Monotype

Letraset’s talented type designer Vince Whitlock was inspired by the elegant Caslon series when he created Academy Engraved. The exquisite letterforms of this traditional Roman typestyle make it ideal wherever an elegant and classical titling face is desired.

ATF Agency Gothic was designed by Morris Fuller Benton in 1932 as a lone titling typeface. In 1990, David Berlow saw potential in the squared forms of the narrow, monotone capitals. He designed a lowercase and added a bold to produce Font Bureau Agency, an immediately popular hit. Sensing its potential to be than just a useful condensed face, Font Bureau developed Agency into a major series offering five weights in five widths; FB 1990-95

Berthold first published Akzidenz-Grotesk in 1896. The design originates from Royal Grotesk light by Ferdinand Theinhardt who also supplied the regular, medium and bold weights. This new interpretation by Bernd Möllenstädt and Dieter Hofrichter has been conceived as a single family that uses the principal shape characteristics of Akzidenz-Grotesk which now appear throughout all the weights. The x-height has been readjusted as well as the weights to obtain a more consistent design throughout the family from extralight to black.

Sweet but not saccharine, earnest but not grave, Archer is designed to hit just the right notes of forthrightness, credibility, and charm. Slab serifs have been evolving for two hundred years, yet the category continues to be dominated by two basic styles: Antiques and Geometrics. Antiques arise out of the same nineteenth-century tradition that produced the Modern and Scotch styles: at heart, they’re text faces, and they feature all of the qualities needed to thrive at small sizes. (Antiques customarily have the traditional ‘two-storey’ forms of a and g, and a capital R that ends in a flourish.) Our Ziggurat typeface is an example of the Antique style in full flower, capturing the best of what the style has to offer: it’s warm, comforting, and persuasive. But this coziness comes at the expense of modernity, and in the wrong context even the best Antique can feel old-fashioned, musty, and irrelevant. The Geometric is a twentieth-century riposte to the Antique. Informed by the same kind of rationalist thinking that inspired the great sans serifs of the Bauhaus, Geometrics abandon traditional forms in favor of mathematical strategies. A Geometric’s O is circular rather than elliptical, and its forms shed their residual contrast between thicks and thins. Geometrics usually apply this same rationalism to the woollier parts of the alphabet, replacing the alphabet’s beaks and tails and ball terminals with a program of matching serifs. While these faces can sometimes be bracingly modern, they’re often monotonous, and many Geometrics suffer from an astringent sting that makes them difficult to use and unwelcome to When Martha Stewart Living asked us to develop a new typeface for the magazine, it seemed that a slab serif could answer much of the brief. A slab could be personable, straightforward, and credible, though it would take special effort to also make it pretty, hard-working, and frank. Archer would have to answer some formidable typographic demands, since Living is an almanac of lists, recipes, charts, diagrams, tables, calendars, and glossaries. To make the typeface frank — direct, but not brusque — we introduced subtle cues from the world of typewriter faces, which combine the ordinariness of Antiques with the modern practicality of Geometrics. We restored the vanished ‘ball terminals’ to the lowercase, and uncharacteristically applied these gestures to the capitals as well, in order to yield a font that’s friendly without being silly, and attractive without being flashy. The result is a typeface that’s well-mannered, easy to work with, and inviting to The Archer typeface was designed by Jonathan Hoefler and Tobias Frere-Jones in 2001, with contributions from Jesse Ragan and additional material by Jordan Bell and Andy Clymer. While rooted in the ‘geometric slab serif’ style that emerged in the early nineteenth century (and reached full flower a century later), Archer’s many liberties with the style include its uncharacteristic application of ‘ball terminals’ to capital letters such as ‘C’ and ‘S,’ a detail traditionally found only in the lowercase alphabet. Archer was created for Martha Stewart Living, in whose pages the typeface first appeared in 2001.

Arial is one of the most widely used designs of the last 30 years. Drawn in 1982 by Robin Nicholas and Patricia Saunders for use in an early IBM® laser printer, Arial has become a staple for textual content. While it is widely believed that Arial's design was based on Helvetica, it is more accurate to consider Monotype Grotesque as its ancestor.

In drawing the Avenir® typeface, Adrian Frutiger looked to both the past and the future for inspiration. His goal was to reinterpret the geometric sans serif designs of the early part of the 20th century in a typeface that would portend aesthetics of the 21st century. He succeeded handsomely. In doing so, Frutiger added a bit of organic humanism to the design, freeing Avenir from the rigid geometric overtones of the earlier designs. Avenir is employed on signage at Dallas Fort Worth and Hong Kong international airports. The city of Amsterdam adopted Avenir as its corporate typeface in 2003. The original Avenir family is made up of designs with gradual weight changes in order to satisfy the needs of specific text applications. While the book and light weights have similar stroke widths, the book weight is well suited for body text, whereas the light was designed for captions and subhead text.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. 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. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

A set of square capitals developing from the interest in geometric forms stimulated by the Bauhaus, Bank Gothic was designed by Morris Fuller Benton for ATF in 1930, the same year that Georg Trump designed City for Berthold.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

Benton Modern was first prepared as a text face by Font Bureau for the Boston Globe and the Detroit Free Press. Design and proportions were taken from Morris Fuller Benton’s turn-of-the-century Century Expanded, drawn for ATF, faithfully reviving this epoch-making magazine and news text roman. The italic was based on Century Schoolbook. These display cuttings were prepared by Dyana Weissman and Richard Lipton; FB 2008

Benton Modern was first prepared as a text face by Font Bureau for the Boston Globe and the Detroit Free Press. Design and proportions were taken from Morris Fuller Benton’s turn-of-the-century Century Expanded, drawn for ATF, faithfully reviving this epoch-making magazine and news text roman. The italic was based on Century Schoolbook. The display cuttings were prepared by Dyana Weissman and Richard Lipton; FB 2008 For additional license options like app and enterprise, visit Benton Modern Text on [Type Network](https://store.typenetwork.com/foundry/fontbureau/fonts/benton-modern-text).

Designed by H. Hoffman, H. Berthold initially released Block in 1908. H. Berthold also released subsequent versions reworked by Hoffman through 1926. With its distinctive bold characters and very short descenders, Block was a staple for job printing in Germany for decades. In the late 1970s, H. Berthold added weights, including italics, to offer more flexibility.

Giambattista Bodoni (1740–1813) was called the King of Printers and the Bodoni font owes its creation in 1767 to his masterful cutting techniques. Predecessors in a similar style were the typefaces of Pierre Simon Fournier (1712–1768) and the Didot family (1689-1836). The Bodoni font distinguishes itself through the strength of its characters and embodies the rational thinking of the Enlightenment. The new typefaces displaced the Old Face and Transitional styles and was the most popular typeface until the mid-19th century. Bodoni’s influence on typography was dominant until the end of the 19th century and, even today, inspires new creations. Working with this font requires care, as the strong emphasis of the vertical strokes and the marked contrast between the fine and thick lines lessens Bodoni’s legibility, and the font is therefore better in larger print with generous spacing. The Bodoni of Morris F. Benton appeared in 1911 with American Type Founders.

I became interested in designing Bodoni Classic because of a lazy graphic designer at Jacques Damase publishing house. He had to change a single letter on a bookcover about J. B. BODONI. The French call him Jean Baptiste instead of Giambattista! And that unknown graphic designer just took any old 'J' from some newly cut Bodoni.All the new Bodoni cuts have square serifs, whereas the originals had rounded serifs and slightly concave feet. The single letter 'J' with the squared off serif was for me like a road sign to start redesigning the entire Bodoni family.That’s exactly what I started in 1993 and a dozen years later I am finished. Okay, I am still adding new Bodoni Classics, but those are my personal additions. Recently I designed a family of seven »Bodonian Script« fonts, that can be mixed with most of my Bodonis. Yours very retro, Gert Wiescher

License [Century Gothic](https://www.myfonts.com/fonts/mti/century-gothic/) on MyFonts

Originally released in 1987, Charter incorporates three important features: compact set width to give economical copyfit; generous x-height to give readability at small point sizes; and sturdy open letterforms to give reliable reproduction at both typesetter and laser printer resolutions. The design brings a clarity and freshness to everyday documents, such as newsletters, textbooks, directories and technical manuals, where the reader’s concentration must not be interrupted by unfamiliar letterforms but where typographic dullness can itself impair comprehension. The Italic has cursive letterforms - so is instantly distinguishable, while being readable enough in its own right for continuous text.The Charter BT Pro Pack features 6 fonts: roman, italic, bold, bold italic, black, and black italic. The fonts include characters originally developed for expert sets, such as ligatures, ornaments, old style figures, small caps, and superiors. The Pro Pack fonts support Western, Central European, and Eastern European languages.OpenType fonts are a cross-platform font format. The same OpenType font can be installed on Mac OS X, Windows, Linux, and Unix systems. Mac OS X and Windows 2000, XP, and Vista have built-in support for OpenType. OpenType fonts also work on Linux, Unix, and earlier versions of Windows, where they are recognized as TrueType fonts.OpenType includes many more features than the standard TrueType and PostScript formats, including the ability to install the same font on different platforms, crucial for document portability. OpenType fonts boost productivity because graphic designers and business professionals do not have to wrestle with many different fonts. With OpenType, customers have larger character sets to work with and fewer font files to deal with.

Georges Peignot designed Cochin based on copper engravings of the 18th century and Charles Malin cut the typeface in 1912 for the Paris foundry Deberny & Peignot. The font is named after the French engraver Charles Nicolas Cochin (1715–1790) although its style had little to do with that of the copper artist’s. The font displays a curious mix of style elements and could be placed as a part of the typographical Neorenaissance movement. Cochin is especially large and wide and was very popular at the beginning of the 20th century.

Dante was designed by Giovanni Mardersteig. Mardersteig started work on Dante after the Second World War when printing at the Officina Bodoni returned to full production. He drew on his experience of using Monotype Bembo and Centaur to design a new book face with an italic which worked harmoniously with the roman. Originally hand-cut by Charles Malin, Dante was adapted for mechanical composition by Monotype in 1957. The new digital font version has been re drawn, by Monotype's Ron Carpenter, free from any restrictions imposed by hot metal technology. The Dante font family was issued in 1993 in a range of three weights with a set of titling capitals. Dante is a beautiful book face which can also be used to good effect in magazines, periodicals etc. Dante® font field guide including best practices, font pairings and alternatives.

License [Demos Next](https://www.myfonts.com/fonts/linotype/demos-next/) on MyFonts

DIN stands for Deutsche Industrienorm, German Industrial Standard. In 1936, the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration, and business. The committee chose a sans serif font because of its legibility and easy-to-write forms. This font was not seen in advertisements and other artistically oriented uses, and there were disagreements about its aesthetic qualities. Nevertheless, this font was seen everywhere on German towns and traffic signs and hence made its way into advertisements because of its ease of recognition. License [DIN 1451 Pro](https://www.myfonts.com/fonts/linotype/din-1451/) on MyFonts

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Variable offers you more FF DIN than ever before. Pushing font technology to its limits, Variable fonts provide creatives a tool to dial in hyper specific variations which thrive in any design space. FF DIN Variable take bold steps in engineering, which the typefaces behaviour which brings in FF DIN’s technical look-and-feel into the smooth and almost organic world of Variable Fonts. Available in both upright and italic styles, there is a lot more FF DIN to discover with new era of type technology. FF DIN Italic is a sloped roman style, however it is optically corrected – slightly thinner, slightly narrower. As a result, FF DIN Italic stands out subtly. FF DIN Variable stays faithful to its parent’s DNA, the utmost care was taken to ensure that the new instances of FF DIN Variable remained consistent with all the well-known weights. Precision is the mantra of FF DIN, the FF DIN Variable is no exception to this design philosophy. Produce exquisitely fine-tuned typography and expressive animated headlines for any design. Infinite styles, intelligent, and powerful.

License [Gill Sans Nova](https://www.myfonts.com/fonts/mti/gill-sans-nova/) on MyFonts

Every designer has admired the no-nonsense lettering of the American vernacular, those letters of paint, plaster, neon, glass and steel that figure so prominently in the urban landscape. From these humble beginnings came Gotham, a hard-working typeface for the ages. The Gotham typeface was designed by Tobias Frere-Jones in 2000, with contributions from Jonathan Hoefler and Jesse Ragan. Additional material by Sara Soskolne, Andy Clymer, Kevin Dresser, Wendy Ellerton, Malou Verlomme, Ksenya Samarskaya, Aoife Mooney, Erin McLaughlin, and Colin M. Ford. A sans serif that shares many attributes of typography’s ‘geometric’ genus, Gotham was inspired by a style of bold capital letters that evolved outside the typographic tradition in the early twentieth century, common to lithographed posters, enamel signs, and commercial facades throughout New York City. First appearing in the pages of GQ magazine in 2001, Gotham gained international attention in 2007 when it was adopted by the presidential campaign of Barack Obama. One of the most popular and influential typefaces of our time, Gotham is in the permanent collection of the Museum of Modern Art in New York. From the desk of the designer: Gotham celebrates the attractive and unassuming lettering of the city. New York is teeming with such letters, handmade sans serifs that share a common underlying structure, an engineer’s idea of “basic lettering” that transcends both the characteristics of their materials and the mannerisms of their makers. These are the cast bronze numbers that give office doorways their authority, and the markings on cornerstones whose neutral and equable style defies the passage of time. They’re the matter-of-fact neon signs that emblazon liquor stores and pharmacies, and the names of proprietors plainly painted on delivery trucks. These letters are straightforward and non-negotiable, yet possessed of great personality, and often expertly made. And although designers have lived with them for more than half a century, they remarkably went unrevived until 2000, when we introduced Gotham. Gotham is that rarest of designs, the new typeface that feels somehow familiar. From the lettering that inspired it, Gotham inherited an honest tone that’s assertive but never imposing, friendly but never folksy, confident but never aloof. The inclusion of so many original ingredients without historical precedent — a lowercase, italics, a comprehensive range of weights and widths, and a character set that transcends the Latin alphabet — enhances these forms’ plainspokenness with a welcome sophistication, and brings a broad range of expressive voices to the Gotham family. Four Widths Designers asked if Gotham could take on new typographic roles, and we listened. Gotham Narrow reimagines Gotham as a space-efficient text face, handily succeeding in the confines of the narrow text column without looking squeezed. With the silhouette of a classic headline series, Gotham Extra Narrow is a practical choice for sizes both large and small, with an ample character set that recommends it to information-dense environments. Gotham Condensed features nine weights from Thin to Ultra, including a number of features unusual in condensed fonts, starting with matching italics in every weight.

With the name Helvetica (Latin for Swiss), this font has the objective and functional style which was associated with Swiss typography in the 1950s and 1960s. It is perfect for international correspondence: no ornament, no emotion, just clear presentation of information. Helvetica is still one of the best selling sans-serif fonts.