Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Old Town No. 536 is a homage to the old woodtypes. These became especially popular through their use on wanted posters in Wild West films. Adrian Frutiger also designed his typeface Westside in this style. Due to its robust figures, Old Town No. 536 is particularly effective when used in headlines. It belongs stylistically to the Italienne typefaces, whose serifs are thicker than the strokes.

The origins of Bookman Old Style lie in the typeface called Oldstyle Antique, designed by A C Phemister circa 1858 for the Miller and Richard foundry in Edinburgh, Scotland. Many American foundries made versions of this type which eventually became known as Bookman. Monotype Bookman Old Style roman is based on earlier Lanston Monotype and ATF models. The italic has been re drawn following the style of the Oldstyle Antique italics of Miller and Richard. Although called “Old Style,” the near vertical stress of the face puts it into the transitional category. The Bookman Old Style font family is a legible and robust text face.

Here is a faithful revival of Gothic Number Ten, released by the Cincinnati Type Foundry in the late 1800s. Not your garden-variety sans-serif, its quirky caps will warm up your headlines. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Historical Background Old South Arabian Script (OSA) was used before the Islamic era not only in the southwest corner of the Arabian Peninsula, but actually in the entire Peninsula. In addition, samples of OSA have been found as far as Uruk in Mesopotamia, Delos in Greece, and Giza in Egypt. Archaeological finds show that as far back as the 8th century BCE, OSA was used in trade, religious writing, and in civil records. Following the spread of Islam in Yemen, the decline of OSA began in the 7th century CE as it was gradually supplanted by Arabic script. OSA was typically known by the name of the then-dominant peoples in the Southern Peninsula. At various times, it was known as Sabaean, Qatabani, or Hadramite, among others. Although it was used for a variety of languages, OSA is most strongly associated with Sabaean. Many Peninsular languages borrowed OSA before introducing further changes of their own. Prime examples are the Thamudic, Safaitic, and Lihyanite scripts which eventually developed into independent scripts. The westward migration of the Sabaean people into the Horn of Africa introduced the South Arabian consonantal alphabet into the region. The transplanted script formed the roots of the Geez script of Ethiopia, which, in time and under presumably external influences, developed into a rich syllabary unlike any other Semitic script in history. Even a cursory examination of the letter forms of Modern Ethiopic writing reveal a striking similarity to South Arabian Script. OSA inscriptions typically reveal a dominant right-to-left directionality, although there are also many cases of alternating directions, known as boustrophedon writing. Figure 1 is a fine example of this style of writing. OSA inscriptions were discovered early in the 19th century. Soon thereafter, two orientalists, Gesenius and Rödiger, made great strides towards deciphering the script. Styles of Writing Old South Arabian inscriptions have survived primarily on stone, ceramic, and metallic surfaces. Hundreds of artifacts have been found and, to this day, continue to be discovered. Some of the best examples number of inscriptions on softer materials, such as wood and leather, have also been discovered. Although there is a significant difference between the styles of letters on the hard surfaces and those on the soft. Old South Arabian (Musnad) is composed of 29 letters , that is one letter more than the Arabic alphabet, which is between “S” and “Sh”, and names “Samekh”. Aspects of difference between Musnad and the present Arabic writing is that Musnad is written in separate letters, and the shape of the letters do not change according to its place in the word. However, some letters change according to the beginning of the writing. Musnad is either prominent, or deep. Prominent writings are for important writings and deep writings are for ordinary. The material on which the Musnad was written were stones, rocks, wood, and metal. In the course of its development the Musnad use appeared in the “Lehyanite’, “Thamudic”, “Safaitic”, pen to which many changes and amendments were made. And from it “Habashi’ writing was born. As regards his place among the Arabs of the Peninsula , when we look at the internet and its role in cultural dialogue , the Arabs of the Peninsula considered Musnad inscription which was indisputably their national writing until the dawn of Islam. It was used by people in all parts of Arabia in their homeland and abroad . It was their means of chronology and record of their glories and history.2- Features of Musnad Script: 1. It is written from right to left and vice versa. 2. Its letters are not joined. 3. Shape of letters are uniform despite their positions in the word. 4. Words are separated by vertical lines. 5. A letter is doubled in case of assertion. 6. No points and punctuations. 7. Easy to be learned by beginners. My OSA Musnad Font My design and technical work is only a treatment of the OSA Musnad as a symbol of writing. And it is possible to use in computer.. My design is not aimed at demonstrating the linguistic and intellectual structure of the Old South Arabian (Musnad). It is so simple that it could be easy to learn by learners and those who are interested in the OSA Musnad letters in computer. The basis of such importance is that it spares a lot of time and effort for researchers and students in this field. Formerly they used to write the Musnad texts either by handwriting or scan them , But now they can easily write its texts in OSA Musnad by using keyboard directly, so that they can change , amend and fulfill easily and accurately . So, we made use of speed, easiness and accuracy. And anyone interested in the South Arabian history in any part of the world can due to this design read and write OSA Musnad letters most easily. This design will also be used by historians and archeologists. , as well as specialist linguistics . The design also demonstrates the aesthetics of the Himyarit writing. About this font family Old South Arabian is An Arabic, Old South Arabian and Latin typeface for desktop applications ,for websites, and for digital ads. Old South Arabian font family contains two types: Old South Arabian and Old South Arabian serif. The font includes a design that supports Arabic, Old South Arabian and Latin languages. Old South Arabian typeface comes with many opentype features.

Old Bodoni Wide JNL is based on examples of this classic Bodoni design and contains the quirks and imperfections one might find within a wood type font.

Old Dreadful No. 7 is truly a unique typeface design. Bitstream’s designers and other employees all contributed individual letterforms to the character set. This typeface is definitely not recommended for long blocks of texts! David Robbins expanded his contribution of the capital I into a complete typeface, Eyeballs.

Century Old Style Pro is one of the fonts of the SoftMaker font library.

Tazugane Gothic is a Japanese typeface family developed by the Monotype Studio. The project began as a companion Japanese typeface for the famous Neue Frutiger. The goal for Tazugane Gothic was a humanist sans serif face with a clear and legible forms, and nearly unlimited applicability in a broad range of uses, from signage and publishing to advertising and websites. The Tazugane Gothic font family is extremely versatile with ten different weights from Ultra Light to Extra Black.

The type family in four basic styles was designed in ParaType (ParaGraph) in 1992 by Tagir Safayev. Based on Frutiger, of Mergenthaler Linotype, 1976 by Adrian Frutiger. Frutiger font was originally designed for use on signs at the new Charles de Gaulle Airport at Roissy. The straightforward sans serif shapes are suited well for both text and display setting. Six additional styles were added in 1998-2000. Multilingual versions of 6 styles (Light, Demi and Extrabold) include Armenian alphabet designed by Manvel Shmavonyan in 1997. Two condensed Cyrillic styles (Demi Condensed and Bold Condensed) designed by Manvel Shmavonyan in 2005.

Apollo is oddly one of the lesser known typefaces of Frutiger, perhaps due to the extreme fame of some of his other works, like the typefaces Frutiger® and Univers®. Stylistically, the very legible and harmonic Apollo is an old face. Frutiger designed it especially for the photosetting used at the time. The Apollo typeface family consists of the weights roman and semibold and their respective italics as well as expert sets. Frutiger optimized the relation between the two weights so that the roman is robust enough to present a legible text on soft paper but light enough to contrast with the semibold. The clear, elegant Apollo is perfect for headlines as well as long texts.

This is the classic style of Vilna font with Nikud and Taamim.

In predator, a fantastic sci-fi movie. My version of the fantastic script used to write the alien language, adapted into Old Hungarian runic script. Other versions are Anglo-Saxon Runic and Old Turkic Runic.

Linoset was created from cut and printed linoleum. The lettering is based on Helvetica Neue Condensed Bold – it has been cut, printed and re-drawn to take on a completely new life – it's rough, tough and downright nasty!

Bebas Kai is free font which is licensed under the SIL Open Font License 1.1. Designed by Ryoichi Tsunekawa. We have another Bebas edition called Bebas Neue and there are some derived, rounded fonts such as Bebas Neue SemiRounded and Bebas Neue Rounded. Bebas Neue Pro has lowercases and Italics. When you need more impact for titling, please try Dharma Gothic and Rama Gothic. When you need body-text font matching with this Bebas family, please try our Bio Sans font family.

You are on the page of the old display version of the TT Supermolot font. In 2019, we released an entirely new, completely redesigned and significantly expanded version of the typeface called TT Supermolot Neue. In addition to 54 styles, TT Supermolot Neue has stylistic alternates, ligatures, old-style figures and many other useful OpenType features. Before you buy the old display version of the font, we suggest that you pay attention to the new superfamily TT Supermolot Neue and study it in more detail. - TT Supermolot Condensed is the narrow version of the TT Supermolot font family. Thanks to its open forms, TT Supermolot Condensed fits perfectly into any contemporary technological design and navigation systems. We've already seen this font family in the sports theme (as the main font for hockey teams branding), we've seen TT Supermolot as the main font inside the gameplay of a popular 3D-shooter. Information transfer in the high-tech areas is the ideal environment for this font family, also TT Supermolot Condensed fits well into army, space, and innovation themes. We've tried to create a maximum number of convenient weights (Thin, Light, Regular, Bold, Black) for you to be able to use this family anywhere, from mobile apps and web pages to big state fairs branding.

You are on the page of the old display version of the TT Supermolot Condensed font. In 2019, we released an entirely new, completely redesigned, and significantly expanded version of the typeface called TT Supermolot Neue. In addition to 54 styles, TT Supermolot Neue has stylistic alternates, ligatures, old-style figures and many other useful OpenType features. Before you buy the old display version of the font, we suggest that you pay attention to the new superfamily TT Supermolot Neue and study it in more detail. - TT Supermolot Condensed is the narrow version of the TT Supermolot font family. Thanks to its open forms, TT Supermolot Condensed fits perfectly into any contemporary technological design and navigation systems. We've already seen this font family in the sports theme (as the main font for hockey teams branding), we've seen TT Supermolot as the main font inside the gameplay of a popular 3D-shooter. Information transfer in the high-tech areas is the ideal environment for this font family, also TT Supermolot Condensed fits well into army, space, and innovation themes. We've tried to create a maximum number of convenient weights (Thin, Light, Regular, Bold, Black) for you to be able to use this family anywhere, from mobile apps and web pages to big state fairs branding.

Linotype Didot™ was drawn by Adrian Frutiger in 1991, and is based on the fonts cut by Firmin Didot between 1799 and 1811. Frutiger also studied the Didot types in a book printed by the Didots in 1818, "La Henriade" by Voltaire. This beautifully drawn family is the right choice for elegant book and magazine designs, as well as advertising with a classic touch.

Developed by Adrian Frutiger for Bauer in 1966, Serifa is a slabserif based on the principles that led to the success of Frutiger’s 1956 sanserif, Univers. Glypha, designed by Frutiger for Stempel in 1979, is a version of Serifa with a moderately larger x-height; Stempel has paid royalties on Glypha to Neufville since 1984. Serifa® font field guide including best practices, font pairings and alternatives.

In 1952, Charles Peignot made a bold and fortuitous move: he invited a young Swiss designer to Paris to be the art director of the Deberny & Peignot type foundry. This started the professional type design career of Adrian Frutiger; and since then he has designed an astonishing range of masterful typefaces. One of the earliest for Deberny & Peignot was Président, a sharp-seriffed Latin titling face. Latin" is a typographic designation for roman typefaces with wedge or triangular-shaped serifs, a stylistic form that Frutiger would return to later with his beautiful typeface Méridien. Président™ has wide, solid shapes; very little contrast between thick and thin strokes; and an air of assurance. Use this titling font for business cards, announcements, or artistic signage."

Wilton's "Benjamin-Regular" is a delightful twist on a classic - reminiscent of Franklin Gothic, Helvetica and Frutiger with it's own contemporary twist.

A neue rave typeface; Pacman-style chunky, sharp, creative.

Phoebus is one of Adrian Frutigers first typefaces which he made for the Deberny & Peignot foundry in Paris. The intention was to create a shadowed type with extra ordinary impression.

Designed as a typewriter face for IBM, Courier New was re drawn by Adrian Frutiger for IBM Selectric series. A typical fixed pitch design, monotone in weight and slab serif in concept.

This slab serif font of Adrian Frutiger is extremely legible and robust, making it suitable for most any use. Based on the forms of Univers, Serifa makes a harmonious and timeless impression.

Nami, the Japanese word for wave," is the latest collaboration between Adrian Frutiger and Linotype's Type Director, Akira Kobayashi. This typeface family is the most humanistic sans serif design ever to come from Adrian Frutiger, and it has an interesting twist: lapidar alternates that may be surfed through with the help of OpenType-savy applications. Adrian Frutiger began the design that would blossom into Nami during the 1980s. Although it would not be produced during the 20th century, it was quite forward thinking. The typeface included several seemingly avant garde alternates; these were "lapidary" versions of common letterforms. Revisiting the project in 2006, Akira Kobayashi reworked the concept into a working family of three typefaces. Each font contains 483 glyphs, including 11 alternates-two extra forms of the lowercase g, as well as new forms for a, e, h, l, m, n, r, t, and u."

Ironwood is an Adobe Originals typeface designed by Joy Redick in 1990. Ironwood font is a homage to the old woodtypes made popular by the wanted posters in Western films. Adrian Frutiger designed his typeface Westside with the same idea in mind. Ironwood font is reminiscent of the Wild West and its shoot-out heroes, and its robust figures are particularly good for headlines.

In creating Vectora, Adrian Frutiger was influenced by American Gothic styles, especially those of Morris F. Benton’s Franklin Gothic and News Gothic. Vectora is light and balanced, giving text legibility and a harmonious appearance.

Adrian Frutiger designed Egyptienne F for the Deberny & Peignot Foundry in 1956. This was the first of several Egyptians designed by Frutiger, see also Glypha and Serifa. “Egyptian” or “Egyptienne” is a typographic designation for roman typefaces with slab (or square or rectangular) shaped serifs; and those that have bracketing between main stroke and serifs (like this one) are known as “Clarendon-style Egyptians”. Egyptienne F has a medium x-height and excellent character spacing for setting text in small point sizes. Legible, flexible, and neutral in appearance, Egyptienne F is a good choice for books, magazines, and on-screen presentations.

Fact is a workhorse open sans serif type system. It is inspired by the great Frutiger typeface. While the Regular style is slightly modernized but still quite close to Frutiger, changing the weight or width makes differences of the design more pronounced. The style range of Fact is wider than of any cognate type family, including weights from Thin to Black and widths from Compressed to Expanded. Fact type system contains 48 upright styles and 48 italics with variations in width and weight. The font was designed by Alexandra Korolkova and Manvel Shmavonyan and released by Paratype in 2018-2019.

Note: Neue Aachen is an updated and expanded version of Aachen featuring 18 fonts! The Aachen™ typeface design is a thick slab serif created by Alan Meeks at Letraset, type directed by Colin Brignall. Aachen only comes in two weights: medium and bold. This strong typeface features sharp outlines, stubby serifs and heavy strokes for use in headlines, posters, signage, apparel and other display uses (24 point size and above).