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.

More…

Alright Sans is a contemporary sans-serif. Inspired by both grotesque and humanist models, it’s clean and prudent with an warm, friendly tone.

More…

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

More…

Dobra is a redesign of the previous released Dione.

More…

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

More…

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

More…

PrivaPro is available in four styles with italics.

More…

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.

More…

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

More…

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

More…

Gesta is a friendly versatile sans serif typeface suitable for corporate and editorial purposes.

More…

Mr Jones was originally conceived as a family for print design consisting of a sans and a headline. The lowercase are wide for legibility at small sizes while the caps are narrower to save space and keep an even balance of negative space when used in body copy. The overall widths of certain characters have been adjusted to almost extremes to keep an even balance of white space around each letter. He works well in body copy, but will need decreased tracking for larger settings. He comes with proportional, oldstyle, and tabular figures and discretionary ligatures.

More…

Besides all the display and script typefaces I design, my real passion is to design typefaces for copy.

More…

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.

More…

“The concept for Vista began when I sketched a few characters in a notebook while staying in Sumatra on a one month holiday. I wanted to design a typeface for text and display that would retain some of the characteristics of the idiosyncratic shop signs that surrounded me in Sumatra.” - Xavier Dupré

More…

The Tang family came to be, when I started studying fonts made for use in very small point sizes, like Bell Gothic. I studied the use of ink traps and went to town with them. Instead of just using them for their purpose: trapping ink to prevent the type getting blotted; I used them as a design feature.

More…

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is ‘connected at the hip’ with each style—each character carries the no frills, simple architecture that endeared so many users to it.

More…

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is ‘connected at the hip’ with each style—each character carries the no frills, simple architecture that endeared so many users to it.

More…

Fontana ND is part of Neufville Digital’s MODERN COLLECTION.
Designed for the printing of a magazine, the Fontana Sistema was based fundamentally on the Spanish language as its natural and cultural context. Due to the spanish colonization of America, the spanish language has been influenced by native american terms that enriched it and caused significant changes in both the sound and form of words. These sounds and forms had a strong influence on the identity of text, substantially modifying the nature and the characteristics of the composition. The Fontana Sistema we present is the fruit of our desire to design a font that, based on the spanish language, would endow the publication with identity and at the same time offer a framework for typographic research.

More…

Akagi started as a rough sketch while on a really long plane ride to Tokyo in 2007. I wanted to develop a sans that was a complete departure from my successful Aaux Pro (now Aaux Next) sans serif family.

More…

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is ‘connected at the hip’ with each style—each character carries the no frills, simple architecture that endeared so many users to it.

More…

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is ‘connected at the hip’ with each style—each character carries the no frills, simple architecture that endeared so many users to it.

More…

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.

More…

The Taz type family was originally developed as a headline typeface for taz - short for Tageszeitung - a nation-wide German daily. It was, and still is, the cornerstone of the paper’s strong, trustworthy visual identity. Says Luc(as): "For a headline font, you want the lines to be as closely line-spaced as possible. The accents on the capitals - a very common feature in German - cannot take up too much space." Ascenders and descenders were kept short for maximum impact.

More…

The name Corpid derives from “Corporate Identity” - which is what this family of low-contrast sans-serifs was made for. Corpid was originally commissioned by Studio Dumbar in the Netherlands as a corporate typeface for the Dutch Ministry of Agriculture, Nature Management and Fishing. The font was designed to replace the existing standard typeface (a well-known business-like sans-serif) to provide the organization with a unique and strong identity.

More…

Depot is a solid confident sans-serif, available in 8 weights with supporting true italics and ready for everyday use.

More…

The older brother of Depot, Alber is sturdy with added subtitles, a hard working cultivated all-rounder.

More…

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

More…

Relay reaches back to the middle of the last century for inspiration.

More…

Prelo was designed to be a neutral, highly readable typeface, for identity, editorial and information design. With nine weights and nine true italics, from Hairline to Black, Prelo is a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others.

More…

Oksana Sans is a gothic sister of the Oksana Text typeface.

More…

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

More…

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

More…

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.

More…

Informa is a comprehensive sans serif text family based on traditional lettering in contrast, proportion, rhythm and stroke. In particular its proportions were based on a 1978 award-winning flare-serif film type called Signa, by Swiss design trio Team 77.

More…

Dederon Serif has been specifically designed for book setting. Preliminary sketches were drawn in 2004. Its inspiration — particularly its weight and width proportions — can be traced to the Liberta typeface from the TypoArt type foundry in former Eastern Germany. After a careful study of the model, the design of Dederon branched off into its own direction, finding its distinctive voice and becoming a wholly original type family. Dederon Serif kept most of the elements typical for the Old Style Roman lettering, such as the angle of the stress, the medium x-height, and lower contrast. In large sizes, the typical shapes of the letters stand out — the calligraphic feel characteristic for the Czech typefaces by Oldrich Menhart, the unusual serifs hinting at the angle of the pen, the shapes of the stems, or the terminals of dots and ears.

More…

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.

More…

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.

More…

Clean, modern sans serif font for display and text application.

More…

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.

More…

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.

More…

Orcin Sans is a functional well crafted sans serif typeface available in 6 styles.

More…

Ubiquity: the possibility to be in several places at the same time; this could be the definition of a typeface like Ubik. Its applications are numerous and various: books, magazines, posters but also architecture and signs.

More…

Originally created as a custom project and now released as a full family in OpenType.

More…

ALS Ekibastuz is a contemporary urban-style typeface extremely suitable for periodicals and advertising. It has defined, open, clear-cut letterforms and modern proportions.

More…

Designer Panos Vassiliou created Square Sans Pro in his quest for a true square-like text typeface which could balance simplicity with vitality and enhance with its subtle power the identity of any product or service, without compromising its characteristics as a text typeface.

More…

Pragma ND is part of Neufville Digital’s MODERN COLLECTION.

More…

Latinaires is a 5-weight font family with some uniques characters including the ch ligature and some other Spanish language characters.

More…

Originally ZionTrain was built as a Cyrillic typeface for public transport navigation system. We wanted comprehensible, distinctive letterforms, that can help everybody on the way from Babylon to Zion.

More…

Sky Sans is a companion to Sky Serif.

More…

Tempera Rose is a soft contemporary sans typeface with rounded corners.

More…

Designed for ParaType in 2007 by Isabella Chaeva.

More…

The Vekta Type System is part of a larger, interconnected grouping of 3 families: Neo, Sans and Serif. The goal was to develop a family designed along a common skeleton and matrix that would allow for interchangeable usage along a cohesive visual system.

More…

Unita is my version of a classic Grotesk or Sans typeface.

More…

Of all his work, C.H. Griffith claimed one type, Bell Gothic, as his own design. Griffith Gothic is a revival of the 1937 Mergenthaler original, redrawn as the house sans for Fast Company.

More…

The idea of a brand-new grotesk is certainly rather foolish – there are already lots of these typefaces in the world and, quite simply, nothing is more beautiful than the original Gill. The sans-serif chapter of typography is now closed by hundreds of technically perfect imitations of Syntax and Frutiger, which are, however, for the most part based on the cool din-aesthetics. The only chance, when looking for inspiration, is to go very far...

More…

Aptifer Sans and Aptifer Slab are two 21st century typeface families created by Mårten Thavenius. Each family has seven weights, in roman and italic respectively, making 28 font styles in total.

More…

A humanist sans-serif family which displays subtle influences of the edged writing tool.

More…

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.

More…

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

More…

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

More…

Option Sans is a rework of Anuthin Wongsunkakon’s Coupe.

More…

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.

More…

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’.

More…

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.

More…

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.

More…

Comenia Sans was designed in the framework of a unique typographic project for all types of schools. It is a complementary face for Comenia Serif, released by our friends at Storm Type Foundry. Comenia Sans has a lot in common with its serif sister: the height of both upper and lower case, the length of ascenders and descenders, and the general weight. This makes the two perfect partners which work well even when set side by side in a single line of text. Comenia Sans does, however, lack all serifs, ornamental elements and stroke stress variation. All these elements freshen up the feel of long texts, but for shorter texts use, they are not necessary. Despite that, Comenia Sans retains the soft, friendly character of its big sister, as well as a few tiny details which lend it its unique character without compromising legibility or utility.

More…

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

More…

Globale, pronounced Globaal, is designed in two roman weights with matching italics. Small capitals and old style numerals have also been designed for the roman versions. In terms of style, Australian designer Scott Carslake has managed to capture an elusive appearance which is a blend of humanistic and contemporary sans serif forms, resulting in a unique new series that is very much in step with the latest in typographic trends.

More…

Because we all need a “werk” horse font that is simple, useful and with just enough character not to be too dominant.

More…

Freight’s comprehensive range of weights and styles excels in a variety of uses, from train schedules and university catalogues to technical manuals and cookbooks.

More…

Oksana Sans Condensed is designed for tight-fitting text.

More…

Oksana Sans Narrow is a space-saving addition for Oksana Sans Roman faces.

More…

Museo Sans is based on the well-known Museo.

More…

Informa is a comprehensive sans serif text family based on traditional lettering in contrast, proportion, rhythm and stroke. In particular its proportions were based on a 1978 award-winning flare-serif film type called Signa, by Swiss design trio Team 77.

More…

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

More…

Downtempo is a 4-weight font family with some uniques characters including the ch ligature and some other Spanish language characters together with a really special italic style.

More…

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

More…

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.

More…

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.

More…