Dasieve, Alexandar's constant companion and sans serif.

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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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In 1987, Sumner Stone completed his designs for the Stone type family. ITC Stone solves the problem of mixing different styles of type on the same page. Most combined type styles, because they aren’t designed to work together, often have radically different characteristics such as cap heights, stem weights, and proportions. The ITC Stone family consists of three subfamilies, Serif, Sans, and Informal, each consisting of three weights plus matching italics.

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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.

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Some of the most popular typefaces in history are those based on the types of the sixteenth-century printer, publisher, and type designer Claude Garamond, whose sixteenth-century types were modeled on those of Venetian printers from the end of the previous century.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson. Another typeface from Les Usherwood that was released after his 1983 death.

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A beautiful face that really works well for any application a distinguished clean look. Headlines, subheads and text anything goes.

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Based on the classic, clean lines of a 1970s daisywheel printer, Wyvern is a dignified sans serif font with elevated x-height and short descenders making it ideal for tight spaces.

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A very heavy yet elegant small serif font, powerful but very legible.

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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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Oksana Text is the demure version of Oksana, with shorted serifs, higher contrast, more slender proportions.

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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.

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A very contemporary design can be used in any application from headlines to text.

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Prima is a series of fonts designed at Bitstream by Jim Lyles (Sans and Serif) and Sue Zafarana (Sans Mono), released in 1998.

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Blog has a new distinctive look and comes in four weights light, regular, medium and bold. It can be seen as quite elegant in the light weights while looking masculine in the heavy weight. Its unique look lends to so many different applications.

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Museo Sans is based on the well-known Museo.

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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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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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Leitura News is part of Leitura Type System and was specially designed for editorial purposes.

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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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Hermann Zapf’s Palatino, designed for the Stempel foundry in 1950, is one of the most widely used typefaces in the world today.

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Until recently the story of this type face ended with mediocre digital versions, which did not get at the root of its inspiration. Our pursuit of this paramount body type face of the 20th century began in Nové Hrady Castle, the place where a part of the depository of old prints of the National Museum Library is kept, in the summer of 1999.

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Clearface was designed by Morris Fuller Benton for American Type Founders in 1907 as a legibility face, and has remained popular because of its distinctive look and functionality. In 1978, under license from ATF, the International Typeface Corporation commissioned Vic Caruso to develop it into a family of four weights with corresponding italics.

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Karmina is a text typeface developed mainly for pocket books and budget editions. It was built to withstand the worst printing conditions: low quality papers, high printing speed with web presses and variations in the ink level of the printing press.

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Quaestor was designed to be a strong a decided text typeface because the Quaestor was a Roman magistrate, with responsibility for the treasury and in early times a quaestor also had judicial powers.

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Hiroshige was designed in 1986 by Cynthia Hollandsworth of AlphaOmega Typography, Inc. The typeface was originally commissioned for a book of woodblock prints by the great nineteenth-century Japanese artist Ando Hiroshige, whose work influenced many Impressionist artists.

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Prague is a strong, angular Roman typeface with classical overtones. It is suitable for use across a wide spectrum of advertising work requiring a traditional or classical approach. The exciting vibrancy of this typeface typifies Letraset Type Designer Michael Gills' work, who was stongly influenced by the Czechoslovakian designer Oldrich Menhart.

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North is a small type family designed for books and pages of text in smaller or bigger sizes. It has been designed with special care for the Scandinavian languages, their letter combinations and special characters, but contains accented characters for all European languages.

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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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A family of sans serif typefaces.

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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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In 1975, under license from American Type Founders, International Typeface Corporation commissioned Tony Stan to redraw and extend the Century family. In updating Morris Fuller Benton’s design, Stan tightened the letterspacing and increased the x-height. The full ITC Century family consists of four weights and matching italics, plus the eight corresponding condensed faces.

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Enjoy Fertigo Pro. The font nobody was waiting for.

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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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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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The all-caps display face Sandwich was inspired by historic, hand lettered sans serif alphabets with slightly sloping terminals, as found in showcard lettering and on billboards.

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Adriane Text was designed between 2006 and 2007 with additional production completed by Silas Dilworth for this 2008 release [v1.002]. Focusing on text composition and unique typographic characteristics, details within the characters provide both personality and excellent legibility at small sizes. With a medium contrast, a predominately vertical axis, and a generous x-height, it can be classified as a transitional typeface.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. This typeface is used by a famous European car company in all their marketing!

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The design of Castellar is patterned after carved letters on a Roman column dedicated to Augustus. It is an elegant all-capitals titling face with an incised or shaded look. Castellar was designed by John Peters for Monotype in 1957, and named after a town in the Alps. Castellar is at its best when used for sophisticated, refined display work.

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Phil Martin, creator of over 400 typefaces from the late '60s through the '80s, designed Grad as a redesign of the classic Century Schoolboook for his personal use in the early '90s.

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The Sans Narrow and Slab versions were added to the Vista family in 2008, extending this super-family to a total of 108 fonts.

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If you're looking for a funny, informal font to spice up your projects, Chewy Blossom is your bestest friend!

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First designed for a design bureau, Ezzo is now available in 6 weights with italics and alternates.

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CamingoDos Pro Condensed was designed to achieve a more powerful impact for the use in headlines. The compact appearance and the tight letter spacing makes it an ideal solution for display settings on a limited space.

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Organicon is based on the geometric forms used in chemical formulas and tables.

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Alinea is a typeface in 3 styles (Sans, Incise, and Serif) conceived for being mixed in the same document. Alinea sans, with its neutral shapes, can be used everywhere. Like many recent sans serifs, its italic is a true italic and not a sloped roman.

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All of a sudden, everything must be reasonable, serious; even the minute details of serifs are now rectangular, subordinated to an “idea”. The composition of a book comes closer to architecture; everywhere there is an abundance of blank space; the casting of both type faces and cannons advances towards perfection. The lack of emotions gave rise to desperate Romanticism, which did not manifest itself in book typography at all, as if the division of work in art had marked the industrial revolution. At the same time, at the beginning of the 19th century, when Caspar David Friedrich paints his snow-covered graves with forked, mutilated trees, Justus Erich Walbaum sits quietly in his Weimar workshop, establishing the German branch of Neo-classical typography. Beside Didot and Bodoni, Walbaum seems to stand rather on the margin of glory. His typeface, when judged according to the Neo-classical rules, is even a little bit “impure”. But this is precisely the reason why it is much more legible, softer and more humane than it would have been, if it had merely, blindly, aimed at an ideal.

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Predicate is a clean, legible, professional sans-serif that works as a text face, as well as for headlines and signage.

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An original design.

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Paine was designed to be a humanistic sans serif with an overall contemporary feel while at the same time evoking the feeling of earlier transitional faces.

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Digitally engineered by Steve Jackaman. Ludlow, circa 1939.

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See also other font families inspired by Gans' original typefaces: Gans Tipo Adorno, Gans Lath Modern and Gans Titular Adornada and Gans Antigua.

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Mayberry was designed for use in set top TV devices. Originally designed to emulate the technical behavior of Tiresias, its designer has taken the liberty to improve upon its readability and aesthetics.

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This font draws its inspiration from handwriting, in order to maintain a certain dynamism and irregularity.

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

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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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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 Filosofia Regular family is designed for text applications. It is somewhat rugged with reduced contrast to withstand the reduction to text sizes.

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Flavour is an elegant brush script headline typeface.

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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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The classical Clarendon form originating in England in 1845 as polished by Edouard Hoffmann and Hermann Eidenbenz at Haas a little over a century later. Haas’ revival of this typeface in 1953 precipitated the revivals that follow.

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“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

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To best extend the range of the ITC Officina family, Erik Spiekermann and his team at MetaDesign added a sans serif companion face in two weights.

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

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This Linotype typeface was designed in 1990 by Peter Matthias Noordzij (PMN), and named for his wife, Caecilia. Because its shapes are humanist rather than geometric, PMN Caecilia is easier on the reader’s eye and so more useful as a text typeface than most slab serif designs.

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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.

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While Din Display seems to retain DIN’s basic characteristics, it shines with its sharper corners and contemporary look. Completed in 2002, it was first released and published in Parachute’s award-winning 2003 catalog and immediately was a hit.

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