Tag Archives: Linotype

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:


SST® – A font for everywhere from Monotype

Designed by Akira Kobayashi and a team of ten other type designers around the world, SST brings harmony and personality to communications across cultures and touchpoints. The SST typeface was designed to be universal and timeless, with support for 93 languages and outstanding legibility at all sizes.

With the aim of creating an international font family, Monotype’s Type Director Akira Kobayashi teamed up with Sony’s Chief Art Director Hiroshige Fukuhara to design the neutral sans SST®. The team and designers around the world helped to make sure the style demands and cultural nuances of specific languages were catered for, and ensure a consistent tone across the entire family of fonts.

What started out as an exclusive corporate typeface is now available to everyone: a modern sans serif with clean structures and an organic legibility. The superfamily supports almost 100 languages with numerous font systems and in addition to Latin also offers Greek, Cyrillic, Arabic, Vietnamese, Japanese and Thai characters and symbols. This means SST will be your ideal partner for major international corporate projects and can convince both in print and on screen.

SST Fonts

Image: Fontshop/Monotype

In Akira’s words, SST was created to be flexible enough to let the products or brands speak for themselves.

Designer: Akira Kobayashi


Image: Monotype


Image: Monotype

Akira feels that an attractive typeface with trendy styling might look outdated in just a couple of years. Or in another case, a type with embellished characters could instantly attract readers’ attention. Suppose one brand selects this embellished type for its advertisement. The appearance of the type or the tagline gives the brand a certain look. People in the street see it repeatedly and the type eventually becomes the brand’s tone of voice. But such type tends to leave us with a strong impression, making other brands reluctant to use the same type in the same way. In developing SST to be used for branding, he and his team knew they had to avoid this as they hoped that the type would be used for many different brands, and for many years to come.

SST® Font Family: Ultralight, Ultralight Italic, Light, Light Italic, Roman, Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic, Typewriter, Typewriter Bold, Condensed, Condensed Medium, Condensed Bold.

Language packs:
SST® Thai Font Family
SST® Arabic Font Family
SST® Japanese Font Family
SST® Vietnamese Font Family

Prices start from SGD90 – SGD315 per weight depending on language. Family Pack is available at discounted price. To order fonts, please submit form:


Rollerscript_MyfontAs the name suggests, the Rollerscript font from G-TYPE designed by Nick Cooke was conceived by writing out variations of each character by hand using a roller pen before the scanning and digitising process.

Pronounced pressure points where characters start, end or join make for a very authentic hand drawn appearance which is enhanced still further through the use of over 100 standard ligatures. Character pairings like ‘tt’ or ‘gg’ in normal handwriting fonts never look natural but in Rollerscript will now automatically change as you type!
234582Rollerscript’s handwriting credentials are given a further boost with the inclusion of multiple underlines and sketched icons, arrows and emoticons.

rollerscript-700_3Available as 2 Typefaces – Rollerscript Smooth and Rollerscript Rough or as 1 Value Pack, Rollerscript supports at least 21 languages (STD/OT CFF).
234580Font enquiry:  info@alttype.com.sg

Introducing : Tazugane Gothic – a Japanese font with the flair of Neue Frutiger


Developed as the Japanese version of the popular Neue Frutiger by Adrian Frutiger and Akira Kobayashi, Tazugane Gothic™ is a humanist sans with clear and legible forms.

The Tazugane Gothic typeface contains OpenType functions including proportional metrics and kerning. Like the Neue Frutiger typeface, Tazugane Gothic features ten different weights, ranging from Ultra Light to Extra Black, allowing for a broad range of applications.


By not making the individual characters too large, the balance of traditional handwriting taught in schools is preserved, producing a typeface with a distinctly human flavor that supports a sense of stability and readability.

main_image_1 Please contact alt.TYPE if you are interested in ordering the fonts.

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 : 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 info@alttype.com.sg

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.