Angled finial

CG Symphony was among the first one hundred PostScript faces released by Compugraphic in 1988. The original version of CG Symphony font is the Linotype Original font family Syntax.

When ITC Officina was first released in 1990, as a paired family of serif and sans serif faces in two weights with italics, it was intended as a workhorse typeface for business correspondence. But the typeface proved popular in many more areas than correspondence. Erik Spiekermann, ITC Officina's designer: "Once ITC Officina got picked up by the trendsetters to denote 'coolness,' it had lost... Read More

Syntax was designed by Swiss typographer Hans Eduard Meier, and issued in 1968 by the D. Stempel AG type foundry as their last hot metal type family. Meier used an unusual rationale in the design of this sans serif typeface; it has the shapes of humanist letters or oldstyle types (such as Sabon), but with a modified monoline treatment. The original drawings were done in 1954; first by writing... Read More

Massif Pro is a typeface designed by Steve Matteson in 2010. The twelve styles in the family were inspired by the dramatic granite formations found in the Sierra Nevada mountains, particularly Half Dome in Yosemite National Park. Massif combines organic flow with crisp readability on screen and in print. Massif's letterforms contain both angular tension and smooth curvature reminiscent of the... Read More

Palatino Sans is a 21st Century sans serif typeface from the master German designer Hermann Zapf. Palatino Sans and Palatino Sans Informal was designed as part of a group of three font families: Palatino nova, Palatino Sans, and Palatino Sans Informal. Together these three families act as the fulfilment of Herman Zapf's original Palatino idea. Palatino, which was born as a metal typeface in... Read More

The first drawings of FF Eureka date from 1995 when it was designed for the bilingual text “Transparency”. The typeface works particularly well with languages that commonly use accented characters. Because most contemporary Latin typefaces have large x-heights, little room is left to accommodate the accents which end up being small and tightly wedged in place. In many languages however, the... Read More