The typeface is from the Albert Pinggera family which is based on the old typewriter facts of the “Letter Gothic”. This font is not actually monospaced and is the default of the family “FF Letter Gothic Mono.” With this one, it is more typographic compared to usual typewriter faces. Although there are available weights of this family, three of which actually, each of these are incorporated with an italic companion. Just like in the case of FontFonts where its default style the FF Letter Gothic Text have lining figures which have available features of an OpenType.
Letter Gothic has undergone changes since its revolutionary update by FontFont. The reason why many are using this commercial font is because of its classic nuances, monospacing and traditional charm in technology.
Since its release to the public this font has been used for a myriad of purposes. For one, it is used in advertisement materials such as signage, brochures, leaflets, pamphlets and other traditional business usage. Secondly, it is used for websites, online portfolios and other media platforms. Finally, it is used even for non-business projects i.e. school purposes. With all these uses, you will never go wrong once you decide to use this in one of your projects today or in the future. The font will surely blow your away (in a good way of course!)
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Zapfino has two versions available of its OpenType font format. Firstly, the contextual version is filled with amazing features. When the font was created back in 2004, it was then considered as the most-advanced one to be released at that time. It also has 48 western and central languages.
For its history, the font was designed by highly-acclaimed calligrapher in the person of Hermann Zapf who envisioned to liberate the typeface industry into something “lively,” “free,” and “beautiful.” The first Zapfino font was released sometime in 1998, which initially consists of four letters in the alphabet plus more stylish alternatives infused together to achieve readability. The reformatting of Zapfino came in 2003, when Herman Zapf created the Zapfino Extra, which he made in collaboration with fellow designer Akira Kobayashi. With its transformation, Zapfino has a new character called cornucopia, which has exuberant characters, elegant caps, ligatures, ornaments and many other alternates. Thus came Zapfino Forte as a new version of this font.
The use of the font produces a unique addition for your ad materials i.e. packaging and invitations. It is so abundant and tempting to over indulge for many other possibilities. So, Zapfino is just the right element you need for that next project of yours as well as other purposes you have in mind.
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This particular font was designed in 1967 by Jan Tschichold. Sabon was designed as a response for a particular need of printers from German groups with an aim to produce a typeface with resemblance both in form and technology of only the best and finest variations. Monotype Sabon was named after a 16th century typefounder named Jacques Sabon whose widow married Konrad Berner, also a typefounder who is credited with the issuance of the first specimen sheet of a typefounder. There has been several versions placed on the sheet linked to Claude Garmond, and these served as the source of Sabon’s roman which was also used by Tschichold. For the italic, the same was based on Berner’s other sheet which contains another typeface which was a cut by the person of Robert Granjon. Also, a skillful adaptation of Tschichold of these old typefaces and style has made elegant and professional fonts for books. Thus, this font family is a perfect and popular option for setting a text.
Now for almost a decade of being in the market, the font has evolved to be applied for all sorts of purpose and platform, whether online or offline. It is something worth considering as it has the perfect element for readability, flexibility and multi-functionality.
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The font is designed by Morris Fuller Benton for a company called the American Type Founders for a period of 1903 to 1912. The name was inspired by Benjamin Franklin but the design has no resemblance to the early American statesman and printer. The font designer was a prolific one for being able to make several fonts of the sans serif family. In fact, there were lighter counterparts of the Franklin Gothic which were infused in appropriate designs.
ITC Franklin Gothic is one of the bulk on Benton’s masterpiece; having the amazing artisans for revival and expansion. The original version of the font was re-drew by Victor Caruso in 1980 and the design was given more weights. In 1991, more compressed and condensed weights were added by David Berlow. With over a dozen of style and weights, the font eventually became a favourite and ready for duty in certain situations from solid corners of a printed document to powerhouse spaces of media platform and websites.
The best thing about Franklin Gothic is its letters “a” and “g” plus a subtle contrast of strokes as well as the thin round strokes which merge to stems. The font type appears an overall dark and monotone look with a robust modern touch. Franklin Gothic is one of the widely used types of sans serif. It is a choice befitting for newspapers, posters and advertising.
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FF Meta came from the family known as PT55, which is a typeface of economical use distinctly made for readability even despite its small size feature. This was created in 1985 for the Post Office of West Germany. Later, the person in the name of Erik Spiekermann made improvements and designed its expansion to include more styles and weights. He also prepared FF Meta’s release as the first and foremost members of the early library of FontFont. When the early 90s came, at the time of the flourishing days of desktop publishing, the typeface grew and became popular amongst people. Its widespread popularity was due to its clean, multi-faceted, cheery and distinct aesthetics for an array of uses including correspondence and signages.
As a font, FF Meta has eight weights for both normal and condensed type. It is likewise available in Serif and several other variations that fit for use in headlines or daily office use and application.
In 2011, New York’s Museum of Modern Art added the font as its permanent collection. It is a very rare opportunity since a very few has been selected to represent its typography section in this digital era. In fact, only 23 was chosen by said Museum.
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Are you looking for a font that emerges beyond it being a mere typeface? This particular font that we are about to introduce has a story of its own, which actually started in the year 2013. For starters, the story was spun when a genius decided to move into the big city where he was able to meet the finest people from across the globe. The font is a result of a lot talks in class sessions, trains and bars. It is the result of sharing ideas, moments and experiences. It is because of these people and experiences that this font came about and existed right before your eyes.
From the outside, the font can be likened to the ones you see in the picturesque districts of the Mediterranean. It combines the traditional with the classic strokes as well as the trendy additions that blends with its multicultural vibe. Indeed, this particular font brings together both modern and traditional times. This is a font worth trying for in today’s time and new age.
For its Regular stroke it has over 200 glyphs such as the lower and uppercase; alternative glyphs, uppercase numerals, normal Ligatures and punctuation marks and symbols. This is something for everybody to use.
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In 1970, Tom Carnase and Herb Lubalin designed the ITC Avant Garde Gothic based on the latter’s magazine logo, which was a cheerful construction of overlapping geometric capitals tightly-set for use. This is a sans serif font with geometric effect which means that it has an abundance of circles, straight lines and basic shapes construction patterned from the 1920s movement of the German Bauhaus. ITC Avant Garde’s earliest versions were depicted for its unique ligatures and alternates that remains to conjure the 70’s typographic aura. It has a solid, modern-looking result which made it a crowd-favorite amongst graphic designers to date.
Its huge success is pointed to its large, tall and open x-heights counter which despite it being bold and straightforward maintains a friendly and cheerful option for headlines and short texts. It is even especially suitable for your commercial descriptions or even your highlighted texts. Further, it made dearly possible for unique messages and underscored information.
In 1974, ITC Avant Garde’s condensed weight was conceptualized by Ed Benguiat while its oblique was drawn by Erich Gscgwind, Andre Gurtler and Christian Mengelt. All these made before the year 1977. Another development came in 1983 when Ned Bunnel made the font’s monospaced version. You can never go wrong once you choose this.
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It was some time in the 1800s when Justus Erich Walbaum conceptualized this font type. Since then this Weimar-based typeface ranked together with Bodoni and Didot as among the great modern-style European typefaces. The 18th and early 19th centuries were the period that marked the popularity of the modern typefaces. They were distinctly styled with ultimate vertical stress and fine strokes contrasted with bold hairlines.
Meanwhile, Walbaum’s contemporary version is close to its original version which makes it different from the others. This is made possible because of its xtra-large height and wider caps size. Some of its characters are uniquely different, especially its “b” because of the absence of footserif in it. Also, the lowercase of letter “a” has a square-like shape while the “Q” is tailed with asymmetric juncture.
Indeed, Walbaum is the most unique of all. Besides that, it is legible, graceful, flexible and compellingly warm. It is the perfect for simple textual descriptions or for purposes of signage and other attention-getting remarks!
Walbaum was made purposely for all sorts of business writing endeavours. Hence, you are assured that you will be able to deliver the message you have in mind. So, what are you waiting for? Use this font type and surely you will never regret using it.
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This font dates back during the Italian Renaissance, particularly during the time of the famous Aldus Manutius printers. The latter made used of a new typeface in printing Book de Aetna by Pietro Bembo.
Francesco Griffo was the genius behind the Bembo font. The type dsigner was a known punchcutter who initiated the pen-drawn effect in humanist calligraphy. Such heavier look was made to develop a more stylistic visual that is commonly used in most roman font types these days. The introduction of the type design was made in 1929 when Stanley Morison and its Monotype Corporation design folks made used of Griffo’s design for its revival type. It was during the same time when it was named as “Bembo.”
Thereafter, a lot of changes were made to the letters to make the font more updated with the times. For instance, the creation of the italic type based on Giovanni Tagliente.
Bembo became a famous choice in the book typography because of its graceful and lighter weight stability. Its heavier weight versions share a conservative yet dependable effect for both advertising and packaging use.
To date, Bembo has 31 weights, inclusive of the following, Old style characters, small caps, expert figures plus a cap R alternate. Indeed, this font makes it an ideal, all-purport typeface family.
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This typeface is a Hermann Zapf designed font and is considered the most successful of its kind of all. Optima’s first sketches dates back as early as 1950 when its designer was in Florence, visiting the church of Santa Croce. He started to sketch the letters from plates of the grave that has already been cut as early as 1530. He had to do this as there was no available paper at that time hence, he had to do this at bank notes of 1000 lire each. These letters inspired the creation of Optima, which eventually became a typeface inspired by classic Roman characters minus the serifs proportionately in Golden Ratio proportions. Because of the intricateness of the process, the first drawings were only finished in 1952. The careful legibility of the type paved the way for August Rosenberger, a famous punchcutter, to cut the said letters.
Optima was officially released in 1958 in matrice production for the Linotype machines. Since then it became a popular font option around the globe because of its clear, simple, elegant and purely human touches. It has been applied in sorts of purposes—from signage to book texts—you can find it. Optima is available 4 companion and 12 weight fonts.
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