H. Berthold first published Akzidenz-Grotesk in 1896. The design originates from the type used in Germany by job-setters and trade printers of earlier centuries.

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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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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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It was our initial intention to develop a suitable lowercase for Les Usherwood's Elston typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin).

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Nobel offers personal variations on strict Bauhaus geometry.

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

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For gritty reality and rust-belt appearance, Garage Gothic Regular was derived from numbered tickets given at city parking garages.

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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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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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Fenwick is not just another name on a map. It’s so much more than that. Having just celebrated its 150th Anniversary, Fenwick has become my new hometown and the history is almost palpable here. Situated atop of the Niagara Peninsula and renowned for its fertile soil and excellent growing conditions, all manner of flora and fauna thrive here. Located smack dab in the middle between Lake Ontario and Lake Erie, the region is famous for its wineries and nurseries blessed with an abundance of sun and rain in just the right proportions. Honest, hard-working, happy people whose families have often been here for generations, have nurtured their homesteads and it’s evidenced by every well-managed farm and field, garden full of colourful flowers and a surplus of healthy plants for sale by the roadside everywhere. No one lacks for flowers with so much natural abundance and generosity of local spirit. Local legend says if you push a stick in the ground, it will grow. I wouldn't doubt it.

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It was our initial intention to develop a suitable lowercase for Les Usherwood's Elston typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin).

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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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Decima+ is a subfamily addition to Decima, a new face by TipografiaRamis.

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A set of three condensed sanserifs prepared for ATF as text and titling by Morris Fuller Benton in 1903 and popular for the next half century.

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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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CastleType was commissioned in 1991 by San Francisco Focus magazine to digitize three members of the Standard family. This is a Continental lineale that was popular in Switzerland in the 1950s and later in the United States. A cousin to the ubiquitous Helvetica, Standard is an alternative that is considerably warmer and a bit more idiosyncratic.

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LIETZ Lindham is based on letters taken from an old type specimen folder from 1936 featuring handdrawn sans-serif ABC’s. It’s kinda bauhausy and straight but also shows the wonderful lively unevenness of hand-drawn letters.

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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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Reservation Wide is intended for headlines with its relatively snug letterspacing and extended forms. Its simplicity will accommodate smaller sizes and lower resolution displays. OpenType Stylistic Alternates for characters ‘a’, ‘g’ and ‘t’ lend an even simpler finish.

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Helvetica Inserat is a heavy condensed face with short ascenders and descenders. It was released in 1966 by the D. Stempel foundry. “Inserat” is German for advertising and, accordingly, is ideal for display uses such as advertising, billboards, and news headlines.

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A new gothic great for books and magazines.

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Sweater School is a friendly teacher’s font based on Cardigan. The structure is similar to the print style elementary school teachers prefer but with subtle compromises to improve readability.

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Transport New is a redrawing of the typeface designed for British road signs. In addition to the familiar Heavy and Medium weights, Transport New extrapolates and adds a previously unreleased Light weight font originally planned for back-lit signage but never actually applied. Originally designed by Jock Kinneir and Margaret Calvert beginning in 1957, the original Transport font has subtle eccentricities which add to its distinctiveness, and drawing the New version has involved walking a tightrope between impertinently eliminating awkwardness and maintaining idiosyncrasy.

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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.

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Endurance Pro was designed by Steve Matteson to fill the need for a more graceful, less industrial-looking neo-grotesque sans serif design.

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Decima is a new display face designed in 2008. The designer’s inspiration was a previous creation, PR41, a monoline condensed typeface developed for use on instrument panels. This time, the intention was to create a typeface with a more modern, yet soft, look while retaining PR41 characteristics.

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Coldfield JNL is the revival of an old wood type font from Jeff Levine.

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Divulge is a contemporary sans serif family with roots in 19th Century grotesques. Divulge comes in light, medium and bold, condensed and italic: a total of twelve styles. The OpenType format features fractions, ordinals, old-style numerals and class-based kerning.

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Annonce is a digitization and expansion of a 1912 Johannes Wagner Foundry classic called Aurora Grotesk, which also circulated later on in metal under the name Annonce.

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Based on a revival of one of the popular wooden type fonts of the 19th century, suitable for display, or text.

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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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The first sans serif types were made in London in the early 19th century. They were severely modern, all caps and bold.

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Aerohop is a contempory sans serif font with shades of non-contemporary design elements. A neo-classic face with a full character set, three weights, and italics.

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Ascender Sans was designed by Steve Matteson as an inventive, exhilarating sans serif design that is metrically compatible with Arial.

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PT Quadrat Grotesk™ was designed for ParaType in 2001 by Vladimir Pavlikov. An expanded sans serif with square letterforms due to what the face was named.

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Designed for ParaType in 2007 by Isabella Chaeva.

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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.

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Oslo is an understated sans with subtle qualities that make it appropriate for many applications. It is simple, clean and very legible.

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A generic set of capitals built on the gothic even width principle, built from squared forms and a simplified finish, Big Noodle Titling delivers excellent clarity in any medium. Big Noodle’s key features are its utility and unremarkable appearance. Patterned after countless squared grotesks and linears, the type is industrial in essence with a contemporary treatment, a robust work-a-day typeface subservient to the message. A companion oblique font and a block shadow oblique font are included with the base font. One weight fits all

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Poplar is an Adobe Originals typeface designed by Barbara Lind in 1990 for the Adobe Wood Type series.

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Museo Sans is based on the well-known Museo.

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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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Cyrus Highsmith drew Scout and related logotype for Geraldine Hessler’s redesign of Entertainment Weekly. The large family marks the magazine’s first significant typographic update in a decade. Captions and sidebars are set in Regular and Bold; Light, Black, and Condensed styles form the backbone of the display. Scout’s form derives structural elements from both new and old: DIN, Venus, and Cairoli.

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In 1992, Red Rooster Typefounders created Block Gothic Extra Condensed based on the TP Collection Block Gothic.

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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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Driver Gothic is based on the typeface used for Ontario license plates. Although unique among Canadian provincial license plates, this face is very similar to, if not outright identical with, the face used on car plates in 22 American states: Arizona, California, Connecticut, Florida, Illinois, Iowa, Kentucky, Louisiana, Maine, Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Mexico, Ohio, Oklahoma, Vermont, Washington, and West Virginia.

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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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Inspired by the unique lettering style of a poster seen in a well-known chocolate shop in San Diego.

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A very thin light line gothic, great headline face.

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Condensed Oldstyle Gothic with flair. Great for tight-fitting headlines and other condensed titling situations such as headlines, ads, invitations, captions, packaging, bulletins, posters, and greeting cards.

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This sans-serif face is slightly condensed, and intermediate between rounded and squared, giving a clean and modern aspect.

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A gothic with a contemporary look very powerful.

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Brown Gothic is a compact sans serif face, with rounder letterforms than the usual condensed grotesques such as Helvetica, Univers, et al.

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The typeface was designed at ParaType (ParaGraph) in 1993 by Tagir Safayev. Based on Placard typeface (Hermes Grotesk) of the Lange type foundry (St.-Petersburg), an adaptation of Hermes Grotesk, of the Woellmer type foundry (Berlin, middle of the 19th century). This sans serif with its old-fashion stability looks well in advertising and display typography.

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Inspired by the Victorian gothic revival and the work of Augustus Pugin.
This display letter has an Art Nouveau feel and a definite Arts and Crafts influence.

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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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AG Book Stencil was designed by Günter Gerhard Lange for Berthold in 1985.

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Helvetica grew in popularity throughout the 1960s and 1970s, and more versions of the family were introduced. This led to vast confusion: the same weight is often referred to by two different names, design features often vary from one face to another, and so on.

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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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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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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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As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica.

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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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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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The standard American sanserif of the first two thirds of the twentieth century, prepared for ATF by Morris Fuller Benton in 1908 under the name News Gothic, with a matching lightface known as Lightline Gothic. Linotype’s Trade Gothic follows News Gothic except for its widely-spaced straight-sided boldface based on ATF Alternate Gothic No.3. Linotype matches News Gothic Bold, a boldface version that originated at Intertype, with Trade Gothic Bold No.2. Ludlow Record Gothic follows News Gothic more loosely.

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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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A family of sans serif typefaces.

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Bureau Grotesque reintroduces the tooth and character of the nineteenth-century sans.

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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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In 1952, Aldo Novarese and A. Butti designed Microgramma for the Nebiolo foundry. It was a popular face, but was available only in capitals. In 1962, Novarese produced a full character set, including lowercase letters, and the foundry renamed the family Eurostile.

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News Gothic was the standard American sanserif of the first two thirds of the twentieth century with narrow proportions and a large x-height.

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

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Based on custom design work by DTP Types Limited in 1992.

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Secca Art recovers some of the expressive forms of early art nouveau and art deco grotesques — not copying it, but carefully adapting it for today.

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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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