https://www.myfonts.com/collections/reina-neue-font-lian-types
When I designed the first Reina¹ circa 2010, I was at the dawn of my career as a type designer. The S{o}TA, short for the Society of Typographic Aficionados, described it as complex display typeface incorporating hairline flourishes to a nicely heavy romantic letterform². And it was like that; that’s what I was pursuing at that time since I was very passionate about ornaments and accolades of Calligraphy. Why? I felt that Typography, in general, needed more of them. These subtle flourishes could breathe life into letters. Maybe, I thought it was the only way I could propose something new into the field of type. However, after some years, I came across a very interesting quote: –Beautiful things don’t ask for attention– Wow! What did this mean? How could something be attractive if it’s not actually showing it. Could this be applied to my work? Sure.
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).”
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.
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.
TTF
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.
https://www.myfonts.com/fonts/mti/neue-frutiger-world/
Neue Konstrukteur Round is an engineered, mechanical typewriter font with a hint of heritage blackletter. Inspired by a trip to Germany this font has five weights from Thin to Black with accompanying italics. That makes 10 font files in total, enough for the most demanding projects.
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