Franklin Gothic, one of the most popular sans serif types ever produced, was designed by Morris Fuller Benton in 1902 for American Type Founders. In 1979, under license with ATF, Vic Caruso began work on more weights of the design for ITC.

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Produced by ATF in 1904, Morris Fuller Benton’s personal version of the heavy sanserifs first made popular by Vincent Figgins in 1830. Franklin Gothic remains popular after nearly a hundred years of use.

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FranklinGothicHandDemi is part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked.

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FranklinGothicHandCond is another part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked in advertising.

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FranklinGothicHandBold is another part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked in advertising.

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FranklinGothicHandLight is part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked.

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DTC FunWorks consists of 450 extraordinary fonts divided into eight chapters: seven of which include 50 fonts each, and one of which includes 100 fonts*:

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The British Vogue commissioned this typeface for their magazine re-design in 2001. After studying the originals of Morris Fuller Benton and the existing versions, this font was designed with all new thin weights. Just when the family was finished, Vogue informed that they had decided to use American Typewriter instead. Bastards. But here is a true classic typeface with a facelift. The pun intended.

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A revival of one of the popular wooden type fonts of the 19th century, a very useful design for display, or text, somewhat geometric in form, a bit narrow.

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A triple condensed gothic based on the letter form of Franklin Gothic.

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In 1908, Morris Fuller Benton designed News Gothic for American Type Founders. The original design, with two condensed faces, is essentially a light version of Franklin Gothic.

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Shàngó is CastleType’s beautifully-rendered interpretation of Professor F.H.E. Schneidler's elegant titling typeface released in 1936 with the name 'Schneidler-Mediaeval mit Initialen'. This latter design is usually referred to as Schneidler Initials.

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Jazz Gothic is a digitization and expansion of an early 1970s film type from Franklin Photolettering called Pinto Flare.

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The Woodgrit family could originally be found on broadsides (posters, playbills) throughout the midwest on any public announcements. All original letterforms available were incorporated into the set with little modification.

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When approached to give informal advice on the redesign of the leading German weekly Der Spiegel, Luc(as) de Groot offered to design a completely new headline font. A newly developed typeface, he argued, would lend an unmistakable personality to the magazine. He worked late nights for a week and sent in sketches; the designers immediately ordered six weights. Says Luc(as): "I get a weekly free copy of the magazine as long as the typefaces are being used - it’s been ten years now."

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A bastard of the font Cooper.

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Gothic Gothic is a fusion of old and new that is both Gothic and Gothic. In typography Gothic can refer to German Blackletter or Old English styles. Gothic can also mean block or sans serif style lettering. By combining and balancing the elements from both of these ideas we have created a contemporary extended block letter typeface.

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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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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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The standard American sanserif of the first two thirds of the twentieth century, prepared for ATF by Morris Fuller Benton in 1908 under the name News Gothic, with a matching lightface known as Lightline Gothic. Linotype’s Trade Gothic follows News Gothic except for its widely-spaced straight-sided boldface based on ATF Alternate Gothic No.3. Linotype matches News Gothic Bold, a boldface version that originated at Intertype, with Trade Gothic Bold No.2. Ludlow Record Gothic follows News Gothic more loosely.

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

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News Gothic was the standard American sanserif of the first two thirds of the twentieth century with narrow proportions and a large x-height.

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Gothic capitals of the same form as Copperplate Gothic, lacking only the oversharpened corners.

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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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A set of square capitals developing from the interest in geometric forms stimulated by the Bauhaus, Bank Gothic was designed by Morris Fuller Benton for ATF in 1930, the same year that Georg Trump designed City for Berthold.

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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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In 1972, Herb Lubalin and Tony DeSpigna designed this typeface for the International Typeface Corporation. ITC Serif Gothic combines the readability of serif (roman) faces with the simplicity of a sans serif (gothic). It comes in six weights, providing a flexible range of faces for use in advertising, packaging, billboards, or headlines.

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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.

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In 1992, Red Rooster Typefounders created Block Gothic Extra Condensed based on the TP Collection Block Gothic.

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Based on an early wood type design. An original creation.

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A longtime font favorite of his, Michael felt that a set of lowercase characters would make Bank Gothic a more universally useful font. He set out on this ambitious task always mindful of the huge presence of its original designer, Morris Fuller Benton, hoping that whatever he did would live up to the high standards of this former giant of the font world.

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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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Landry Gothic is inspired by a wood type alphabet by an unknown designer. It was digitized in order to make prop signage for movies and television. Its imperfect lines and rounded corners are meant to capture the feeling of real wood or metal type that’s worn from use.

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Digitally engineered by Steve Jackaman. Ludlow, circa early 1900.

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Before 1937, telephone books were printed in a variety of typefaces and consequently were often difficult to decipher. Because of his successful work on the legibility problems of newspaper typefaces, Chauncey H. Griffith was hired to develop a typeface that would compact enough to fit large amounts of information on a page while being legible at small sizes even when printed under less than desirable conditions.

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Distinctively Art Nouveau with a touch of Arts & Crafts, Quaint Gothic is a typographic gem from the late nineteenth century. Also known as Desdemona, this undulating and organic typeface is a versatile and refreshing alternative to many of the font designs on the market today. Quaint Gothic comes complete with an alternate set of caps and a new set of lowercase characters. And for your convenience, a nifty set of small caps and small figures are included in this version. You may also want to access the word-on-a-wave logotypes like “to” and “and” located in the special character slots. They’re great for constructing provocative headlines and titles.

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Inspired by Hamilton Gothic.

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The classical nineteenth century engravers’ form, with corners sharpened with a flick of the burin. F.W. Goudy captured the design as a typographic series for ATF in 1901.

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The family tree of this friendly face runs deep. Its primary inspiration is Twentieth Century, designed by Saul Hess as a monoline version of Paul Renner’s Futura.

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A Swiss Sanserif designed for FotoStar with traditionally straight elements deliberately curved.

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Driver Gothic is based on the typeface used for Ontario license plates. Although unique among Canadian provincial license plates, this face is very similar to, if not outright identical with, the face used on car plates in 22 American states: Arizona, California, Connecticut, Florida, Illinois, Iowa, Kentucky, Louisiana, Maine, Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Mexico, Ohio, Oklahoma, Vermont, Washington, and West Virginia.

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Sheridan Gothic, also known as Grant Antique, is a quaint design produced in the late nineteenth century.

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PTL Skopex is an extensive font family consisting of a gothic and a serif variant. PTL Skopex Gothic is a contemporary Sans with a strong vertical nature and many playful details. Characteristic features are the sloped terminals of the ascenders and descenders on the lowercase characters and the slightly curved terminal strokes of R, K, k and y.

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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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An old extended Grotesque.

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The Bitstream version of Bell Gothic designed by Chauncey H. Griffith in 1938 for telephone directories of the Bell Telephone Company.

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Toronto Gothic was developed from a headline in a 1920s issue of the Toronto Star. In a previous life, it was probably Condensed Titling Gothic #11, but in this form its rounded corners and irregular lines are meant to make it look worn from years of use.

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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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Equal parts Sabbath and Blackletter.

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Trump Gothic is a revival and expansion of two different takes on Signum, Georg Trump’s popular mid-twentieth-century condensed gothic.

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Ink Gothic is a contemporary slab serif with a split personality - a mix of heavy industrial with light typographic twists. Unique letterforms evolve the typeface into a class all its own.

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Showcard Gothic leans from the page to forcefully present any idea you might have - except possibly classical subtlety - with a certain leering emphasis.

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Press Gothic is a revival of Aldo Novarese’s Metropol typeface, released by Nebiolo in 1967 as a competitor to Stephenson Blake’s Impact (designed by Goeffrey Lee). Though Metropol enjoyed a few short months of popularity and use in Italy, Germany and France, Impact won the technological outlasting battle by moving on to film type then to computer outlines bundled with mainstream software, while Metropol never made it past the metal state until now. Too bad really, since this is one of the few faces that could have played well with all the horrendous stretch'n'squeezing of the 1970s.

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This design is one of the true gems to come out of the 1930s typeface era. Even though the face was originally designed to counter the invasion of European sans-serifs, it remains faithful to the principles found in its creator’s poster work.

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Roger Roberson skillfully adapted the sanserif to the monospace IBM typewriter at Lexington, Kentucky, in 1956.

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Based on the Robert Wiebking design for either Western or BB&S, circa 1918.

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In the United Kingdom, Virgin Trains uses various weights of Generation Gothic extensively.

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Shadow Gothic great for headlines powerful and dimensional.

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A set of three condensed sanserifs prepared for ATF as text and titling by Morris Fuller Benton in 1903 and popular for the next half century.

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