Tag Archives: Linotype

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.

BradleyTexting

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.

BradleyTexting_545-03

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.

BradleyTexting_545-01c

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 info@alttype.com.sg

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Bestselling Fonts of all times

FB Agenda – recommended for Newspaper, Magazine, Web and Corporate use
Agenda_fc
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
AkzidenzGrotesk_fc
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
Avenir-mf
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
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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
CorporateABQ

Corporate S BQ
CorporateSBQ
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
Frutiger_fc
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.
Futura_mf
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 !
Helvetica_mf
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
PMNCaecilia_fc
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_mf
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
MetroNova_mf
MetroNova
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.
Myriad_mf
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
Soho-mf
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.

Univers
Univers-mf
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
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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.

Handwriting, Calligraphic and Script fonts

Handwriting, calligraphic and script fonts from Linotype, Monotype, Bitstream, Fontfont, Scholtz, Hallmark, Sudtipos, Emily Lime, Bomparte and Kimberley Geswein. Font enquiries: please email info@alttype.com.sg

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

Vietnamese Fonts

Fonts that support Vietnamese Script

ProximaNovaCondensed

Proxima Nova Condensed

ProximaNovaExtraCondensed

Proxima Nova Extra Condensed

ProximaNovaRegular

Proxima Nova Regular

Ascender Uni

Ascender Uni

Cinecav X Casual

Cinecav X Casual

Cinecav X Sans

Cinecav X Sans

Cinecav X Script

Cinecav X Script

Cinecav X UI

Cinecav X UI

Doradani

Doradani

Droid Sans

Droid Sans

Ergo W2G

Ergo W2G

Helvetica World

Helvetica World

Palatino Linotype

Palatino Linotype

Tahoma W3G

Tahoma W3G

Verdana W3G

Verdana W3G

Please email info@alttype.com.sg if you are interested in ordering any of these fonts.

Avenir Font

Avenir

Adrian 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 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 2004 Adrian Frutiger and the type director of Linotype GmbH Akira Kobayashi reworked the Avenir and created the Avenir Next for the Platinum Collection.

Avenir™ Next is a major improvement and extension to the existing Avenir. It includes new small caps, newly designed true italics, and a complete new range of condensed weights. The wide variety of possibilities for accentuation means users can now implement Avenir Next for complex typographical tasks needed in such areas as Corporate Design or in the creation of business reports.

 

A new form of an old friend: Avenir Next Rounded

In 2012, Linotype decided to issue some of the variants of Avenir® Next in Rounded versions. Working in consultation with Adrian Frutiger, Linotype’s Type Director Akira Kobayashi and the designer Sandra Winter have produced four basic weights Regular, Medium, Demi and Bold of Avenir Next Rounded with the corresponding italic versions.

Avenir Nex tRounded

Avenir Next Rounded

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Museo Family – Museo, Museo Sans, Museo Slab, Museo Rounded

Museo

Museo by Jos Buivenga

MUSEO … it all started with Dutch designer Jos Buivenga’s love for U. One day this uppercase letter U just came to him as an image in a daydream. He saw the top of both stems bended into semi-slab serifs, and from that principle, he worked out the rest of the uppercase letters.

His first intention was to make it an all-caps display font but after a few months he changed his mind. He wanted it to be a bit more versatile and added lowercase, adjusted spacing and kerning to increase legibility. The end result is a contemporary semi-slab serif font family with five weights, designated as 100,300,500,700,900. After creating the original Museo, Jos Buivenga went on to create Museo Sans, Museo Slab and Museo Rounded.

The diversity of styles within the Museo family ensures that the typeface has a wide range of potential applications.

Museo Fonts

Museo Slab

Museo Sans

Museo Rounded