Berling™ Nova Sans with Berling™ Nova

Clean and forthright, yet full of character, Berling Nova Sans joins Berling Nova to create a modern superfamily. Inspired by the original Berling type, a 1950s masterpiece from Swedish designer Karl-Erik Forsberg, Örjan Nordling and Fredrik Andersson developed a family that is true to its roots while relevant for contemporary work.

Frutiger® Serif with Frutiger® Next

Frutiger Serif is a re-envisioning of Meridien, a typeface first released by Deberny & Peignot during the 1950s. Working closely with Adrian Frutiger, Linotype’s Type Director Akira Kobayashi expanded the original metal type version of Meridien® into a new digital family of 20 variants. Renamed Frutiger Serif, this up-to-date Meridien has new weights, widths, and styles that correspond better with several other of Frutiger’s designs. Just as Meridien has always been a fine choice for text settings, Frutiger Serif works brilliantly for large amounts of text and also at small point sizes. Its added versatility is revealed when used in combination with other families, particularly original Frutiger®, Frutiger Next®, Univers® and the new Linotype Univers®.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Though it shares the strong stroke contrast of Didones, Really’s subtly oblique axis and sturdy serifs make it a no-nonsense typeface for text.

Waza™

Developed by Polish designer Franciszek Otto, Waza is a script revived from the Baroque epoch, particularly an etching by Wilhelm Hondius (Hondt), the Dutch court engraver for the Polish king, Ladislaus IV. While the tendriled caps are what give Waza its distinctive, ornate character, there are tamer alternate glyphs for less ostentatious settings.

Quench®

Opal™

Giacometti Letter™

Eurostile Unicase®

Eurostile Candy®

Grafilone™

Soho™ & Soho™ Gothic

2007’s Soho was a very popular addition to the growing range of typefaces from Sebastian Lester. This grand opus of a precision-engineered project resulted in a typeface that comprises nine weights and five widths. Altogether, that’s 40 fonts, 32,668 characters and 24 OpenType features. Lester expanded the family’s diversity with Soho Gothic, a modern sans serif designed to work at all sizes and harmonize well with Soho. Lester’s goal: “I wanted a mature and refined design that would perform as well being used as the back bone of a global brand as it would in an edgy fashion magazine”.

Egyptian Slate™ with Slate™

Rod McDonald’s underappreciated Slate hits a versatile note between humanist and grotesque sans serif styles. The family is even more versatile now that it has a slab serif companion. McDonald went beyond simply adding serifs to Slate, trimming and adjusting the typeface to allow for strong, monolinear slabs while letting the two faces work side by side. Egyptian Slate is available in six weights — from a svelte light to a commanding black — each with a complementary, true italic.

Azbuka™

The Azbuka family has its roots in a fairly pedestrian source. “The idea came in part from an old sign in London that read SPRINKLER STOP VALVE,” says Dave Farey, designer of the typeface. In Prague a number of years later, the street signs reminded Farey of the London signage – and his camera came out again. The two sources served as the foundation for a no-frills, 21st century typeface with industrial 20th century roots.

ITC Franklin™

In 1902 American Type Founders released the first typeface of Morris Fuller Benton’s prolific career: Franklin Gothic. It became the benchmark for a new genre of American Grotesques. In 1979 Victor Caruso of International Typeface Corporation increased the series to four photocomp weights: Light, Medium, Bold and Black, all with italics. In 1991 David Berlow added Condensed, Compressed and Extra Compressed widths. Berlow has now completed his definitive revision, a single new series of six weights in four widths for a total of 48 styles.

ITC Santangeli™

Giuseppe Errico captures the grace and flow of an 18th century manuscript by Italian writing master Benedetto Santangeli. Alternate characters and ink splotches enable a realistic reproduction of antique lettering.