Designed by Paul Renner in 1927, Futura is the classic example of a geometric sans serif type. Its original concept was based on the Bauhaus design philosophy that “form follows function.” Futura uses basic geometric proportions with no weight stresses, serifs, or frills, with long ascenders and descenders that give it more elegance than most sans serif typefaces.

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Released by Berthold in September, 2000, Futura Serie BQ is a new version of the well-known geometric sans serif typeface design by Paul Renner and the Bauer type foundry. Futura Serie BQ is a totally new digital interpretation of Futura by noted Berthold type designer, Dieter Hofrichter of Münich, Germany. His interpretation emphasizes the consistency of Renner’s original design yet satisfies the current needs of design professionals.

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Futura is the fully developed prototype of the twentieth century Geometric Sanserif.

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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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Futura was designed for Bauer company in 1927 by Paul Renner.

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Futura ND is part of Neufville Digital’s BAUER CLASSICS collection.
Futura ND Black was completely digitized anew from the original sources of the Bauersche Giesserei, now held by FT Bauer in Barcelona.

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Futura ND is part of Neufville Digital’s BAUER CLASSICS collection.
Futura ND Black was completely digitized anew from the original sources of the Bauersche Giesserei, now hold by FT Bauer in Barcelona.

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Josef Albers drew this stencil sanserif form at the Bauhaus in 1926; Paul Renner and the Bauer design office made it into a typeface in 1929, and included it in the Futura series.

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Originally released in 1987, Charter incorporates three important features: compact set width to give economical copyfit; generous x-height to give readability at small point sizes; and sturdy open letterforms to give reliable reproduction at both typesetter and laser printer resolutions. The design brings a clarity and freshness to everyday documents, such as newsletters, textbooks, directories and technical manuals, where the reader’s concentration must not be interrupted by unfamiliar letterforms but where typographic dullness can itself impair comprehension. The Italic has cursive letterforms - so is instantly distinguishable, while being readable enough in its own right for continuous text.

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Bitstream Charter, was designed in the mid-1980s by Matthew Carter. The typeface was designed with the limitations of low- and middle-resolution output devices in mind; hence the squared off serifs and lack of excessive diagonals and curves. The design, however, became an instant success on its own merits. It is an excellent everyday typeface for a wide variety of uses including books and technical manuals. Charter offers small cap, extension and alternate typographer sets that help to make it more versatile and functional.

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The beautiful calligraphic typeface Ambiance comes from master designer Rob Leuschke.

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Antagométrica BT is the creation of Argentine designer Maximiliano Giungi.

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Iowan Old Style was designed for Bitstream in 1990 by noted sign painter John Downer. Iowan Old Style is a hardy contemporary text design modeled after earlier revivals of Jenson and Griffo typefaces but with a larger x-height, tighter letterfit, and reproportioned capitals.

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Roelandt BT is another beautiful script font drawn by calligrapher Rob Leuschke.

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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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Charles Gibbons' Fleischman BT Pro revives J.M. Fleischman's quirky and elegant text faces of the 1730s. Born in Germany, Fleischman worked in Holland, primarily at Enschedé en Zonen where he cut dozens of faces. His types represent some of the earliest examples of the Transitional style, predating and influencing the work of Fournier, Baskerville, and Bodoni. They were wildly popular in their day, used for everything from newspapers to currency, and Fleischman himself has enjoyed a renaissance of late.

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Cataneo was designed at Bitstream by Richard Lipton and Jacqueline Sakwa and was initially released in 1993. Cataneo is an elegant chancery cursive typeface, inspired by the work of Bennardino Cataneo, a 16th-century Italian writing master. Cataneo offers as companions, typographer sets of swash characters and extensions to round out the family of three weights.

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Nevia BT is a four weight text family loaded with subtle design nuances. These OpenType Pro fonts support many OT features including smallcaps, oldstyle figures, contextual swashes, ornaments, discretionary ligatures, fractions and much more. The extended character set supports both Western European and Central European languages.

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Arrus was designed at Bitstream by Richard Lipton and first released in 1991. Arrus is based on Lipton’s own hand-lettered calligraphic alphabets that draw their influence from classic inscriptional forms. Arrus has small cap and extension typographer sets available as well.

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A collaboration based on lettering by Vermont illustrator/artist Mary Trafton and brought to typographic life by Charles Gibbons, the Full Moon Suite is a collection of casual typefaces called after folk names for full moons.

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A handsome, square sanserif, the ultra extended Cavalero is strictly a display design. The typeface was inspired by the Chevy Cavalier logotype.

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Thomas Oldfield of the U.K. dreams of the American Old West. Since he is so far removed from it in both time and space, he created this font to pacify his yearnings. For a fist full of dollars, Hombre can be yours, and for a few dollars more, you can stake a claim to Hombre Extra, which has a few illustrations in it. Good, bad or ugly, whichever way you see it, just saddle up and ride this pony.

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Ecliptica is an extended family of five very condensed typefaces in a single bold weight. The creation of Australian designer Robert Bell. Ecliptica has a Sans, a Semi-Serif, a Serif and a single Cursive that can be used with any of the other three styles. As an added bonus, Robert also designed a modern Blackletter companion.

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Oz Handicraft was designed at Bitstream in 1990 by George Ryan. Oz was rendered from a showing of Oswald Cooper’s hand lettering found in ‘The Book of Oz Cooper published in 1949 by the Society of Typographic Arts in Chicago.

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New Lincoln Gothic is an elegant sanserif, generous in width and x-height. There are twelve weights ranging from Hairline to UltraBold and an italic for each weight. At the stroke ends are gentle flares, and some of the round characters possess an interesting and distinctive asymmetry. The character set supports Central Europe, and there are three figure sets, extended fractions, superior and inferior numbers, and a few alternates, all accessible via OpenType features.

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British designer Thomas Oldfield, who brought you Hombre BT and Reaper, has scratched out another typeface, this one called Jerk Chicken BT.

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Ray Cruz releases another typeface family, this time inspired by 1970’s pop culture. Fat Albert Regular, Outline and Shadow are bold poster types that evoke the fun and funk of an era gone by. Go on bro, get Fat Albert and get down.

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Cooper Black, commissioned by Barnhart Brothers & Spindler, is the best known of Oswald Cooper’s typefaces. Bitstream has expanded the 1921 original into a complete series of round-edged text faces.

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Bitstream Cooper was designed at Bitstream in 1986 by means of adding light, medium, and bold styles, with the corresponding italics, to the existing black ones.

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An original Bitstream typeface prepared by Gerard Unger to provide a typeface of tapered stroke that will work well at lower resolutions.

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Wavy Rounded is a stylized sans serif display typeface by Japanese designer Hajime Kawakami. Some of the characters possess quirky features that randomly create fun visual “waves”. There is a handful of alternate characters including an old style figure set in the OpenType version. Catch the Wave.

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Lettering designer Ray Cruz, creator of Bitstream’s VeraCruz, Fat Albert and Cruz Cantera, and many other typefaces, introduces Homeland BT, a finely drawn family of six weights, including two italics.

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Introducing VeraCruz BT, a fanciful display typeface by Ray Cruz.

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A calligrapher, graphic designer and teacher, Duško Trifunović of Belgrade created this handsome calligraphic typeface called Sloboda. It has an open design, an outline of sorts, and though the lowercase is small and compact, it sets beautifully in text. The generously sized uppercase has a swash flavor to it yet works harmoniously with itself.

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Ingram BT might be described as Deco, or Arts & Crafts in style. Created by Alex Marshall, it is a very condensed design with high-waisted uppercase glyphs that feature dots rather than straight lines for the middle hairlines.

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Created by Italian graphic designer and illustrator Lorenzo Lalatta, Orchestra brings a whimsical yet elegant spin to Latin typography.

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Matt Desmond (MADType, Pufficlaude BT) would like you to meet Mesotone BT. This computer typeface design is monoweight and somewhat monowidth. The squarish unicase glyph forms feature eased corners and rounded terminal ends, which takes some of the edge off its techi look. Yet Mesotone still inspires one to explore the outer limits of the design universe.

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A personal calligraphic series commissioned by Bitstream from Gudrun Zapf von Hesse.

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Allen Zuk has designed this wacky typeface that he calls KOOKY. Each character has three variants that bounce about the baseline. The effect is a randomly casual appearance that is great for headlines. The OpenType version does this automatically by using contextual alternates, but for the kooks that prefer to do things the hard way, three PostScript fonts are available.

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PuffiClaude by Matt Desmond is a real piece of work.

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Boris Mahovac has adapted a friend’s handwriting in this new font called Kloi (pronounced Chlo – ee). It has a very casual feel and includes alternative swash glyphs of some key characters as well as some extra ligatures. Taking advantage of the ligature and contextual swash features in OpenType, the alternate glyphs automatically replace the standard glyphs when appropriate, creating a very unique look.

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Designed by Jochen Hasinger of Frankfurt, Germany, Covent BT is an unconventional geometric sans serif typeface, featuring rounded terminal ends and a stencil-like break of the contour in some glyphs.

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Indoo is a modular geometric design that owes much to the typeface designs of Theo van Doesburg (1883-1931) and the De Stijl principles of abstraction, simplicity, clarity and harmony, as exemplified for example in Emigre’s Oblong and P22’s De Stijl. That inspiration, combined with the lettering of signage often found in the Indian quarter of Paris, led to the connecting block letter motif of Indoo. The text fonts are joined by a common horizontal stroke positioned at the baseline. There is an accompanying Ornament font for building borders that includes various stylized fleurons and the like. Each font has a drop shadow companion that allows you to build three-dimensional and multi-colored lettering.

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Perhaps one of the more difficult typeface styles to space convincingly, Irakly, a serif-sans by Russian designer Oleg Karpinsky imparts an unfamiliar elegance. The odd mixture of superficial details such as the half serifs and the protruding horizontal strokes confuse your visual senses, yet the simple geometric roots of the letterforms are apparent and ultimately reassuring. Irakly Light and Bold make a great addition to any library.

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The creation of designer Boris Mahovac, Tabita is a fun, freeform display typeface. The whimsical swirls and marks within the characters impart a childlike playfulness.

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Drawn by Italian graphic designer Nicola Serradimigni, Drawboard is a fun, freeform display typeface.

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Stephen Chick, of In Your Typeface Productions (IYTP) foundry, has created this rather prickly type design.

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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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So your widget’s stuck between the framistat and the whatchamacallit, there’s a spanner in the works and your avengers just won't assemble.

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So your widget’s stuck between the framistat and the whatchamacallit, there’s a spanner in the works and your avengers just won't assemble? Hey, if you want to get any more work done, you know you're gonna have to hook the hoojamajigger up to the Doohickey!

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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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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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Nobel offers personal variations on strict Bauhaus geometry.

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Penumbra, designed by Lance Hidy in 1994, is an all-capital design. Hidy derived Penumbra from his poster lettering-monoline forms with a blending of contemporary and traditional qualities, which has evolved since the 1970s.

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GUI Design Icons is pack of about 200 icons for every possible user interface (GUI).

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

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The definitive monoline Egyptian, Weiss’ Memphis of 1928, was devoutly industrial in its effect and set the tone for those that followed, right up to Lubalin Graph. More recently, TheSerif and Silica are humanist in form, with complex, asymmetric curved strokes in the lower case. Unique among monoline slab serif types, Bodoni Egyptian has a simple, neo-classical form and proportion, and strict detailing that is antique, not machine-age.

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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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Penumbra, designed by Lance Hidy in 1994, is an all-capital design. Hidy derived Penumbra from his poster lettering-monoline forms with a blending of contemporary and traditional qualities, which has evolved since the 1970s.

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Meloriac is a pseudo-retro, unicase display font. An obvious tribute to Futura Ultra-Mega-Freakin’-Black and Avant Garde Heavy Heavy Heavy Heavy; Meloriac is ideal for tight headlines and logos. Squish! When we say tight kerning, we mean disco-slacks-tight 1970s kerning . . . track it wider on subheadings. Japanese katakana letters are included so you can grace your designs with pretentious new rave slash J-pop flair.

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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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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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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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Penumbra, designed by Lance Hidy in 1994, is an all-capital design. Hidy derived Penumbra from his poster lettering-monoline forms with a blending of contemporary and traditional qualities, which has evolved since the 1970s.

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Penumbra, designed by Lance Hidy in 1994, is an all-capital design. Hidy derived Penumbra from his poster lettering-monoline forms with a blending of contemporary and traditional qualities, which has evolved since the 1970s. Penumbra’s style range from a Futura-like sans serif to a Sistina-like serif can be successfully used in myriad display situations.

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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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Charles Coiner (1898-1989) was a giant in the history of American graphic design, recognized with the first National Society of Art Directors Annual Award and an AIGA medal. As an art director at N. W. Ayer & Son Coiner commissioned work by great artists of the era including Norman Rockwell, Georgia O'Keefe, and Pablo Picasso. His work for private and government clients helped popularize modernism in the United States.

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Pakenham was inspired by Paul Renner’s 1950s creation, Steile Futura. This sans serif font has an upright, modern look with gently turned corners and generously proportioned loops. The overall appearance is squarish and quite compact but friendly and with 30 styles, there is sure to be at least one that will suit your project.

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