Candara is a casual humanist sans with verticals showing a graceful entasis on stems, high-branching arcades in the lowercase, large apertures in all open forms, and unique ogee curves on diagonals. The resultant texture is lively but not intrusive, and makes for a friendly and readable text.

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Mentone is a new general purpose typeface, an attempt at extending the line of the great sans-serifs of the previous century, Frutiger - Stone Sans - Myriad.

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Leksa Sans is a humanist sans-serif face with some contrast.

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Karmina Sans follows the steps of its successful award winner cousin, Karmina Serif. It shares the same technical excellence and it achieves similar stylistic features, but the new sans serif version proposes a much more versatile tool for editorial designers.

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Organic was designed to be highly legible and flexible. I wanted to create a very refined sanserif that could be used for display or body copy, for print or digital.

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What started out as my thesis project is now a complete sans serif typeface family in 14 styles.

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The Bender font family was created in Russia specially for graphic designers.

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Uni Sans is a custom sans font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and other items.

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Schriftguss and Wollmer called it Hermes; Berthold called it Block. H. Hoffmann designed the basic weight in 1908 and expanded the series after World War One.

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For gritty reality and rust-belt appearance, Garage Gothic Regular was derived from numbered tickets given at city parking garages.

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Mellnik is a sans serif of humanist style (in a way) that was developed by Oleg Karpinsky and released by ParaType in 2006. The type family contains 9 styles with a number of alternate characters in each ones. For use as a text font in long text passages of advertising booklets, catalogues or magazines, as well as for accident setting. Mellnik may be also applied as a corporate typeface. Giant ink traps (or something like that) produce an original image of the family. Five condensed styles were added in 2007 by the same designer.

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Here is a sans-serif built up on an old-style design framework especially perceptible in the italic. It is the conjunction of contradictories feelings: pointed / soft, classical / modern. The smaller the typesetting, the better it works.

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Originally released by the Stephenson Blake foundry in England, Doric is modeled on one of the sans serifs of William Caslon IV, who was the first to interpret sans serif letterforms into a typeface (1816).

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Geogrotesque is a semi modular with a subtle rounded finish typeface. All the characters are based in the same formal principle with its corresponding optical adjustments in order to adapt the system to an alphabet for texts. Although the type family has a geometric or “technological” construction, the rounded finish provides it a warm appearance, making the typefaces nicer and nearby.

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Mostra Nuova is based on a style of lettering often seen on Italian Art Deco posters and advertising of the 1930s.

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Geogrotesque Stencil is the newest member of the popular Geogrotesque family, it has been thought as a display typeface, but it goes one step further and tries to solve some of the typical problems of stencils fonts.

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MVB Solano Gothic Bold was originally designed as a display face for the City of Albany, California, located on the San Francisco Bay facing the Golden Gate Bridge and bordering the the Berkeley hills. Named for the City’s main street, the typeface needed to work on signage in proximity to older buildings, in contemporary settings, and for general print and web use. Rather than creating a neutered design to cover all bases, Mark van Bronkhorst chose to develop a simple, strong, condensed face that would offer flexibility of style by providing both retro and neutral forms.

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The Le Havre series is a series of geometric sans serifs inspired by the dignified era of the passenger ship, when getting to your destination was a delight in and of itself.

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Colo is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and logos.

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The original Ronsard Crystal began its life as a single-weight VGC photo display font in the 1950s.

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Hemingway designed by Alessandro Segalini was inspired by the prize winning novel The Old Man and the Sea by Ernest Miller Hemingway.

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Based on the Roman typefaces of Eric Gill - Perpetua, Joanna, and the hitherto neglected Solus. A tiny portion of Gill Sans, a few extraneous influences too… is this the undiscovered second sans?

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Handmade Bugler is a font based on the first logo created by Harry Warren in late 1974 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore.

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The thinking behind Fairway was to create a relatively conventional soft sans with a certain amount of movement at the top of the x-height line.The face is casual and quirky but can still be used as a text face.

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Inspired by 1930’s Art Deco lettering styles, the Mighty Tuxedo font family comes complete with a Regular, Shortcaps, and AllCaps Luxe version, to give it an impressive range of flexibility & flair.

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Relato Sans is the other face of Relato Serif (a typeface with much idiosyncrasy) never the less, the sans version of this typeface is more austere and aseptic. A humanistic type, with a contemporary cut, created for general use in texts and holders and with a great variety of weights, which allows the enough flexibility for projects of great magnitude.

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Zingende is a narrow Art Deco font family with 6 weights and 1 solid, counterless style.

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Typedesigner Hannes von Döhren created Brevia, a soft sans serif type family consisting of seven weights plus matching italics. The fonts have a hint of a brushed feeling and come across casual and friendly. Nevertheless Brevia’s architecture is straight, making it perfect for longer texts. Because of its big x-height, it also performs nicely in very small sizes. Brevia’s heavier weights are slightly more curved and have an eye-catching appearance. They unfold their strength especially in bigger sizes. This contemporary type family is intended to be used in applications like: Cosmetics, Service, Food and Advertising – basically everywhere where a pleasant feeling should be conveyed.

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It was our initial intention to develop a suitable lowercase for Les Usherwood's Elston typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin).

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NewJune is a very strong unique character. It is already used in many magazines all over the world.

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The first version of Libris I designed in London in 1997 when I worked for Frank Magazine. Later Libris was used in the magazine for text and display.

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It was our initial intention to develop a suitable lowercase for Les Usherwood's Elston typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin).

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Introducing Springsteel, a new display sans serif with an unusual construction: curved lines on the outside with only a few straight lines on the inside.

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Created in 2009 by V.H. Fleisher, Monod Brun is a geometric sans serif typeface.

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Created in 2009 by V.H. Fleisher, Monod is a geometric sans serif typeface.

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The typeface Fry was developed in 2008 specially for the Sky-Fish company (fish and seafood dealer).

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Familiarity lies at the heart of legibility. Interstate is based on the signage alphabets of the U.S. Federal Highway Administration, letterforms absorbed at a glance everywhere we drive.

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Museo Sans is based on the well-known Museo.

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In 1903 faced with the welter of sans offered by ATF, Morris Fuller Benton designed News Gothic, a 20th Century standard.

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H. Berthold first published Akzidenz-Grotesk in 1896. The design originates from the type used in Germany by job-setters and trade printers of earlier centuries.

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Back in 1936 the German Standards committee Deutsches Institut Normung (DIN) proposed DIN 1451 as the standard type of lettering for road signage. As the original manual states ‘the purpose of this standard is to lay down a style of lettering which is timeless and easily legible’.

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Bree, based on TypeTogether’s logotype, is a sleek sans serif that delivers a polished and modern look and feel for branding or headline usage.

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The Proxima Nova family is a complete reworking of Proxima Sans (1994). The original six fonts (three weights with italics) have been expanded to 42 full-featured OpenType fonts. There are three widths: Proxima Nova, Proxima Nova Condensed, and Proxima Nova Extra Condensed. Each width consists of 14 fonts--seven weights with matching italics.

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Avenir was designed by Adrian Frutiger and released by Linotype-Hell AG in 1988. The design is based on two earlier sans serif typefaces, Erbar and Futura. Avenir is unusual in that it has weights that are similar, but each is designed for a different purpose.

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Klavika is a flexible family of sans serifs for editorial and identity design.

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This typeface incorporates round smooth corners and distinct design elements in several characters like ‘a, g, k, m’, without compromising legibility. In order to retain its sharpness, inner corners as well as junction points were left steep. This is a balanced typeface which works very well in long texts at small point sizes. Since its first release it has been used in numerous magazines, advertising campaigns and corporate applications. Handbook Pro comes loaded with a number of special features. The family consists of 14 fonts -from black to extra thin- including true italics. It supports 21 special OpenType features like small caps, fractions, ordinals, etc. and offers multilingual support for all European languages including Greek and Cyrillic. There is also a set of very interesting stylistic alternates which can be used to add a refreshing flair to your designs. Finally, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life.

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Long since replaced by computers, the mechanical lettering kits used by draftsmen and amateur sign makers served as the inspiration for the Bryant family of typefaces.

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Designed by Greg Thompson, Agenda offers a high-style alternative to the contemporary Swiss sans.

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Alright Sans is a contemporary grotesk typeface. Simple and clean, with a warm, slightly humanist flavour, Alright Sans is fresh take on the traditional sans-serif. With a robust set of typographic features and 16 styles, Alright is ready to be used for just about anything.

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Breuer Text is a simple geometric sans with relaxed curves and slightly condensed proportions suitable for moderate lengths of body copy. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs for a warmer read.

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Back in 1936 the German Standards committee Deutsches Institut Normung (DIN) proposed DIN 1451 as the standard type of lettering for road signage. As the original manual states ‘the purpose of this standard is to lay down a style of lettering which is timeless and easily legible’.

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This is a contemporary typeface which may function as the perfect alternative to several overused classic sans. Encore Sans Pro does not pretend being different but it does claim its own personality. It is simple and stylish. Encore Sans Pro is a humanistic sans serif which projects an image of reliability, authority and competence making it ideal for corporate applications. A functional typeface which combines utility with style. It’s subtle round characteristics such as the slightly curved-in edges, create a distinctly contemporary look, blending effectively traditional with modern details.

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Trade Gothic was designed by Jackson Burke between 1948 and 1960 for Linotype. In the nineteenth-century grotesque style, like News Gothic, Trade Gothic has a large x-height.

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Neubau is a condensed geometric display typeface, designed in 2009. The inspiration for this face came from Joost Schmidt lowercase letters developed during 1925-28 in Bauhaus Dessau. Schmidt was one of the proponents of New Typography – a movement advocating the use of only lowercase letters which were constructed strictly geometrically using only ruler and compass.

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Designed by Eric Gill and released by the Monotype Corporation between 1928 and 1930, Gill Sans is based on the typeface Edward Johnston, the innovative British letterer and teacher, designed in 1916 for the signage of the London Underground.

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Centro Pro is the winner of the prestigious European Design Awards 2008 for original typeface.

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Etelka was designed in summer 2005 for purposes of corporate style, product package design and electronic publishing.

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One day in his sketchbook Cyrus Highsmith began hacking the serifs off his Dispatch characters, and liked this rough start.

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Nobel offers personal variations on strict Bauhaus geometry.

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Fedra Sans was originally commissioned by Paris-based Ruedi Baur Integral Design and developed as a corporate font for Bayerische Rück, a German insurance company, as part of their new visual identity. According to the commissioner, the objective was to 'de-protestantize Univers', the typeface which Bayerische Rück had been using since Otl Aicher designed their first visual identity in the 1970s. The typeface reflects the original brief: it humanises the communicated message and adds simple, informal elegance. The most important criterion was to create a typeface which works equally well on paper and on the computer screen, and is consistent across all computer platforms.

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Calibri is a modern sans serif family with subtle roundings on stems and corners. It features real italics, small caps, and multiple numeral sets. Its proportions allow high impact in tightly set lines of big and small text alike. Calibri’s many curves and the new rasteriser team up in bigger sizes to reveal a warm and soft character.

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Pill Gothic walks the tightrope between a heads down, hard working, utilitarian sans and something that stands out, saying, “Look at me!” Designers looking for a type that will work in blocks of text for callouts, captions and headlines will find that unique balance with Pill. Pill Gothic asks the question: what is the effect of a few truly unique characters on the meaning of a type? In particular, the ‘a’ and the ‘g’, while relating strongly to the forms of the other characters, stand out from the traditional milieu of sans serif types. The name Pill Gothic came from early studies of the condensed weight where the lower case characters had the shape of a pill capsule.

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The design of Graublau Sans Pro took Georg Seifert over 5 years. With 7 weights and over 1000 glyphs per style, Graublau Sans is a type family that suits all typographic tasks. The regular styles have a rather clean and neutral appearance. The italics on the other hand, have a vivid design based on handwriting. For the use in headlines or logotypes Graublau Sans Pro offer 6 additional display styles with rounded corners and tighter spacing.

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Houschka has the humanist qualities reminiscent of Gill and Johnston but is quite unique. It is more monolinear with rounded corners giving it a softer appearance, and has a few interesting character quirks like the capitals A, G, Q, W and lower case u and w.

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The design of Beau Sans was inspired by Bernhard Gothic which is considered one of the first contemporary American sans serifs and was designed by Lucian Bernhard in the late 1920s.

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Gloriola is a monolinear sans serif, whose extremely broad range of nine cuts offers endless creative possibilities.

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Bureau Grotesque reintroduces the tooth and character of the nineteenth-century sans.

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Dobra is a redesign of the previous released Dione.

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Carrosserie is made for display use, inspired by the shapes of the 30s.

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Mostra is based on a style of lettering often seen on Italian Art Deco posters and advertising of the 1930s. Each weight of Mostra includes three fonts. The basic font includes the most conventional letterforms. Two secondary fonts provide alternate versions of some characters. The different letterforms represent commonly-found variations in Italian Art Deco lettering. Though they are spread over three fonts, they can be used in any combination to capture a particular mood or style. There are five weights ranging from Light to the ridiculously bold Black. Mostra features a full character set (caps only) and kerning tables for display setting.

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Parisine Plus Std Clair is a set of light variants of the Parisine Plus family.

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Le Havre is a geometric sans serif inspired by the golden era of the passenger ship, when getting to your destination was a delight in and of itself.

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Secca is a fine and simple typeface honoring the roots of early German grotesque type designs but mastered for the needs of today.

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Cyrus Highsmith drew Scout and related logotype for Geraldine Hessler’s redesign of Entertainment Weekly. The large family marks the magazine’s first significant typographic update in a decade. Captions and sidebars are set in Regular and Bold; Light, Black, and Condensed styles form the backbone of the display. Scout’s form derives structural elements from both new and old: DIN, Venus, and Cairoli.

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While Din Display seems to retain DIN’s basic characteristics, it shines with its sharper corners and contemporary look. Completed in 2002, it was first released and published in Parachute’s award-winning 2003 catalog and immediately was a hit.

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Heroic Condensed is the graphic embodiment of the idealized, no-nonsense, narrow grotesque.

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Futura does give a restful, almost bland impression, which accords with Renner’s objectives. Futura seems classical, not only due to the form of its capitals, but also to the open, wide forms of the geometrical small letters. The typeface relies on notions of classical, yet contemporary form — harmony and evenness of texture.

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Sweet Gothic is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. 

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Parisine Plus was created in 1999, alongside its brother, Parisine Ptf.

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Marzo is a monoline, minimalist, modern typeface, that tries to take its forms to a state of natural purity, definitively elegant.

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Mr Eaves is the often requested and finally finished sans-serif companion to Mrs Eaves, one of Emigre’s classic typeface designs. Created by Zuzana Licko, this 2009 addition to the Emigre Type Library expands the versatility of the original Mrs Eaves with two complimentary families: Mr Eaves Sans and Mr Eaves Modern.

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Back in 1936 the German Standards committee Deutsches Institut Normung (DIN) proposed DIN 1451 as the standard type of lettering for road signage. As the original manual states ‘the purpose of this standard is to lay down a style of lettering which is timeless and easily legible’.

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Parisine Plus Std Sombre is a set of heavy variants of the Parisine Plus family.

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Based on character shapes with origins rooted in the work of 19th Century American wood type makers, DST Mechanic Gothic draws influence from the poster types found in the impactful advertising during the Industrial revolution.

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Chianti was designed at Bitstream by senior designer Dennis Pasternak in 1991 and initially released in 1995. The intent behind the design was to provide a humanist sanserif of high readability at a wide range of sizes and weights.

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Kautiva is a comprehensive modern sans serif family that includes true italics, small caps, and unicase variations.

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Auto is a sans serif typeface which has three different models of italics, each with its own flavour.

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The Eagle series realizes the ideas behind Morris Fuller Benton’s famous titling, Eagle Bold, the symbol of American recovery, drawn in 1933 for the National Recovery Association.

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Stratum is a family of typefaces built from a synthesis of contemporary and historical sources. The austere geometry of early 20th century display faces paired with a desire for a contemporary lowercase have merged to produce this family of six weights.

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Galette is a contemporary all-purpose sans-serif for printing and online delivery, allowing the use of one layout both as printed material and online without loss of quality or legibility. Not only a high resolution printing font with extensive kerning, it was designed from the ground up for clear and uniform display on the computer screen. It displays more predictably than the traditional fonts: no overhangs are used, the stroke thickness of capitals and lower case letters is identical, making hinting or antialiasing smoother at any point size and zoom combination.

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