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Albany, from Monotype Imaging, is a typeface family whose fonts have the same metrics as Arial. However, in contrast to Arial or Helvetica, Albany's letterforms are more open, with more generous apertures and counters. Also, punctuation is not square, as in Arial, but round

Inspired by Edward Johnston's type for the London Underground and Eric Gill's Gill Sans®, Camphor™ is also informed by the European sans serifs typified by Adrian Frutiger. However, Camphor copies neither. It is narrower than Johnston's type and eschews the idiosyncrasies of Gill Sans, making for clean and cool, modern sans serif that lends itself to everything from branding and wayfinding to... Read More

Classic Grotesque by Rod McDonald:a traditional font with a modern face An update of Monotype Grotesque that was first published in 1926, Rod McDonald's Classic Grotesque combines both traditional and contemporary elements of typography. With its many fascinating details, Classic Grotesque is at home in print and web designs.The growing popularity of grotesque typefaces meant that many new sans... Read More

Typefaces without serifs were known in nineteenth-century England as Grotesque (or Grotesk in German) because they seemed so unusual to most readers. Monotype Grotesque font is a straightforward 1926 design that is among the earliest sans serifs cut for hot-metal machine typesetting. Its simple, clean lines make it amenable for text use, and the condensed and extended versions are useful for... Read More

Similar in design to Franklin Gothic, News Gothic was one of a number of sans serif faces manufactured by American Type Founders in the early years of the twentieth century. Initially cut as a light sans, heavier versions were made in the 1940s and 50s along with some condensed weights. The News Gothic font family offers an uncomplicated design that is well suited for use in newspapers and... Read More

Originally designed in partnership with the global consumer electronics brand, Sony, the SST® typeface family is an exceptionally comprehensive and remarkably versatile design. Built on solid typographic traditions with the goal of enduring for decades, the design combines an organic readability with a controlled persona. These attributes combine to give SST a balance of legibility and... Read More

The Slate typeface family melds superb functionality and aesthetic elegance into a remarkable communications tool. Few typefaces possess the beauty and power of this design.Slate is the work of Rod McDonald, an award-winning typeface designer and lettering artist. At one point in his forty-year career, McDonald participated in a typeface legibility and readability research project conducted by... Read More

Soho is the latest addition to the growing range of typefaces from Sebastian Lester. This grand opus of a project resulted in a typeface that comprises nine weights and five widths of precision engineered OpenType. 40 fonts, 32,668 characters and 24 OpenType features.Hot on the heels of the popular Neo Sans and Neo Tech range, and his first typeface release Scene, Soho represents three years of... Read More

Smart Sans is a personal tribute to Leslie (Sam) Smart, the first type director to be hired by a major typesetting house in Canada. Smart was a twentieth century design pioneer who raised the standards of Canadian typography. Together with three of his peers, he established the first Type Directors Club in Toronto.After Smart's death in 1998, type designer Rod McDonald decided that something... Read More

The Akko™ typeface family is the first new design from Akira Kobayashi in a very long time - and it is well worth the wait. Early in his career, Kobayashi drew original typefaces for the likes of Adobe, ITC, FontFont, Linotype and TypeBox. In the spring of 2001 he joined Linotype as type director and for the next several years collaborated with Adrian Frutiger and Hermann Zapf in the... Read More