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.

More…

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?

More…

An extremely condensed typeface based on the popular Gill Sans series. The sans serif style makes this compressed version a perfect choice for large display advertising requirements where space is limited. Since it is a sans serif style, Gill Display Compressed will look good on virtually all display advertising where it needs close letter and word spacing.

More…

Although categorized as a sans serif typeface, this condensed version of Monotype’s original Gill Kayo has some extremely unusual and charming features. When set tightly, the bold characteristics create strong, impactful headlines. Designed in the Letraset Type Studio.

More…

The letterforms of this refined Roman typeface are simply and gracefully structured. The lowercase with its small x-height and long slender ascenders project a look of stately elegance. Excellent for a variety of headline applications where a polished, feminine appearance is desired. Created by English type designer Paul Hickson.

More…

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

More…

Gill Floriated is based on a single character which Eric Gill drew as a decorated initial for use on a specimen setting of his Perpetua type. Although Gill was at first reluctant to produce a full alphabet, Monotype advisor Stanley Morison was able to persuade him to draw a few more characters from which the Type Drawing Office was able to create a full set.

More…

Register Sans is a typestyle family inspired by the draft-letter handwriting samples from old Speedball booklets, with a little variation for a more friendly flair.

More…

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.

More…

Copperplate Classic Light Floral is the latest addition to my Copperplate Classic Group of fonts. The floral decorations go perfectly well together with the classic forms of the Copperplate. Your decorative designer Gert Wiescher.

More…

Young Finesse is a light, two-weight, announcement face with a large x-height whose characters contain only a few straight lines.

More…

A headline typeface with an impression of standardisation and stylish touches.

More…

Paperclip Wire is a great font for anyone looking to have a straightforward yet elegant look.

More…

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.

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…

Has altogether 60 designs, because it was originally produced as a Multiple Master typeface. The entire big family is grouped into eighteen independent, smaller four-design families, of which the user may choose, for example, only two or three which suit him as regards colour and width. The somewhat confusing use of abbreviations to designate the individual designs is, nevertheless, simpler than giving them numbers or full names. The abbreviations denoting weights are as follows: L - Light, R - Regular, D - Demi; and those denoting widths are: XC - Extra Condensed, C - Condensed, M - Semi Condensed, E - Extended, XE - Extra Extended.

More…

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.

More…

Paz, a squarish 4-weight industrial family, ranging from extreme hairline to black.

More…

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”.

More…

Oporto is a modern font which blends the cosmopolitan and bohemian mood from Oporto city in a elegant and timeless design.

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…

Typefaces without serifs were known in nineteenth-century England as Grotesque (or Grotesk in German) because they seemed so unusual to most readers. Monotype Grotesque is a straightforward 1926 design that is among the earliest sans serifs cut for hot-metal machine typesetting.

More…

This is the tallest, skinniest, most condensed, non serif font I know of. I designed this because I felt a serious need for that one big, thin word to fit in a narrow space.

More…

Pure, rounded and eclectic, almost abstracted letterforms. A monoline typeface with a soft, organic edge.

More…

Contemporary websites look fresh with a rounded sans fonts and for good reason: rounded stroke ends harmonize with today’s Web 2.0 rounded box shapes and shiny plastic buttons. The same rounded sans font on every web site? Not acceptable. Turn on Headlight. Not your everyday, straight-up rounded sans. Signature design features: Warm, unique letter forms, familiar stroke widths, inorganic line treatment.

More…

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.

More…

Ross, named after Harold Ross, is also available as part of the Algonquin Collection at a special price. Six font families inspired by the great wits of the Algonquin Round Table. Buy all six and get two free!

More…

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.

More…

A very thin light line gothic, great headline face.

More…

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

More…

Tiresias was designed for subtitling by Dr. John Gill from the Royal National Institute for the Blind (RNIB), in the United Kingdom.

More…

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…

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.

More…

After the popular successes of Exocet and Mason, Emigre has once again teamed up with Jonathan Barnbrook to bring you his latest venture into type land. Priori is a logical progression from Mason, a typeface he designed around ten years ago. Where Mason was designed purely for display purposes and featured only caps, Priori includes lower case, companion serif and sans serif versions, alternates and, according to its creator, is shooting for text face status - a bold claim from a designer who loves to wear his influences on his sleeve and who has little use for typography that aspires to be “neutral” or “transparent.”

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…

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…

Blakely is an all-caps Art Deco design. It is based on the logotype of the Signals mail order gift catalog designed by Mark Simonson in 1993.

More…

Designed in 1993 by Chong Wah of Monotype, Ocean Sans is a typeface that ranges from normal to extended in width, and light to extra bold in weight. It has a large x-height with resulting short ascenders and descenders. It’s unusual for a sans serif because of its relatively high contrast between thick and thin strokes, which makes it useful for display purposes.

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…

Inspired by early Eric Gill designs.

More…

The Charlotte Sans family of typefaces was designed specifically to co-ordinate with Charlotte roman typefaces in style, weight, and color. Designer Michael Gills created Charlotte Sans on screen with FontStudio software, and has achieved a perfect balance between the humanistic qualities of Gill Sans and the evenness of color in the Frutiger series. Highly versatile on its own, and compatible with its roman counterpart, the Charlotte Sans family offers a spectrum of choices for more creative typographic expression.

More…

After the popular successes of Exocet and Mason, Emigre has once again teamed up with Jonathan Barnbrook to bring you his latest venture into type land. Priori is a logical progression from Mason, a typeface he designed around ten years ago. Where Mason was designed purely for display purposes and featured only caps, Priori includes lower case, companion serif and sans serif versions, alternates and, according to its creator, is shooting for text face status - a bold claim from a designer who loves to wear his influences on his sleeve and who has little use for typography that aspires to be “neutral” or “transparent.”

More…

Goudy Sans Bold was originally designed by Fredric Goudy in 1922 as a less formal “gothic” and finished in 1929. The light was designed in 1930 and the Light Italic in 1931.

More…

The design of Cyan was inspired by features found in classic Roman and styles like Trajan and Bodebeck. The characters stay true to the same features as the capitals, resulting in an unusually distinctive style. The Capitals version contains Roman numerals. Cyan’s weight is similar to Trajan’s but the horizontal strokes are slightly bolder resulting in better legibility for small sizes, especially for lowercase characters. Cyan Sans evolved out of the hugely successful Cyan Serif family. Cyan Sans retains the same geometric Roman proportions with open centers in B,P,R b, d, p . This helps create a thick and thin stroke illusion since the actual strokes don't vary much.

More…

Kathleen Sans is a geometric sans-serif display font and works best in text and display applications, such as posters, headline, magazine, logos, titles, product branding, corporate branding and publishing.

More…

A three-dimensional all-cap font for title use, Thorowgood Sans Shaded was released by the Fann Street Foundry of W. Thorowgood & Co. in 1839. Interestingly, it more closely resembles Figgins' Four-Line Emerald Sans-Serif Shaded of 1833 than Fann Street’s own Grotesque Shaded of 1834 (with light and shadow reversed).

More…

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates.

More…

Allektra is a humanist sans serif with a modern feel. It is not as whimsical as many of my fonts, but there are many special dingbats for bullets, and so on. It has oldstyle numbers and the small caps versions have lining numbers and small caps numbers.

More…

This stylish lightface was designed by Bernd Nadall for Barnhart Bros. & Spindler as a caps-only font in 1895.

More…

This font is intended for use with simplified Chinese. It contains the GB2312 character set.

More…

The main challenge with Shirah Joie was how not to design just another monoline font, and how to add liveliness while condensing the letters a little bit.

More…

Fun angular letters was the idea behind this font. Very simple!

More…

Hannah Joie was influenced by the early lettering that appeared on posters in Israel (e.g. the 1950s). The style of the lettering was bold, heavy, and prominent.

More…

A bold typeface with very very extensive cap height, and short descenders. Poster 1492 is suitable for headlines, titles, newspapers, magazines, and advertisements.

More…

Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed √ la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.”

More…

Glitterati is Disko 2005.

More…

Bitstream version of Gill Sans (Gill Kayo) of Monotype, 1930, by Eric Gill.

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…

One can never be too tall or too thin, the old adage goes. Sympathique is quite fashionably both.

More…

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.

More…

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.

More…

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.

More…

Montag is an extended, rounded sans-serif.

More…

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

More…

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

More…

Lawyerbait was designed to be a clean, light and easy to read display face.

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…

Zag 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.

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…

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.

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…

Nobel offers personal variations on strict Bauhaus geometry.

More…

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

More…

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.

More…

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

More…

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

More…

Constellation started with a simple geometric concept in the manner of Art Deco which gradually developed to a complete typeface, both upright and italic, total of seven weights. The concept allowed the font to be designed from Ultra Light in both very light and quite black styles.

More…

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.

More…

Preface vs. Helvetica/Futura/Gill: a different strategy of text color.

More…

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.

More…