The Proxima Nova family is a complete reworking of Proxima Sans (1994). The original six fonts (three weights with italics) have been expanded to 42 full-featured OpenType fonts. There are three widths: Proxima Nova, Proxima Nova Condensed, and Proxima Nova Extra Condensed. Each width consists of 14 fonts--seven weights with matching italics.

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The Intro font family consists of 26 unique font styles and weights. The family is characterized by excellent legibility both in print and on the web, a well-finished geometric design, optimized kerning, etc. Intro is most suitable for headlines of all sizes, but it does well in a variety of text lengths as well. The font’s various styles give it the versatility necessary to meet any type of graphic design challenge — web, print, motion graphics, etc. — and make it perfect for t-shirts, posters, and logos.

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Brandon Grotesque is a sans serif type family of six weights plus matching italics. It was designed by Hannes von Döhren in 2009/10. Influenced by the geometric-style sans serif faces that were popular during the 1920s and 30s, the fonts are based on geometric forms that have been optically corrected for better legibility.

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Veneer from Yellow Design Studio is a high resolution hand-crafted letterpress font that’s vintage and authentic with a touch of grunge. It’s highly customizable with six distress options for every letter and three for all other characters, and because it’s remarkably detailed, it looks great even at very large sizes. In addition it includes a matching set of funky extras…for free!

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Aire is what Sproviero would call a < big display family >. We recommend seeing its user’s guide.

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Miles Newlyn has teamed up with Francesca Bolognini, type design’s rising humanist, to create Frank, a new typeface available in five weights, with true italics and Cyrillic. The product of Newlyn’s extensive experience and sensitivity toward the needs of modern business, the family was conceived to accurately communicate care, order and ability.

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Hannes von Döhren created Love Potion. Three fonts (Regular/Bold/Ornaments) that include extravagant Ligatures, Swash Letters, Catchwords, Arrows, Borders and other little specials. The hand drawn serif type family is intended to be used in applications like: Food, Clothes, Living, Wedding stationery or basically everywhere where love is in the air…

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Familiarity lies at the heart of legibility. Interstate is based on the signage alphabets of the U.S. Federal Highway Administration, letterforms absorbed at a glance everywhere we drive.

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Museo Sans is based on the well-known Museo.

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Futura is the fully developed prototype of the twentieth century Geometric Sanserif.

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Originally designed in 2008 by Olivier Gourvat, this font family gives an impression of modernism, harmony and roundness. These nuances give Sofia a harmonious and sensible appearance for both texts and headlines. Redesigned in 2012, this typeface supports a wide range of languages with more than 500 glyphs. This new version has also more OpenType features like case sensitive forms, small caps, contextual alternatives, stylistic alternates, fractions, proportional and tabular figures. With its 16 fonts, Sofia is an ideal font family for text, brands creation, signage, print and web design creation.

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Flexo is a geometric sans typeface, with humanistic warmth. It is a synthesis of the geometric and the humanistic. It has both mathematical straightforwardness, and humanistic refinement.

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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.

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This typeface, designed by Max Miedinger and other project members at the Haas’sche Schriftgiesserei, has become one of the most famous and popular typefaces in the world, thanks to the marketing strategy of Stempel and Linotype. It forms an integral part of many printers and operating systems. The original letterforms of Helvetica had to be modified for the Linotype system. Over the years, Helvetica was expanded to include many different weights, but these were not coordinated with each other.

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Carolyna Pro Black is the bolder sibling of Carolyna Pro. It is an elegant yet whimsically handwritten calligraphy font that was created with readability in mind. It uses open-type features to assist with letter flow and to give each creation that modern, hand-lettered touch. With over 1000 characters, there are many stylistic alternates to choose from, tons of foreign characters so you can write in other languages, and fun swashes to give headings a little something extra. Note: This font works best with open-type friendly applications.

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Populaire is a hand-drawn font that mimics true handcrafted lettering. Counting 4 glyphs for each letter, the laborious kerning table ensures that the glyphs are really exchangeable. Yet, there’s a cool set of ornaments and a kind-of-magic OpenType feature.

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Peoni is sweet and quirky… and distinctly different. Her hand-lettered glyphs have retained their original textured appearance for an even more authentic custom-lettering feel.

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Back in 1936 the German Standards committee Deutsches Institut Normung (DIN) proposed DIN 1451 as the standard type of lettering for road signage. As the original manual states ‘the purpose of this standard is to lay down a style of lettering which is timeless and easily legible’.

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The intention was to make a technical looking sans with a warmer feel to it, balanced between hard geometric shapes and friendly curves with slightly narrower endings. It should be useful in a wide range of tasks, whether combining the six weights with distinct Italics for editorial design, setting multiple pages of text, making financial reports, or using the highly contrasted lights and blacks for display and packaging design.

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Ralf Herrmann, the designer of Wayfinding Sans, started this project with extensive field studies, driving tens of thousands of miles to explore the legibility of road signage typefaces in dozens of countries around the world.

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Beneath the dominant signifier of identity, a surprising dimension of Bodoni is revealed—its core architecture, stripped of the famous high contrast cloak. Further subverting typographic norms, a monoline of even width (in all but the heaviest weights) here describes capitals, lower case, and serifs. And yet a certain quaintness is evident; this is, after all, both deconstruction and historical fiction.

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Carolyna is an elegant, yet whimsically handwritten calligraphy font that was created with readability in mind. It uses open-type features to assist with letter flow and to give each creation that modern, hand-lettered touch. With over 1000 characters, there are many stylistic alternates to choose from, tons of foreign characters so you can write in other languages, and fun swashes to give headings a little something extra.

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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.

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Variable is a sans-serif monoline typeface family that can be used in a variety of typographic environments.

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The first cuts of Trade Gothic were designed by Jackson Burke in 1948. He continued to work on further weights and styles until 1960 while he was director of type development for Mergenthaler-Linotype in the USA.

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The design of Beau Sans was inspired by Bernhard Gothic which is considered one of the first contemporary American sans serifs and was designed by Lucian Bernhard in the late 1920s.

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Geogrotesque is a semi modular with a subtle rounded finish typeface. All the characters are based in the same formal principle with its corresponding optical adjustments in order to adapt the system to an alphabet for texts. Although the type family has a geometric or “technological” construction, the rounded finish provides it a warm appearance, making the typefaces nicer and nearby.

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Klavika is a flexible family of sans serifs for editorial and identity design.

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Jacques & Gilles is the most interesting hand-lettered font yet - due to its split personality. This font is relatively small compared to other Emily Lime fonts. And yet it packs a punch!

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Univers was designed by Adrian Frutiger on Swiss principles for Charles Peignot at Deberny & Peignot.

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This typeface was initially released as Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas’sche Schriftgiesserei (Haas Type Foundry) in Switzerland.

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Slim Tony is a delicious script font. Tony is a distant relative of Mishka but much bolder and more extravagant. Slim Tony works superbly  for custom headlines and logotypes. Turn on Swash, Stylistic or Contextual Alternates for some serious extra kick. Activate small caps for clear capital letters designed to work perfectly with the script. Slim Tony’s ornaments is a set of over one hundred swooshes, swashes, ornaments and pictograms.

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Type designer Hannes von Döhren has created Pluto, a sweet type family consisting of 16 Uprights and 16 Italics; 32 fonts in all. The fonts are informal and friendly at first sight and lend themselves to display settings, however the straight and upright architecture of Pluto also makes it perfect for longer copy. Because of its large x-height, it even performs nicely in very small sizes. This contemporary type family is ideal for use in retail, cosmetics, food and hospitality applications and advertising.

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In 1968, Adrian Frutiger was commissioned to develop a sign and directional system for the new Charles de Gaulle Airport in Paris. Though everyone thought he would want to use his successful Univers font family, Frutiger decided instead to make a new sans serif typeface that would be suitable for the specific legibility requirements of airport signage: easy recognition from the distances and angles of driving and walking. The resulting font was in accord with the modern architecture of the airport.

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Belluccia is dedicated to Debi’s mother, aunt, and uncle…all talented creative people who inspired her to become an artist.

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The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990.

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Museo... it all started with my love for the letter ‘U’. This uppercase letter just came to me as an image in a daydream. The top of both stems bent into semi-slab serifs. From this principle I worked out the rest of the uppercase letters. My first intention was to make it an all-caps display font, but after a while, I changed my mind. I wanted it to be a bit more versatile, so I decided to add lowercase and adjust spacing and kerning to increase legibility.

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Since Mommie I gradually got more into swirly ornaments. The massive contrast in the neoclassic style is perfect for thin swirly extensions to the characters. Even in an upright typeface. Narziss is very elegant in big headline sizes.

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Based on overinked proofs taken from worn types of one of Granjon’s late romans surviving at the Plantin Museum, as interpreted in 1913 by Pierpont and the Monotype Corporation drawing office. The lowercase “a” is the wrong font, copied from an eighteenth century replacement.

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Aphrodite Slim Pro is not just a lighter version of its sister Aphrodite Pro. Aphrodite Slim Pro has duplicated the quantity of characters of its partner, and that means more than 500 new glyphs, reaching a total of more than 1000.

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In 1903 faced with the welter of sans offered by ATF, Morris Fuller Benton designed News Gothic, a 20th Century standard.

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Take a look at the User’s Guide at the Gallery section for technical information.

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While Adelle is a slab serif typeface conceived specifically for intensive editorial use, mainly in newspapers and magazines, its personality and flexibility make it a real multiple-purpose typeface.

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