A clean humanistic sans-serif typeface which complements its serif version Diplomat Serif. It has preserved several of its original characteristics and comes complete with true-italics with a distinct flowing structure. Supports Latin and Greek.

TheSerif is part of the Thesis superfamily which Luc(as) de Groot first published in 1994. It was conceived to be the perfect secondary font within the Thesis system, using it for headlines, subheads, pull quotes, etc. TheSerif has also been used successfully as a text font in its own right. TheSerif is a low-contrast typeface – i.e., the differences between thin and thick strokes are not very pronounced. Yet the reference to writing with the broad-nibbed pen is still present, giving the letters a diagonal stress and a forward flow that facilitates reading. The roman letterforms tend to have some characteristics of an italic or written construction. Yet the italic forms themselves are very distinctive: they were not derived from the upright but were individually designed while perfectly complementing the roman forms.

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;

Maison Neue is the thoroughly reworked version of our early Maison typeface family. While the original version was constructed on geometric principles, Maison Neue has been meticulously redrawn with a stronger focus on optical criterias to create a distinct grotesque – paying particular attention to harmony, rhythm and flow. In 2017, Maison Neue has been revisited and expanded into a super family of 40 styles: The somewhat condensed original version, first released five years ago, has now been complemented by an extended counter part, including a number of additional weights.

Expansion is a clean and simple sans-serif designed by Claudia Kipp in 2004. Although being designed in 2004, Expansion contains a certain mid-1900's, American feel to it. Works great in corporate, clean and masculine oriented projects.

Say hello to **Serendipity** - A font that you were meant to find, and is now destined to be with you :) An elegant cousin of Saturday Script, Serendipity is a lovingly handwritten brush script , with an air of grace and flamboyancy.
**Serendipity** is special in that one word can be written in a million different ways - thanks to the large selection of extra letters that it has built in. It comes with 2 sets of alternate lowercase letters, a set of alternate uppercase letters as well as a set of double letter ligatures - all for you to play with, and make your words look exactly how you need them to look.

Designed at Poligraphmash circa 1940. Based on Latinskaya of the H. Berthold (St.Petersburg, 1901), Cyrillic version of Lateinisch of H.Berthold (Berlin,
1899). This digital version developed at ParaGraph in 1996 by Lyubov Kuznetsova. The favorite text typeface of Soviet typography.

Univers Next is a completely reworked version of the original Univers typeface family by Adrian Frutiger. Based on a student project he drew in the late 1940s, Frutiger completed the Univers family in 1957 for Deberny and Peignot, where he was a staff designer. As the first large type family to be conceived in a wide range of widths and weights right from its inception, with a unique systemized numbering system, Univers was truly a trailblazer. In 1997 Adrian Frutiger and the design staff at Linotype completed the large joint project that resulted in Linotype Univers, a cohesive font family of 63 weights. The existing weights were completely redrawn, making the proportions more consistent and improving fine details such as curves and thick-to-thin stroke ratios. By following Frutiger’s original designs, Univers’s humanist characteristics were underlined.

Addison is a typeface that brings together modern western styles with a rustic texture. Between Addison West, with thick block serifs, and Circus, a more decorative face, the two would bring an authentic and unique style to any artwork. The bold faces make a stand and standout for any design concept.