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

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Familiarity lies at the heart of legibility. Interstate is based on the signage alphabets of the U.S. Federal Highway Administration, letterforms absorbed at a glance everywhere we drive.

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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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In 1903 faced with the welter of sans offered by ATF, Morris Fuller Benton designed News Gothic, a 20th Century standard.

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

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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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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 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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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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Nobel offers personal variations on strict Bauhaus geometry.

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Take a trip down the interstate with Turnpike, an extra wide 1960s style modern gothic font inspired by classic dashboard lettering.

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

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Ayita is a new sans serif design by Jim Ford and Steve Matteson.

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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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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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Superbastone is a linear font in the style of the classic gothics with a more geometrical design (i.e. in the same way of DIN);

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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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Ubiquity: the possibility to be in several places at the same time; this could be the definition of a typeface like Ubik. Its applications are numerous and various: books, magazines, posters but also architecture and signs.

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Zeta was developed by the British typographer and book designer Roy Cole.

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Auto is a sans serif typeface which has three different models of italics, each with its own flavour.

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Mayfield could be anybody’s handwriting. Very clean and legible.

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Eccentric was designed in 1881 by Gustav F. Schroeder. The original foundry is unknown; if you have information about this, please send a note to webmaster@adobe.com.

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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.

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Describe the 21st century politician. Left or right? Fat or thin? War or peace? Straight or gay? Hard or soft? Male or female? Pro or con? Young or old? East or west?

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Copa Sharp is a dynamic typestyle with sharp, pointed terminals and a quick flare to it. It comes complete with several variants to add to its impact, namely a dropshadow style.

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Concursico Mono is a monospaced typeface with a European-inspired flavor, perfect for International Linux programmers.

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Akagi started as a rough sketch while on a really long plane ride to Tokyo in 2007. I wanted to develop a sans that was a complete departure from my successful Aaux Pro (now Aaux Next) sans serif family.

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Diode is a sleek and simple font with mild art deco tendencies.

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Museo Sans is based on the well-known Museo.

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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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Updated in 2009, Chennai has new weights and OpenType features. Chennai is a simplified sans-serif with a full complement of OpenType alternates. The typeface is rounded, slightly extended and geometric. Over fifty OpenType alternate characters are available, including swashed lower forms, traditional caps and a traditionally formed lowercase. Chennai also includes seven style sets, oldstyle figures, and small caps. Please see the sample .PDF to see these in action.

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Orcin Sans is a functional well crafted sans serif typeface available in 6 styles.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson.

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Zolano Sans is a futuristic, sans serif font family that takes a clean, simple straightforward approach to legibility.

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PlatformOne is a 10 font family consisting of 5 weights with italics.

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Usually, the condensed version of a face comes after the regular design. Not with gogo squat. After gogo big, I thought how strong a regular version would be. A nice clean gutsy face. A “today” Franklin Gothic Extra Bold. I find it ideal for contemporary headlines as well as for logo solutions. As with gogo big, in my terms and conditions, I permit the modification of up to ten of the letter forms for logos and monograms, but logos and monograms only, not the typeface in normal usage.

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JetJaneMono is a large family of sans-serif faces which are monospaced. It is very plain (plain=plane=jet).

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Amitale (A-mi-tah'-lay) is the union of Amitale Book and Amitale Wide into a new 8-font book family in my continuing objective of designing a better font family for readability in booklets. My goal here is for a full range of styles from light, regular, bold, and black without the plugged counters and clunky feel of most bold fonts. In my use, personally. I do not use Amitale Book Bold. I use Wide for the bold and Wide-Bold for the black style.

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Cruz Cantera is a crisp and stylish yet informal sans serif typeface created by NYC type designer Ray Cruz. It is a slightly condensed design. The vertical strokes have rounded terminals, and there are some characters with serifs. Notable characters include the upper and lowercase E. There are three weights and each works equally well alone, or together for both display and text.

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Punchcutters (when types had to be cut, and not just drawn), were working with steel, a strong metal they had to sculpt. They were subject to physical contingencies: each type cast was engraved separatly and, as we move down into the smaller type sizes, the drawing was adapted to new specific data encountered — fine hairlines—hence fragile—need to be reinforced, the curves simplified and the width spacing slightly increased to prevent the ink from clogging up the composition. So, each body size had its own drawing, mostly given by merely physical limits relating to the dexterity and eyesight of the punchcutter… and of the reader, too.

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Museo... it all started with my love for the letter ‘U’. This uppercase letter just came to me as an image in a daydream. The top of both stems bent into semi-slab serifs. From this principle I worked out the rest of the uppercase letters. My first intention was to make it an all-caps display font but after a while I changed my mind. I wanted it to be a bit more versatile, so I decided to add lowercase and adjust spacing and kerning to increase legibility.

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The design of Beau Sans was inspired by Bernhard Gothic which is considered one of the first contemporary American sans serifs and was designed by Lucian Bernhard in the late 1920s.

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Breuer Text is a simple geometric sans with relaxed curves and slightly condensed proportions suitable for moderate lengths of body copy. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs for a warmer read.

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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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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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Susa is an elegant and flowing brush script typeface.

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Variable is a sans-serif monoline typeface family that can be used in a variety of typographic environments.

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Project a powerful image with Sommet.

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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.”

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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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Antagométrica BT is the creation of Argentine designer Maximiliano Giungi.

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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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Punchcutters (when types had to be cut, and not just drawn), were working with steel, a strong metal they had to sculpt. They were subject to physical contingencies: each type cast was engraved separatly and, as we move down into the smaller type sizes, the drawing was adapted to new specific data encountered — fine hairlines—hence fragile—need to be reinforced, the curves simplified and the width spacing slightly increased to prevent the ink from clogging up the composition. So, each body size had its own drawing, mostly given by merely physical limits relating to the dexterity and eyesight of the punchcutter… and of the reader, too.

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Estilo is a very elegant headline typeface in a 30s style with plenty of ligatures for better design possibilities and includes Greek.

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Madawaska is a rugged slab-serif font fortified with black-strap molasses and vigor!

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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.

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Maline is a line. Letters, words, paragraphs are linked to each other.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Originally in one weight, Steve designed and produced three additional weights.

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A family of sans serif display typefaces.

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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.

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What do you imagine the ideal casual invitation font would look like? It has to be cheerful, inviting, legible, creative, and loads of fun. But first and foremost, it has to look like real handwriting. Fonts seeming like real handwriting are always a major task, and although Canada Type already has plenty of fonts that solve the “looks like handwriting” issue in a variety of ways, we're once again raising the bar a little higher with this one.

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The object of Grover was to join two distinctive typeface designs: the basic European gothic of the late nineteenth century and the ‘rounded’ style found in 1960s America.

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A typeface based on my own handwriting, Fontographer-ized. Fun, quirky and very legible.

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What’s cooler than a hyper-ellipse? If current trends in sans serif type design are anything to go by, a compact sans serif with hyper-elliptical forms and subtly angled branching should fit that shoe. But designers need more than just a contemporary shoe—they need shoes people will notice with the requisite style to make spectators ponder the message, without stealing the show. Fractured strokes on k, v, w and x give Veriox a competitive edge devoid of the self-conscious post-modernism afflicting its rivals. A binocular “g” maintains the lineage with tradition we expect.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Many of the weights and the italics were created after Les’ death.

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This is the revival, repair and expansion of Thomas Hollingworth’s Informal Gothic, one of the winners in VGC’s National Typeface Design competition in 1965.

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Based on the popular Girltalk font, cute, cheeky Girlscript, was specially designed for the young-teen market.

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A very thin light line gothic, great headline face.

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Terfens is a sans serif with inspiration from chancery scripts like Stefania. Subtly rounded and eschewing harsh technical lines, Terfens is a warm and inviting typeface. Its tall x-height gives it a friendly but not overly informal feel.

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On the border between formal and informal, Amescote is a fairly conventional sans-serif but it’s a font which has a bit of its own personality.

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Depot is a solid confident sans-serif, available in 8 weights with supporting true italics and ready for everyday use.

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The older brother of Depot, Alber is sturdy with added subtitles, a hard working cultivated all-rounder.

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Designed by Douglas C. McMurtrie. Digitally engineered by Steve Jackaman. Based on the original Ludlow drawings, circa 1928.

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Carbon from Behaviour was released by T.26 in March of 2003. Carbon is based on bitmap style screen font of Frankin’s Language master LM2200. This revised version was done in early 2006 for our in-house project. Carbon C6 offers an improvement in outline drawing by giving some more details. An alternative to modern typewriter style typeface.

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In the early 1980s, Steve worked at Typographic House in Boston, Massachusetts. At the time, ‘Typo’ House, as it was affectionately known, was the largest type house in New England. This font was designed and produced during his tenure. The design was so popular that it became available commercially through VGC, and was known as TH Alphabet Soup.

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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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This broad pen classic is a revival of Walter MacKay’s Heritage font, made for ATF in 1952.

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First used as ornamentation by calligraphers and stone cutters and later included within moveable types to avoid crashing letter pairs, ligatures have always elicited a fascination amongst typographers and designers alike. As if performing a typographical magic trick, they seamlessly combine surprise, utility and recognizability into a single character.

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