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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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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A rounded version of the font Predicate, with a fun, gentle timbre.

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Museo Sans is based on the well-known Museo.

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Helsinki is inspired by the Finnish traffic sign type.

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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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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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Nobel offers personal variations on strict Bauhaus geometry.

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Littera project is a modern interpretation of one of the most widespread sans serifs in USSR “TextBook font”. It is not an exact revival, but an interpretation of its typographic feel executed in two different ways: Littera Plain and Littera Text.

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

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Report is geometric font with rounded ends, custom designed for education.

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Fenwick is not just another name on a map. It’s so much more than that. Having just celebrated its 150th Anniversary, Fenwick has become my new hometown and the history is almost palpable here. Situated atop of the Niagara Peninsula and renowned for its fertile soil and excellent growing conditions, all manner of flora and fauna thrive here. Located smack dab in the middle between Lake Ontario and Lake Erie, the region is famous for its wineries and nurseries blessed with an abundance of sun and rain in just the right proportions. Honest, hard-working, happy people whose families have often been here for generations, have nurtured their homesteads and it’s evidenced by every well-managed farm and field, garden full of colourful flowers and a surplus of healthy plants for sale by the roadside everywhere. No one lacks for flowers with so much natural abundance and generosity of local spirit. Local legend says if you push a stick in the ground, it will grow. I wouldn't doubt it.

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Skirt picks up where conventional rounded sans serifs let designers down. Effeminate but classy, Skirt is distinguished by bespoke design and finishing touches to lend an individual feel to compositions, without being sassy. Proportions are neat and the numbers are sweet. The lower case “a” sports a proper curled tail, and the tasteful open tail binocular “g” will get you and your clients upstairs at the Savoy. OpenType features include: class-based kerning, numeric ordinals, fractions and alternate italic “a” & “g”.

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Sweater School is a friendly teacher’s font based on Cardigan. The structure is similar to the print style elementary school teachers prefer but with subtle compromises to improve readability.

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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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Negotiate is a sans-serif family in five weights plus italics.

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Today’s heavy infoscape demands a viewer-friendly rounded sans serif with sweet-but-understated style. Scheme’s work-a-day character set puts it on solid ground. Bark-bark, woof. Its even-width capitals are solid and dependable, and the lower case features subtly curled stroke ends, for understated sweetness.

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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.

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Deva Ideal was inspired by women’s beauty. It didn’t come only from the desire to create a new typeface. It also seeks to materialize beauty in a visual form. Instead of imitating the shapes of the female body or other formal attributes, Deva Ideal is an abstract expression of the women’s beauty.

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This font takes its name and the overall shape from modern bentwood furniture, namely Scandinavian designs since the 1940s. The curved corners of the letterforms are practically hyperbolic, to convey the tension and strength of the bent plywood. These curves are meant to appear more dynamic than circular or elliptical segments of traditional sans serif fonts.

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BluHead Studio LLC is pleased to announce the complete Prenton typeface family!

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The idea for Granat goes back to my mysterious typeface Telepiu and later Teleneue. The straight horizontal bars in combination with the round joins create a very unique character.

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Designed by the renowned Robert Hunter Middleton of Chicago’s Ludlow Typograph Company, this “serifless roman” was first introduced in 1929.

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

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

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AndrewAndreas is a plain, geometric sans-serif typeface in three weights.

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

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Herb Lubalin and Tom Carnase based their 1970 design of ITC Avant Garde Gothic on Lubalin’s logo for Avant Garde Magazine. The condensed fonts were designed for the International Typeface Corporation in 1974 by Ed Benguiat. ITC Avant Garde Gothic is a geometric sans serif type, that is, the basic shapes were made with a compass and T-square; the design is reminiscent of the work from the 1920s German Bauhaus movement.

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Created in 2008 by V.H. Fleisher, the Lazlo font is hand-drawn.

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Trebuchet, designed by Vincent Connare in 1996, is a humanist sans serif designed for easy screen readability. Trebuchet takes its inspiration from the sans serifs of the 1930s which had large x heights and round features intended to promote readability on signs.

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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...

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

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Created by Letraset Type Director Colin Brignall, this clean-cut, monolineal sans serif typeface was inspired by Edward Johnston’s Railway Type and Eric Gill’s Gill Sans typefaces.

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Aerohop is a contempory sans serif font with shades of non-contemporary design elements. A neo-classic face with a full character set, three weights, and italics.

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

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Dienstag is an extended sans-serif and a new companion to insigne’s popular Montag family.

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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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Endurance Pro was designed by Steve Matteson to fill the need for a more graceful, less industrial-looking neo-grotesque sans serif design.

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Mayberry Pro is an part of an extensive set of 14 OpenType fonts from Ascender Corp. Mayberry Pro was designed by Steve Matteson for use in set top TV devices, User Interfaces, Web Pages and documents designed for presentation on screen and in print.

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

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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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A throwback to the 70s, a graphic design with a lot of different applications.

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Glow Gothic BF, like its predecessor Subliminal BF, represents further exploration into typographic special effects. In its original form, it features letters that are transparent, with an opaque glow. Glow Gothic Overlay and Glow Gothic Underlay share identical spacing values and are designed to be used together. Though “Overlay” can certainly be employed as a separate, stand-alone, solid font, using these two together allows for greater color and (tighter) kerning possibilities —see Gallery Images.

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There is just one subtle difference between these two fonts. The A version has a straight lowercase ‘e’; the B version has an angled lowercase ‘e’.

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Mr. Gogoll’s successful revival of Arno Drescher’s Super Grotesk was awarded the 1999 Kurt Christians Award. The Drescher Grotesk family consists of seven roman weights, including a version designed for use at small point sizes. Drescher Grotesk is a classic German geometric design, complete with the original “angled” brackets.

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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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Taking the concept of a monoline version of Shàngó — as exemplified in Shàngó Gothic — to its extreme, resulted in the latest addition to the popular Shàngó family of typefaces: Shango Sans.

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Designed specifically for AT&T to set telephone directories by Chauncey Griffith at Mergenthaler in 1938, Bell Gothic was the standard American directory typeface for forty years. Limited in performance by linecaster matrix requirements, Bell Gothic was replaced by Bell Centennial. Furlong is a version of Bell Gothic adapted for the racing form.

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In 2007, insigne released Aviano. It’s beautifully drawn extended letterforms were a hit with designers and Aviano quickly became insigne’s most popular offering of early 2007.

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URW Grotesk was designed exclusively for URW by Prof. Hermann Zapf in 1985. At the same time, Zapf designed URW Antiqua to go with URW Grotesk. At that time, we were working with a large German publishing house (Axel Springer) on type design solutions to replace certain of their newspaper fonts. Test pages of large German newspapers (e.g. Bildzeitung) were printed with URW Grotesk and URW Antiqua font families. For reasons not disclosed to us, the project was dropped and Springer never used URW Grotesk and URW Antiqua for that purpose.

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Proxima Sans is a melding of elements found in other sans serif typefaces. It combines the stylistic details of geometric faces like Futura, Kabel, and Erbar with the proportions of grotesques such as Franklin Gothic and Helvetica. The oblique members of the family are optically balanced, not simply slanted geometrically.

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Quaestor Sans is the perfect companion to Quaestor. The smooth angles in the terminals make it closer to Quaestor and allows to keep the strong character of the typeface.

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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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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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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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A family of sans serif typefaces.

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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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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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Some years ago we developed a monospaced 12 pitch sans serif for a client. We also created a 10 pitch version that was later discarded. PropTen is the 10 pitch version modified to proportional widths. The name PropTen refers to ‘Proportional 10 Pitch’- which is a technical impossibility. It does have a slight ‘its time to vote’ twist to it. You know, after you pick your candidate you also need to vote yes or no on the following Propositions, don't forget Prop10, the team needs those uniforms.

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In answer to a number of requests, lowercase characters have now been added to the Anisette Std display series, which was created in 1996. The lowercase characters are based on capitals of an intermediate width, between the two origninal widths, to provide a wider diversity of use. The Anisette Petite lowercase shares the sobriety of geometrical typefaces and the dynamics of the tension in the curves. Subtle imperfections seen in the r, l, and the particular g, help to create an original typeface.

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Carve a new path with Expressway. Engineered to hug the road, it features a tight new frame with redesigned lines and curves. Reflecting the sleek lines of the U.S. Department of Transportation’s “Standard Alphabets” font, Expressway has superior readability. It combines the best features of the famous highway sign font while breaking away from monotonous government specifications.

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Divulge is a contemporary sans serif family with roots in 19th Century grotesques. Divulge comes in light, medium and bold, condensed and italic: a total of twelve styles. The OpenType format features fractions, ordinals, old-style numerals and class-based kerning.

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Gnuolane is a serious headline font in five weights. While it borrows from 19^th Century grotesque models, it possesses a superelliptical sixties sneer. The OpenType format includes old-style numerals, ordinals, superiors, inferiors, f-ligatures and class-based kerning.

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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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Seravek Basic is a linear sans serif designed for identity, editorial and information design. Five weights spanning Bold to Extra Light with italics for each allow for a range of applications both typographic and utilitarian in nature.

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Phoenica offers a high quality alternative to contemporary humanist sans serifs. It is a flexible family for editorials and corporate branding.

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An Adobe Originals design first released in 1992, Myriad has become popular for both text and display composition.

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

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