Designed by Jim Wasco, the Harmonia Sans™ family is a balanced and harmonious geometric sans with a twist. Its proportions make it a friendlier, more dynamic typeface that performs well in print and on screen.
The Gill Sans® Nova typeface, by Monotype Studio designer George Ryan, expands the much-loved Gill Sans family from 18 to 43 fonts and features a coordinated range of roman and condensed designs.
This version of Bodoni™ was done by Morris Fuller Benton for American Typefounders between 1907 and 1911. This typeface is both romantic and elegant, with a presence that adds tasteful sparkle to headlines logos, advertising, and text.
Because of the geometric basis of its forms, Memphis® Soft Rounded is often thought of as a font for technical fields, making a rational, purposeful impression. Memphis is appropriate for any text which should exhibit a clear, neutral character.
Pablo™ is the work of British designer Trevor Pettit, who based this dramatic typeface on the signature of Pablo Picasso. Pablo ships with several alternative characters to help produce a seamless handwritten flow.
The Daytona™ typeface family – designed by Jim Wasco as sturdy squared letters based on humanist shapes and proportions – grew out of a desire to provide improved fonts for use in televised sporting events.
Caslon™ Graphique is a bold, stylized interpretation of Caslon. Its distinctive curves have been a favorite for fashion and editorial headlines ever since the 70s.
The Ysobel™ typeface family is not only elegant; it is also exceptionally legible and space economical. Designed for setting text in newspapers and periodicals, Ysobel gives breathing room to dense paragraphs of text.
Designed for Volkswagen AG in 1979, VAG Rounded™ is a modification of 19th-century grotesques. Exceptional in this typeface are the rounded stroke endings. Use this typeface for technical texts, instruction manuals, or advertising.
Dempster™ is a geometric sans serif design by Jim Ford. It is tall, bold and square with interesting details such as the angled terminals on the lowercase letters and friendly-looking punctuation.
The Joanna® Nova design, by Monotype Studio designer Ben Jones, is part of the new Eric Gill Series. The addition of new elements inspired by some of Gill’s unreleased work, brings this much admired – but underused – slab serif typeface into the 21st century.
Originating in England in 1845, Clarendon™ was polished by Edouard Hoffmann and Hermann Eidenbenz at Haas a little over a century later. It has a timeless appearance for a wide range of contemporary uses from websites, ads, publications and signage.
The Burlingame™ typeface family from Carl Crossgrove is a sturdy typeface with open, clear shapes that offer high legibility, even in constrained digital settings, or in challenging print environments such as tiny pharmaceutical labels.
Epokha™ is the work of Colin Brignall, an unusual slab serif typeface influenced by the poster styles of the early 20th century. Its robust geometric construction commands attention in a fresh, contemporary way.
The Neue Aachen™ family was designed by Colin Brignall and published by Letraset in 1969. Impressed by the quality of Neue Aachen, Jim Wasco of Monotype Imaging has extended this robust display design to create an entire family.
Eurostile® Next is Linotype’s redrawn and expanded version of Aldo Novarese’s 1962 design. Stylistically, Eurostile Next is well suited for designs in the fashion of the 50’s and 60’s, yet it still has a remarkably new and contemporary feeling.
Based on the form of ancient Roman inscriptions, the sans serif Sackers™ Gothic font family was developed in 1994 by the Monotype Design Studio. It is an engraver, all-capitals family for invitations and stationery.
Romany™ is an non-connecting script which was originally designed by A.R. Bosco and released by American Type Founders in 1934. Revitalized by Ascender’s Terrance Weinzierl, Romany brings a touch of informal class to headlines, cards, invitations and thank you cards.
Freehand 471 is a chunky and dynamic script typeface designed by Matthew Carter, and perfect for advertising and display.
Designed by Matthew Carter in the mid-1980s for output devices with low resolution, the Charter® BT typeface has squared off serifs and a lack of excessive diagonals and curves. It’s clear-cut and plain forms make it highly versatile for a wide variety of uses including books and technical manuals.
The Monotype Typewriter™ series contains three typefaces created to emulate output from real typewriters – this fixed pitch design comes complete with authentic ink traps and dark spots.
The FF Govan™ family was designed by German type designers Erik Spiekermann and Ole Schäfer in 2001. Regular, condensed and expanded widths are ideally suited for many kinds of branding use such as packaging, film and logo work.
This sans FontFont is a member of the FF Info™ super family and was designed in 1998 by German type designers Erik Spiekermann and Ole Schäfer. In 1998 it received the The Big Crit award.
The Stymie™ family was designed by Morris Fuller Benton in 1931, reworking the model of Memphis for American Type Founders (ATF). For the past 150 years, slab serif types have been a popular choice for headline text in newspapers, magazines, and advertising.