Download Neue Helvetica World Font by Linotype

Download Neue Helvetica World Font by Linotype

Neue Helvetica World font - designed by Linotype Design Studio bring flexibility and beautiful typefaceThis font was designed for attractive design like magazines and logotypes.

Corporate design and branding across global markets requires a universal typographic identity. The timeless, world-famous classic Neue Helvetica® typeface is now available as World fonts in the six most important styles. With support for a total of 181 languages, Monotype’s Neue Helvetica® World typeface family is suitable to meet the typographic and linguistic demands of large international brands, corporations, publishing houses, and software and hardware developers.

Neue Helvetica World’s language support covers the pan-European area (extended Latin alphabet, Cyrillic and Greek) as well as Arabic, Hebrew, Armenian, Georgian, Thai and Vietnamese. The Cyrillic alphabet contains not only the standard options, but also the complete Unicode block u+0400. In addition, a large number of new global currency symbols have been included such as the Russian ruble, Turkish lira, Indian rupee and Azerbaijani manat.

Neue Helvetica World is offered as OpenType font with TrueType (.ttf) or PostScript CFF (.otf) outlines. The files size are reasonably small, ranging from 140 to 270 KB depending on format and style. The uprights each include 1708 glyphs and the italics have 1285 glyphs (some scripts, such as Arabic, do not have an italic design).

Typeface pairings for further global support

Should the language support of Neue Helvetica World still not be sufficient for your markets, there are numerous other typefaces available which perfectly complement Neue Helvetica World. These are our recommendations for South and East Asia languages: - Devanagari: Saral Devanagari - Japanese: Tazugane Gothic or Yu Gothic - Korean: YD Gothic 100 or YD Gothic 700 - Simplified Chinese: M Ying Hei PRC or M Hei PRC - Traditional Chinese: M Ying Hei HK or M Hei HK Please contact a Monotype representative for other pairing recommendations or typographic consultations.

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Download Myriad Pro® Font by Adobe

Download Myriad Pro® Font by Adobe

Myriad Pro® font - Say hello to new Myriad Pro® font family designed by Robert Slimbach,Carol Twombly,Fred Brady,Christopher Slye, Myriad Pro® fonts release at Dec 3, 2007. Myriad Pro® is the perfect titling font to complement text faces in magazines, logotypes, etc.

An Adobe Originals design first released in 1992, Myriad has become popular for both text and display composition.

As an OpenType release, Myriad Pro expands this sans serif family to include Greek and Cyrillic glyphs, as well as adding oldstyle figures and improving support for Latin-based languages. The full Myriad Pro family includes condensed, normal, and extended widths in a full range of weights.

Designed by Robert Slimbach & Carol Twombly with Fred Brady & Christopher Slye, Myriad has a warmth and readability that result from the humanistic treatment of letter proportions and design detail.

Myriad Pro’s clean open shapes, precise letter fit, and extensive kerning pairs make this unified family of roman and italic an excellent choice for text typography that is comfortable to read, while the wide variety of weights and widths in the family provide a generous creative palette for even the most demanding display typography.

Patent Design pending.

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Download Brown Pro™ Font by ShinnType

Download Brown Pro™ Font by ShinnType

Brown Pro™ font - Released by ShinnType and start debut at Mar 19, 2016. Brown Pro™ font designed by Nick Shinn, this font is perfect choice for your design.

At text size, Brown is a classic grotesque, distinguished by its semi-condensed proportions—especially in the capitals, which harmonize well with the lining figures—and an exceptional clarity in certain high-resolution media, such as offset printing, achieved by micro-detailing.

At display size, the detailing provides the otherwise austere forms of the neo-grotesque with a subtle wealth of visual interest.

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Download Univers® Font by Linotype

Download Univers® Font by Linotype

Univers® font - Released by Linotype and start debut at Sep 14, 2000. Univers® font designed by Adrian Frutiger,Alexei Chekulayev, this font is perfect choice for your design.

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

Frutiger imposed strict discipline across all elements of the series, from light to dark, extra condensed to extended, a concordance of design that was possible in the foundry type and photocomposition fonts. Any version may be mixed within a word with any other. It may be argued that the design of the most popular central series is limited by strict conformity to little used extremes. If Helvetica gives us the strongest central designs at some sacrifice in uniformity across the series, Univers gives us a uniform series by disciplining the central designs.

Alteration of character widths required by the Monotype caster separates Monotype Univers from the original; the Linotype photocomposition version, designed by Frutiger, has a more even color across the series, achieved by relaxing the original rigid formula for stroke width.

IBM Selectric Univers, designed by Frutiger, is less successful, since it had to be placed on widths tuned for Times Roman.

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Download Frutiger® Font by Linotype

Download Frutiger® Font by Linotype

Frutiger® font - designed by Adrian Frutiger bring flexibility and beautiful typefaceThis font was designed for attractive design like magazines and logotypes.

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.

In 1976, he expanded and completed the family for D. Stempel AG in conjunction with Linotype, and it was named Frutiger.

The Frutiger family is neither strictly geometric nor humanistic in construction; its forms are designed so that each individual character is quickly and easily recognized. Such distinctness makes it good for signage and display work. Although it was originally intended for the large scale of an airport, the full family has a warmth and subtlety that have, in recent years, made it popular for the smaller scale of body text in magazines and booklets.

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