Grace Hides

Aila is a surprising slab serif built on the structure of a realistic Roman, but with unique organic features that make this typeface an exercise in tension between structure and rhythm. This expressive tension is displayed in heavier styles (Aila Bold and Aila Black), and is strongly evident in the italic forms. Aila’s italics offer an interesting re-interpretation of the cursive ductus of classic italic forms, to offer rhythmic and swift variants, which are the ideal counterpoint to the regular set in body text.
Each style of the Aila family offers an extended character set specially designed for editorial design projects.

Handcrafted signs line the stoned walkways of old Italy. Some a century old, these often forgotten works of unknown artists remain etched across cities and villages. But now, they make their inviting impressions once again as the inspiration for insigne design’s Gineso Soft typeface.

Gineso Soft absorbs the personality of northern Italian posters, headlines and logotypes, providing a type especially nice for signs and titling with its condensed qualities. The font contains matching italics for the the eight weights and three widths. We’ve also included small features along with fractions and superior / inferior characters to broaden your options. Even more, Gineso Soft is ready for all applications and features a large character set for the languages ​​and literature of Europe.

So add a soft touch the next time you’re in a tight spot. Add Gineso Soft and make your project a work to be remembered.

Hotdogger is a family of cursive brush fonts, presented in two weights and completed with a sans serif font and an useful pack of graphics to play with. These fonts are specially designed for meal packaging and labels, advertising posters, lettering logos or whatever you may be looking for in expressive works..

Hotdogger contain full OpenType features and support CE languages.

Neue Frutiger World is designed for global use with an impressive range of 10 weights, from Ultra Light to Extra Black, with matching italics. It embodies the same warmth and clarity as Adrian Frutiger’s original design, but allows brands to maintain their visual identity, and communicate with a consistent tone of voice, regardless of the language. Neue Frutiger World supports more than 150 languages and scripts including Latin, Greek, Cyrillic, Georgian, Armenian, Hebrew, Arabic, Thai and Vietnamese.

“Before Neue Frutiger World it was not an easy task for western brands to find families in Arabic, Hebrew, Thai and Vietnamese which match with their Latin,” says Monotype type director Akira Kobayashi, who led the Neue Frutiger World project. “They may find a type with closer expression, but there was no guarantee if the bold version in the non-Latin family matches the bold in their Latin. Neue Frutiger World offers a better solution.” In addition to Neue Frutiger World’s linguistic versatility, it works hard across environments – suited to branding and corporate identity, advertising, signage, wayfinding, print, and digital environments.

The Neue Frutiger World fonts can be paired with Monotype’s CJK fonts: M XiangHe Hei (Chinese), Tazugane Gothic (Japanese) and Seol Sans (Korean). These were all designed to address brands’ needs to expand into Asian cultures and solve for global typographic challenges.

The M XiangHe Hei Traditional Chinese typeface merges traditional brush strokes with modern letterforms to carefully balance traditional calligraphy with humanist design. Named for the smooth movements of a flying crane, the M XiangHe Hei typeface is designed to glide across the page, and features strokes that are partly derived from the Kaishu calligraphic style – an everyday script which dates back hundreds of years.

M XiangHe Hei TC features Neue Frutiger for its Latin glyphs, and works harmoniously Neue Frutiger World and Monotype’s CJK typefaces: Tazugane Gothic (Japanese) and Seol Sans (Korean). M XiangHe Hei TC is a great choice for global brands using sans serif Latin typefaces looking to maintain their visual identity, and communicate with a consistent tone of voice with Traditional Chinese.

The M XiangHe Hei TC fonts have over 19,000 glyphs, and support the BIG5/HKHCS and CP950 character sets for Traditional Chinese.

First and foremost, Reserve is a companion typeface developed to complement the Scotch Suite of typefaces.

With a focus on producing simpler forms with less contrast, Reserve evolved into a fantastic serif typeface for long-form text settings, exceptional clarity at low resolutions—for print and screen. Friendly and functional, Reserve is replete with features intended to make you feel comfortable going back to again and again, and with a complete set of condensed fonts, this typeface becomes more of a surprise.

Small Caps, 4 sets of numerals, Case-Sensitive forms, Stylistic, Swash and Titling Alternates, Fractions, language support, and more… it’s all there, ready for you to use. The term ‘Reserve’ as it applies to the words of wine and spirits is typically used to alert a consumer of a higher quality, exceptional vintage, or special production of wine or whisky… it’s no different for this typeface’s name. Cheers.

Symphonie Grotesque is a family of neo-Grotesque-style sans serif fonts. There are five different weights available, ranging from Regular through Heavy. Each weight has an upright and an italic font on offer. Symphonie Grotesque’s italics are what really set it apart from other neo-Grotesque families. Instead of just offering slanted, or oblique versions of the upright fonts’ letters, Symphonie Grotesque’s italic fonts include several unique, more cursive-style letterforms. For example, in Symphonie Grotesque’s upright fonts, the ‘a’ is double-storey, while the ‘g’ is single-storey (just what one would expect for a typeface of this genre). But in the italics, the ‘a’ becomes single-storey, and the ‘f’and ‘ß’ get descending tails, too. Symphonie Grotesque’s numerals are tabular lining figures; the ‘1’ always has a nice, wide base-stroke at its bottom. The middle-two diagonal-strokes of the ‘M’ remain visibly above the baseline in all of the family’s styles. The fonts’ ascenders rise quite a bit above the tops of the capital letters, but the capitals and the numerals both share the same height. Symphonie Grotesque is an excellent selection for use in branding or in other kinds of corporate identity design. It will surely also come into good use in design for galleries and publications about contemporary art. Symphonie Grotesque is the work of Frode Helland, a type designer from Norway.