The Threepoints Series is the result of several years of work that bases three different sans serif type designs on one “shell”. Designed for optimal readability North, with its squarish shapes and rigidity are suggestive of an upright Swiss or Inserat typeface. The East variant takes on the look of another popular condensed grotesk with a softer, more rounded basic shape whilst maintaining the purpose of the original design.

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Developing a new sans serif clearly distinguishable from existing sans serifs is a difficult task. Günter Gerhard Lange accomplished that with Imago, introduced by Berthold in 1982.

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Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed √ la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.”

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Adesso is a humanistic sans serif very generous & comfortable. It has been created for very young readers. With its wide opened & rounded shapes it is particularly peaceful & legible especially in small sizes.

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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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Secca is a fine and simple typeface honoring the roots of early German grotesque type designs but mastered for the needs of today.

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Serifa was designed by Adrian Frutiger for the Bauer foundry in 1967. The letterforms are based on those of Frutiger’s earlier sans serif design, Univers. Square, unbracketed serifs have been added, making this a slab serif (or Egyptian) typeface.

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NovaSans is a modern geometric sans-serif font which captures the spirit of Bossa Nova, a noble Brazilian music style. Music and typography presents several things in commom, so the idea behind the font is show some of bossa nova’s characteristics, like melody, cadence, softness, metric, simplicity, waves, subtleties. Some gaps in representing the source of irregular alignment scores.

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The Threepoints Series is the result of several years of work that bases three different sans serif type designs on one “shell”. Designed for optimal readability North, with its squarish shapes and rigidity are suggestive of an upright Swiss or Inserat typeface. The East variant takes on the look of another popular condensed grotesk with a softer, more rounded basic shape whilst maintaining the purpose of the original design.

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Helvetica grew in popularity throughout the 1960s and 1970s, and more versions of the family were introduced. This led to vast confusion: the same weight is often referred to by two different names, design features often vary from one face to another, and so on.

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Helvetica is one of the most popular typefaces of all time. It was designed by Max Miedinger in 1957 for the Haas foundry of Switzerland (the name is derived from Helvetia, the Latin name for Switzerland).

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As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica.

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Avenir was designed by Adrian Frutiger and released by Linotype-Hell AG in 1988. The design is based on two earlier sans serif typefaces, Erbar and Futura. Avenir is unusual in that it has weights that are similar, but each is designed for a different purpose.

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This revival of Harry is based on the original design by Marty Goldstein (and C.B. Smith).

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It was our initial intention to develop a suitable lowercase for Les Usherwood's Elston typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin).

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Houschka has the humanist qualities reminiscent of Gill and Johnston but is quite unique. It is more monolinear with rounded corners giving it a softer appearance, and has a few interesting character quirks like the capitals A, G, Q, W and lower case u and w.

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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.

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In 1952, Aldo Novarese and A. Butti designed Microgramma for the Nebiolo foundry. It was a popular face, but was available only in capitals. In 1962, Novarese produced a full character set, including lowercase letters, and the foundry renamed the family Eurostile.

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The typeface was designed at ParaType (ParaGraph) in 1989–2003 by Vladimir Yefimov and Olga Chaeva.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson. Another typeface from Les Usherwood that was released after his 1983 death.

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In the United Kingdom, Virgin Trains uses various weights of Generation Gothic extensively.

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Based on custom design work by DTP Types Limited in 1992.

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It was our initial intention to develop a suitable lowercase for Les Usherwood's Elston typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin).

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Coolvetica is a scratch built, sans serif font, based on an American chain store logos circa 1970. This was an era where everyone was modifying Helvetica. Not only for logo designs but even font designers were at it.

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Future Bugler is a font based on the second logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Many of the weights and the italics were created after Les’ death.

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The Heinemann fonts were initially developed by the in-house design team at Heinemann educational publishing out of the necessity to find the perfect font for use in early primary reading books and literacy products.

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The original Ronsard Crystal began its life as a single-weight VGC photo display font in the 1950s.

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A modern digital typeface inspired by the 1976 sci-fi film Logan’s Run.

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Oslo is an understated sans with subtle qualities that make it appropriate for many applications. It is simple, clean and very legible.

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Urbana is a contemporary sans-serif typeface inspired in the traditional lettering seen in one of the most popular, massive transportation mediums available in Bogotá (Colombia): “busetas” (small city buses).

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Hemingway designed by Alessandro Segalini was inspired by the prize winning novel The Old Man and the Sea by Ernest Miller Hemingway.

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Movatif is a 7-weight, mashed up 20^th Century sans, with ideas from a variety of fonts from that Century.

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This series of faces was designed initially by Morris Fuller Benton, circa 1900.

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In 1984 H. Berthold released this redraw of Akzidenz-Grotesk by Günter Gerhard Lange.

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The distinguishing characteristics of the serif Clearface family—the slight serifs atop A, and at the stroke ends of V and W; the curves of k and y; the slanted bar of e; and the open 4—are apparent in its companion, Clearface Gothic. Both were designed by Morris Fuller Benton for American Type Founders and released between the years 1907 and 1910. Clearface Gothic is also a legibility typeface and, therefore, is most distinguished when used for text.

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Here is an extremely efficient and uncluttered typeface that you can use in a variety of situations.

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The original designs were drawn by C.W. Pischiner for the Stempel foundry in 1928; this book version was added by the Linotype Corporation in 1959. Neuzeit S is a geometric-grotesque hybrid design, unusual in that round shapes are wide and circular, while other characters appear slightly condensed. Also note the unusual J: this particular letter’s design is versal in origin. The name translates from German as “new times.” Neuzeit S is useful for short texts, while its heavier weight supplies enough contrast for display work and headings.

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In 1992, Red Rooster Typefounders created Block Gothic Extra Condensed based on the TP Collection Block Gothic.

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Based on an early wood type design. An original creation.

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Influenced by the 1960’s typeface, Design Fineline.

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Developed by Adrian Frutiger for Bauer in 1966, Serifa is a slabserif based on the principles that led to the success of Frutiger’s 1956 sanserif, Univers. Glypha, designed by Frutiger for Stempel in 1979, is a version of Serifa with a moderately larger x-height; Stempel has paid royalties on Glypha to Neufville since 1984.

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Adrian Frutiger’s distinguished and successful 1966 design for the European Computer Manufacturers’ Association improving readability of letters for both machines and humans. OCR-B is replacing OCR-A.

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Sanzettica is a very easy-to-read sans-serif typeface with a design principle of open, rounded characters with at least 3 weights being suitable for large bodies of text. Legibility is augmented by the quite large x-height, giving lower case letters increased prominence in mixed text.

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The tdBastard family is a modern caps-only display typeface with OpenType features.

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Folio was designed by Konrad F. Bauer and Walter Baum, and issued in various weights and widths by the Bauer typefoundry from 1957 through 1962. This sans serif type is similar to Akzidenz Grotesk in its style and application.

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Hiruko is a full family of 16 different styles. Inspired by the early Swiss movements, Hiruko offers creativity and clarity within many media. Influenced by Japanese culture, Hiruko is based on the idea that less is more, however this applies in other directions when referring to the amount of work gone into producing the type family.

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Graphique-AR is a digital version of a type designed by Hermann Eidenbenz and issued by the Haas foundry in 1946.

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A longtime font favorite of his, Michael felt that a set of lowercase characters would make Bank Gothic a more universally useful font. He set out on this ambitious task always mindful of the huge presence of its original designer, Morris Fuller Benton, hoping that whatever he did would live up to the high standards of this former giant of the font world.

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BAQ Rounded is a fully developed solid typeface which contains full Latin characters, is highly legible, and always good for extra impact.

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Introducing 58 Rodeo: A Classic Redefined

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. This typeface is used by a famous European car company in all their marketing!

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Digitally engineered by Steve Jackaman. Ludlow, circa early 1900.

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Stubble is a distressed grunge font with many useful variations that make things easy. It comes in both a Regular and Bold version, and a Smudged version as if the print block has slipped a little bit just at the vital moment. Also there’s 2 jumbled versions with the letters and numbers, and some punctuation, at odd angles and slightly off-whack; there’s 2 versions with little bits of overprint on most of the main characters (as if the corners of the block or stamp have just caught the paper); a couple of Caps Only versions; plus condensed and expanded versions of the main faces. The Bold version is not an exact expanded version of the Regular version, please note, the characters are different (i.e. the misprinting is different) in the two weights.

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The Heinemann fonts were initially developed by the in-house design team at Heinemann educational publishing out of the necessity to find the perfect font for use in early primary reading books and literacy products.

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Designed at American Type Founders in 1930-33 by Morris F. Benton.

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