https://store.typenetwork.com/foundry/fontbureau/series/neue-haas-grotesk
Christian Schwartz sees his version of Max Miedinger’s seminal Swiss Modern sanserif as “primarily a restoration.” Reclaiming the warmer personality of the Haas original, he reinstated smoother curves and undid the compromises of intervening technologies and a one-size-fits-all approach. In a range of weights tailored to today’s publications, separate fonts for Text and Display now excel at their respective tasks;
Comments: (0)
OTF | TTF | 8 MB
Sale PaGe
The first weights of Neue Haas Grotesk were designed in 1957-1958 by Max Miedinger for the Haas’sche Schriftgiesserei in Switzerland, with art direction by the company’s principal, Eduard Hoffmann. Neue Haas Grotesk was to be the answer to the British and German grotesques that had become hugely popular thanks to the success of functionalist Swiss typography. The typeface was soon revised and released as Helvetica by Linotype AG.As Neue Haas Grotesk had to be adapted to work on Linotype’s hot metal linecasters, Linotype Helvetica was in some ways a radically transformed version of the original. For instance, the matrices for Regular and Bold had to be of equal widths, and therefore the Bold was redrawn at a considerably narrower proportion. During the transition from metal to phototypesetting, Helvetica underwent additional modifications. In the 1980s Neue Helvetica was produced as a rationalized, standardized version.For Christian Schwartz, the assignment to design a digital revival of Neue Haas Grotesk was an occasion to set history straight. “Much of the warm personality of Miedinger’s shapes was lost along the way. So rather than trying to rethink Helvetica or improve on current digital versions, this was more of a restoration project: bringing Miedinger’s original Neue Haas Grotesk back to life with as much fidelity to his original shapes and spacing as possible (albeit with the addition of kerning, an expensive luxury in handset type).”
https://www.myfonts.com/fonts/linotype/neue-haas-unica/
The Neue Haas Unica™ family is an extended, reimagined version of the Haas Unica® design, a Helvetica® alternative that achieved near mythical status in the type community before it virtually disappeared. Originally released in 1980 by the Haas Type Foundry and designed by the team '77 — André Gürtler, Erich Gschwind and Christian Mengelt— for phototypesetting technology of the day, the design was never successfully updated for today’s digital environments – until now. Toshi Omagari of the Monotype Studio has given this classic a fresh, digital facelift with more weights, more languages and more letters to meet today’s digital and print needs.
TTF | 18 Fonts | JPG Preview | 3.4 Mb RAR
Neue Reman Grotesk contains 750 glyphs, a Latin Pro font that supports over 192 languages. This is the second version of the Neue Reman Family. It’s complete with Stylistic Alternates, Stylistic Set, Caps Swashes Letters, Standard Ligatures, Discretionary Ligatures, Tabular Figures, Proportional Figures, Superscripts, Subscripts, Scientific Inferiors, Fractions, Ordinals, Arrows and a variety of figures and fractions. Neue Reman typeface is suitable to use in multipurpose projects such as on websites, systems, printing, embedding, servers, screens, display, digital ads, branding, logos, titles, headlines, text, and everything else. The Grotesk glyphs style can be accessed with Opentype features. Make sure you use an App/Program that supports the Opentype feature.
Clash Grotesk Display is a family of sans serif fonts for use in large sizes. While the design of the family’s six styles – ranging in weight from Extralight through Bold – is generally neo-grotesk in style, one feature immediately sets them apart from other typefaces of that genre: The letterforms have very small ‘apertures’. These are the openings at the edges of counterforms; if you look at the ‘c’, for instance, the space between ends of the arms on the letter’s right-hand side is very small. It almost looks like that aperture is about to close shut. Clash Grotesk Display is eye catching, but its ‘design trick’ does not go overboard. The typeface is tame enough to be used in corporate identity work, while remaining exciting enough for editorial designers. Clash Grotesk Display has a companion family available for use in smaller-sized text: Clash Grotesk. In terms of design, the biggest difference between Clash Grotesk Display and Clash Grotesk is that the later typeface’s letterforms are drawn with strokes that are optically monolinear, while the letterforms in Clash Grotesk Display have much more stroke-contrast. As the Clash Grotesk Display family’s weights get heavier, the contrast in the letterforms’ stroke connections becomes very prominent. Their appearance becomes quite ‘pinched’. Clash Grotesk Display’s numerals are proportional lining figures, just as tall as tops of the uppercase letters. The lowercase’s ascenders rise up to this common capital/numeral height, too. The fonts’ x-height is tall. Clash Grotesk Display’s lowercase ‘a’ is double-story, while its ‘g’ is single-storey.
Kontrast Grotesk Display & Grande Font Family
Kontrast Grotesk Display & Grande are true display companions for Kontrast Grotesk, reinterpreting the features of Kontrast Grotesk into display sizes. There are many differences making the typeface works better in big sizes. These includes changes like – equal height of the uppercase and ascenders, tighter character spacing, no inktraps and narrower diacritic signs. Proportions are little different as well. Family have been extended from 5 to 12 weights (from super slim Hairline to Ultra Black).
Globe Grotesk Display Font Family $265 | 8 x TTF and OTF
http://www.myfonts.com/fonts/jan-charvat/globe-grotesk-display/
Globe Grotesk is modern art deco inspired sans serif. Its root goes to beginning of last century into Czechslovakia. The design is inspired in Universal Grotesk – font made by unknown designer. There are some really unique details in the font, especially letters a, g, u, E, F, R, & and many more. It primary intended for display usage or rather shorter texts. The original is extended with full latin support, ligatures, small caps, alternates, inktraps, oldstyle figures and many more features necessary for contemporary type design. Also true italics are no doubt in this font.
https://www.myfonts.com/collections/neue-reman-sans-font-propertype
It is a Roman, Humanist, Grotesk, and Geometric sans serif family. The family comes in 7 weights & 5 Width with matching italics + Variable Font File and includes multilingual Latin characters. Neue Reman Sans contains 306 glyphs – this is the first version of the Neue Reman Family with standard ligatures and a variety of figures and fractions. We create Neue Reman typeface to use in multipurpose projects such as on websites, systems, printing, embedding, servers, screens, displays, digital ads, branding, logos, titles, headlines, teks, and everything else.
SermonBox - Seasonal Collection
SermonBox - The Series Pack Collection
Top Rated News
Would you like to be a Author?
