family designed by Jos Buivenga. Museo Sans sports a familiar look and is based on the popular Museo serif typeface family. Museo Sans has a sturdy, low contrast, geometric design style that works well in both text and display sizes. The Museo Sans font family includes 10 fonts: 5 different weights with matching italics with Western and Central European language support. Read more about Museo Sans…

Myriad – an excellent choice for text typography that is comfortable to read.
Designed by Robert Slimbach & Carol Twombly with Fred Brady & Christopher Slye, Myriad has a warmth and readability that result from the humanistic treatment of letter proportions and design detail. Myriad Pro’s clean open shapes, precise letter fit, and extensive kerning pairs make this unified family of roman and italic an excellent choice for text typography that is comfortable to read.

Neo Sans – ultra modern font that looks futuristic
Neo Sans_mf
Designed by the British type designer Sebastian Lester. The typefaces were released by Monotype Corporation on April 19, 2004. The design concept called for a versatile, futuristic typeface that didn’t look “crude, gimmicky or ephemeral”. Read more about Neo Sans…

Scala Sans – graceful sans font, great for editorial text
Scala Sans_mf
This graceful sans serif humanist font may have a recent design history, but its roots go all the way back to the late 1700s. The FF Scala Sans’ font is a companion font to the FF Scala’ font, both created by Dutch designer Martin Majoor in the early 1990s. They were designed for the Vredenberg Music Center, a concert hall in Utecht in the designer’s native Netherlands.

Soho – great for corporate identity and product branding
Slab serif typefaces are enjoying something of a renaissance, offering versatility whether for corporate identity, product branding, text or display use. With 40 weights to choose from Soho gives designers endless possibilities from the ultra chic lines conveyed by the lighter weights to the rock solid statement made by the heavier weights.

The Univers® typeface family is one of the most prolific grotesque sans-serif typefaces of the century. Like Helvetica®, Univers is based on 1898‘s Akzidenz-Grotesk. However, Univers is unique in that the design lacks superfluous features of any type, creating a design that is versatile and distinctive without being obstrusive. Adrian Frutiger began work on Univers in 1954, completing his design in 1957. The Univers type family has grown to 44 different weights and styles, some of which include Cyrillic characters.

The Sans – a modern classic suitable for corporate branding design
TheSans is a modern classic. A favourite for corporate design, editorial design and new media, it comes in an astounding range of widths and weights, including a large set of hairline fonts. Read more about The Sans…

If you are interested in ordering any of these fonts, please email info@alttype.com.sg

*this font compilation is based on bestselling font reference from Linotype, Monotype, myfonts and FontShop.

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 info@alttype.com.sg

Stylized Chinese Fonts – great for branding and logo design

Featuring M Ellan, M Elle and M Razor from Chinatype Design/Monotype:

Simplified Chinese Fonts Syle

M Elle_c

M Elle is available in three styles – Light, Medium and XBold.
elle3To test sample text, click here.

M Razor_c
M Razor is available only in one style – XBold
To test sample text, click here.

M Ellan_c
M Ellan is available only in one style – XBold
To test sample text, click here.

More styles:

M Gentle PRC Light

M Gentle PRC Light

M Gentle PRC XBold

M Gentle PRC XBold

M Qing Hua PRC Light

M Qing Hua PRC Light

M Qing Hua PRC Semibold

M Qing Hua PRC Semibold

M J Ngai PRC

M J Ngai PRC

C J Ngai PRC Bold

C J Ngai PRC Bold

C Xing Kai PRC Bold

C Xing Kai PRC Bold

M Finance PRC Bold

M Finance PRC Bold

M Yoyo PRC

M Yoyo PRC

M Felt Pen

M Felt Pen

To order fonts, please email info@alttype.com.sg
If you would like some recommendation for pairing of Chinese & Latin typefaces, we will be happy to help too.

Korean Fonts

YD Gothic 100

YD Gothic 100

YD Gothic 100 By Yoon Design. Image: Monotype

YD Gothic 100 family is the most common font used in Korea. It is ranked first place in designer preference and customer preference.
YD Gothic 100 is a clean and legible modern sans serif typeface. Its monolinear simple structure givesYD Gothic 100 it a kind of stable feeling, are functional, clean and minimal. This font family is a modest design that doesn’t feel at all stiff or bland that help to emphasize text or headlines and it has already seen plenty of magazine and book cover action.

This font family has 6 weights and also contains some traditional Chinese characters.

DS SweetKiss Designed by Yoon Design, DS SweetKiss is a Korean font with 3 weights – Light, Medium Bold.

YD Summer Designed by Yoon Design, YD Summer is a Korean font with 3 weights – Light, Medium Bold.

Font Enquiries: Please contact alt.TYPE

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