Humanist sans serif typeface.

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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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The calm and deliberation of Antenna offers further development to the excitement and mobility that we have come to expect from the hand of Cyrus Highsmith. Beyond the tension of his normal line, Highsmith places a new emphasis on the repeat and variation of counter shapes with the spaces between characters. Antenna’s rhythms project business-like subtleties through seven weights in four widths, with matching italics.

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Seravek is a linear sans serif designed for identity, editorial and information design. Five weights spanning Bold to Extra Light with italics and small caps allow for a range of applications both typographic and utilitarian in nature.

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Designed at ParaType in 1997 by Tagir Safayev.

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Recently the Rogue family was designed as an accompaniment to Paralucent for Loaded, London’s notorious lads-mag that had found its design being cloned by the competition and sought something unique to set it apart.

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Museo Sans is based on the well-known Museo.

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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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NewJune is a very strong unique character. It is already used in many magazines all over the world.

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Designer Panos Vassiliou created Square Sans Pro in his quest for a true square-like text typeface which could balance simplicity with vitality and enhance with its subtle power the identity of any product or service, without compromising its characteristics as a text typeface.

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One of the most remarkable characteristic of this humanistic sans serif is its versatility. Ronnia’s personality performs admirably in headlines, but is diffident enough for continuous text and small text alike.

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Here is an extremely efficient and uncluttered typeface that you can use in a variety of situations.

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Deva Ideal was inspired by women’s beauty. It didn’t come only from the desire to create a new typeface. It also seeks to materialize beauty in a visual form. Instead of imitating the shapes of the female body or other formal attributes, Deva Ideal is an abstract expression of the women’s beauty.

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Designed by Adrian Frutiger in 1977 for Linotype, Glypha is a square-serif type that works well in both text and display applications. It is unusual for a slab serif in that the stroke weights vary slightly.

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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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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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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.

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Helvetica is one of the most popular typefaces of all time. It was designed by Max Miedinger in 1957 for the Haas foundry of Switzerland (the name is derived from Helvetia, the Latin name for Switzerland).

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Back in 1936 the German Standards committee Deutsches Institut Normung (DIN) proposed DIN 1451 as the standard type of lettering for road signage. As the original manual states ‘the purpose of this standard is to lay down a style of lettering which is timeless and easily legible’.

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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.

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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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This revival of Harry is based on the original design by Marty Goldstein (and C.B. Smith).

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Alright Sans is a contemporary grotesk typeface. Simple and clean, with a warm, slightly humanist flavour, Alright Sans is fresh take on the traditional sans-serif. With a robust set of typographic features and 16 styles, Alright is ready to be used for just about anything.

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Back in 1936 the German Standards committee Deutsches Institut Normung (DIN) proposed DIN 1451 as the standard type of lettering for road signage. As the original manual states ‘the purpose of this standard is to lay down a style of lettering which is timeless and easily legible’.

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Fedra Sans was originally commissioned by Paris-based Ruedi Baur Integral Design and developed as a corporate font for Bayerische Rück, a German insurance company, as part of their new visual identity. According to the commissioner, the objective was to 'de-protestantize Univers', the typeface which Bayerische Rück had been using since Otl Aicher designed their first visual identity in the 1970s. The typeface reflects the original brief: it humanises the communicated message and adds simple, informal elegance. The most important criterion was to create a typeface which works equally well on paper and on the computer screen, and is consistent across all computer platforms.

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

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The design of Graublau Sans Pro took Georg Seifert over 5 years. With 7 weights and over 1000 glyphs per style, Graublau Sans is a type family that suits all typographic tasks. The regular styles have a rather clean and neutral appearance. The italics on the other hand, have a vivid design based on handwriting. For the use in headlines or logotypes Graublau Sans Pro offer 6 additional display styles with rounded corners and tighter spacing.

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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 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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The Roos family is a digitization and expansion of the last typeface designed by Sjoerd Hendrik De Roos, called De Roos Romein (and Cursief). It was designed and produced during the years of the second World War, and unveiled in the summer of 1947 to celebrate De Roos’s 70th birthday. In 1948, the first fonts produced were used for a special edition of the Dutch Constitution on which Juliana took the oath during her inauguration as the Queen of the Netherlands. To this day this typeface is widely regarded as De Roos’s best design, with one of the most beautiful italics ever drawn.

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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.

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Breuer Condensed is a mechanical sans ideal for captions and headline settings, and may also be suitable for moderate lengths of body copy with its comprehensive offering of OpenType features. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs to provide a warmer read. The overall design ensures a distinct aura of technical precision in a personable tone.

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

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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.

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Gloriola is a monolinear sans serif, whose extremely broad range of nine cuts offers endless creative possibilities.

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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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Organic was designed to be highly legible and flexible. I wanted to create a very refined sanserif that could be used for display or body copy, for print or digital.

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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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Secca is a fine and simple typeface honoring the roots of early German grotesque type designs but mastered for the needs of today.

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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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What started out as my thesis project is now a complete sans serif typeface family in 14 styles.

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In Cooke’s ongoing quest for simplicity and elegance he developed this striking alternative sans family.

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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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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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Heroic Condensed is the graphic embodiment of the idealized, no-nonsense, narrow grotesque.

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Condé Nast commissioned the FB version of this popular oldstyle for Traveler magazine.

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These 3 weights were developed as the corporate typefaces for a design company in 1997. The starting point was the word ‘accent’ in lower case. It is essentially a sans typeface with the thick/thin contrast of a serif and is the only family in the G-Type collection that was designed for a client.

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

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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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CamingoDos is provided with tight shapes and elliptic roundings. With the aspect of legibility on mind these attributes were applied carefully. Along with a subtle contrast between thick and thin strokes CamingoDos has a strong, humanistic appearance. It comes in a wide range of seven weights from ExtraLight to Black which makes it perfectly suitable for editorial and corporate design.

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The Rotis family was designed in 1989 by Otl Aicher for Agfa; his last type design.

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CamingoDos Pro SemiCondensed fills the gap between CamingoDos Pro and CamingoDos Pro Condensed and combines them to a homogeneous and versatile type family.

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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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The first version of Libris I designed in London in 1997 when I worked for Frank Magazine. Later Libris was used in the magazine for text and display.

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This type is almost a sans serif. It has legibility proportions, and a very large, useful family with specially adapted condensed and extended sub-families.

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

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CamingoDos Pro is provided with tight shapes and elliptic roundings. With the aspect of legibility on mind these attributes were applied carefully. Along with a subtle contrast between thick and thin strokes CamingoDos has a strong, humanistic appearance. It comes in a wide range of seven weights from ExtraLight to Black which makes it perfectly suitable for editorial and corporate design.

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

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The Rotis family was designed in 1989 by Otl Aicher for Agfa; his last type design.

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The Rotis family was designed in 1989 by Otl Aicher for Agfa; his last type design.

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

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Parisine has been designed by Jean François Porchez in 1996 for Ratp to solely fulfil the unique needs of signage legibility. In 1999, the family was revised and extended for use in maps and external communication. Not connected with Ratp, Parisine Plus appeared also in 1999. Much later, Parisine Office was created for Ratp’s internal and external communication.

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Designed by Jean François Porchez, Le Monde Sans is a lineale type family—one which has been derived from serifed types—a practice that has now become commonplace. As applied before to italics, this type of variation expands typographic possibilities, diferentiating of the status of each text. This is fundamental to contemporary documents and the press, where comments & analyses must be distinguished subtly from news. The design of Le Monde Sans continues the basic common structure found in the members of the Le Monde family: its proportions, a relatively narrow width, a fairly oblique axis, etc. The typographer can, at all times, switch between Sans & Journal or Courrier without any disruption in the composition. Le Monde Sans is offered in three weights, in roman, italic to meet all kinds of situations. Given the common usage of lineale sans serif typefaces today, this is indispensable.

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Future Bugler is a font based on the second logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore.

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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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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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Based heavily on Gill Sans especially in the mid weights, Astoria has a subtle top left serif which makes it not quite a Roman and not quite a Sans. Designed specificaly as a text face it still works very well as a headline font.

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Seravek Basic is a linear sans serif designed for identity, editorial and information design. Five weights spanning Bold to Extra Light with italics for each allow for a range of applications both typographic and utilitarian in nature.

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Camingo is a highly legible, modern sans serif typeface. Although provided with tight shapes an elliptic roundings it has a humanistic character. The subtle contrast gives the typeface a robust appearance. Designed for the needs of editorial and corporate design Camingo is not only suited for large texts in small sizes, also it has the presence for powerful headlines.

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From today’s point of view Katarine has a rather unusual origin.

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The Heinemann fonts were initially developed by the in-house design team at Heinemann educational publishing out of the necessity to find the perfect font for use in early primary reading books and literacy products.

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The original Ronsard Crystal began its life as a single-weight VGC photo display font in the 1950s.

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The name Corpid derives from “Corporate Identity” - which is what this family of low-contrast sans-serifs was made for. Corpid was originally commissioned by Studio Dumbar in the Netherlands as a corporate typeface for the Dutch Ministry of Agriculture, Nature Management and Fishing. The font was designed to replace the existing standard typeface (a well-known business-like sans-serif) to provide the organization with a unique and strong identity.

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Designed by R.H. Middleton for Ludlow, circa 1929-30. Digitally engineered by Steve Jackaman.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson. Les never released this completed typeface before his untimely death in 1983.

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Based on the Ludlow/ATF versions of this great typeface.

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

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