Designed in 1992 by Ronald Arnholm as a companion to ITC Legacy, this type has easy-to-read character shapes and comfortable proportions that make it very legible for a sans serif typeface.

More…

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

More…

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.

More…

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

More…

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.

More…

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.

More…

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.

More…

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.

More…

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

More…

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.

More…

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.

More…

Created by Adobe type designer Robert Slimbach, Cronos is a new sans serif typeface family that embodies the warmth and readability of oldstyle roman typefaces.

More…

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.

More…

Parisine Plus Std Clair is a set of light variants of the Parisine Plus family.

More…

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.

More…

Leksa Sans is a humanist sans-serif face with some contrast.

More…

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.

More…

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.

More…

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.

More…

Oksana Sans Narrow is a space-saving addition for Oksana Sans Roman faces.

More…

Here is a sans-serif built up on an old-style design framework especially perceptible in the italic. It is the conjunction of contradictories feelings: pointed / soft, classical / modern. The smaller the typesetting, the better it works.

More…

Sky Serif is a clean-cut slab-serif design.

More…

The Cinio family was specially designed for sign applications.

More…

Hemingway designed by Alessandro Segalini was inspired by the prize winning novel The Old Man and the Sea by Ernest Miller Hemingway.

More…

Parisine Plus Std Sombre is a set of heavy variants of the Parisine Plus family.

More…

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.

More…

Because we all need a “werk” horse font that is simple, useful and with just enough character not to be too dominant.

More…

Silent is a semi-serif typeface that combines readability with
fluidity in a discreet and clean design. It works great on short texts
such as captions, charts and graphs. The soft curves offer a calm
rhythm. The design is smooth and bring silence and concentration
while reading.

More…

The legendary sans serif design developed by Edward Johnston for the London Underground system in 1916 is available for the first time as a commercial font in an exclusive arrangement with the London Transport Museum. The font, as well as the all-caps bold version, is true to the original design, plus full international characters are also included. The extras feature graphic elements inspired by the design motifs of items including maps, tile patterns and seat covers.

More…

BluHead Studio LLC is pleased to announce the complete Prenton typeface family!

More…

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

More…

Sky Sans is a companion to Sky Serif.

More…

The idea of a brand-new grotesk is certainly rather foolish – there are already lots of these typefaces in the world and, quite simply, nothing is more beautiful than the original Gill. The sans-serif chapter of typography is now closed by hundreds of technically perfect imitations of Syntax and Frutiger, which are, however, for the most part based on the cool din-aesthetics. The only chance, when looking for inspiration, is to go very far...

More…

Comenia Sans was designed in the framework of a unique typographic project for all types of schools. It is a complementary face for Comenia Serif, released by our friends at Storm Type Foundry. Comenia Sans has a lot in common with its serif sister: the height of both upper and lower case, the length of ascenders and descenders, and the general weight. This makes the two perfect partners which work well even when set side by side in a single line of text. Comenia Sans does, however, lack all serifs, ornamental elements and stroke stress variation. All these elements freshen up the feel of long texts, but for shorter texts use, they are not necessary. Despite that, Comenia Sans retains the soft, friendly character of its big sister, as well as a few tiny details which lend it its unique character without compromising legibility or utility.

More…

A humanistic sans serif in eight weights, Magma has true italics and many special features which make it useful in a large range of applications for both text and display.

More…

Parisine Plus was created in 1999, alongside its brother, Parisine Ptf.

More…

Created by Adobe type designer Carol Twombly, Chaparral combines the legibility of slab serif designs popularized in the 19th century with the grace of 16th-century roman book lettering.

More…

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

More…

Fox is a completely new typeface based on my previously designed Fox family font, which has been in distribution by T26 type foundry since 2001. Old Fox typeface design decisions were reconsidered in a way to improve legibility without sacrificing its originality. This new Fox family consists two subfamilies: Fox TRF and Fox Sans TRF.

More…

The Vekta Type System is part of a larger, interconnected grouping of 3 families: Neo, Sans and Serif. The goal was to develop a family designed along a common skeleton and matrix that would allow for interchangeable usage along a cohesive visual system.

More…

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.

More…

Sans-serif typefaces compensate for their basic handicap – an absence of serifs – with a softening modulation typical of roman typefaces. Grotesques often inherit a hypertrophy of the x-height, which is very efficient, but not very beautiful. They are like dogs with fat bodies and short legs.

More…

Candara is a casual humanist sans with verticals showing a graceful entasis on stems, high-branching arcades in the lowercase, large apertures in all open forms, and unique ogee curves on diagonals. The resultant texture is lively but not intrusive, and makes for a friendly and readable text.

More…

Based on the Roman typefaces of Eric Gill - Perpetua, Joanna, and the hitherto neglected Solus. A tiny portion of Gill Sans, a few extraneous influences too… is this the undiscovered second sans?

More…

Mezzo is a slender, humanist sans serif with four font styles.

More…

Oksana Sans Condensed is designed for tight-fitting text.

More…

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

More…

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.

More…

An elegantly proportioned, crisply modern sans serif with true italics and two sets of figures (lining and old-style numerals).

More…

Poetica was designed in 1992, and is the first Adobe Originals script typeface; modeled on chancery handwriting scripts developed during the Italian Renaissance. This elegant style of writing formed the basis for italic typefaces and for modern calligraphy.

More…

Relato Sans is the other face of Relato Serif (a typeface with much idiosyncrasy) never the less, the sans version of this typeface is more austere and aseptic. A humanistic type, with a contemporary cut, created for general use in texts and holders and with a great variety of weights, which allows the enough flexibility for projects of great magnitude.

More…

Comenia was developed as typographic system for use on all levels of schools and universities.

More…

The cross between calligraphy and sanserif is rare, inhabiting territory between Hermann Zapf’s Optima, classical sans structure with a calligraphic spirit, and Warren Chapell’s Lydian, classical calligraphy without serifs.

More…

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.

More…

Stella is sans serif designed for text use. Especially suited for use in small sizes. It has an humanistic flow, but not too much. The italic are rather narrow compared with the upright. It includes small caps, lining and Old style figures (both, tabular and non-tabular), fractions figures an more extra and useful characters. It works good as a ‘sans’ companion for many serif text faces. Four variants; regular, italic, bold and bold italic.Designed in 2000.

More…

Libran and Libran Small Caps provide surprising legibility at all sizes but perform best in semi-display situations.

More…

Created by Letraset Type Director Colin Brignall, this clean-cut, monolineal sans serif typeface was inspired by Edward Johnston’s Railway Type and Eric Gill’s Gill Sans typefaces.

More…

This classically proportioned sans-serif font is strictly about efficiency; angled only where necessary and free of artifice.

More…

Quite unusual, Musenberg started his Raldo design with the italic. However, he managed to preserve the temperament and vividness of the italic in the roman without questioning the stability of the indivdiual characters.

More…

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.

More…

Cora is a sans serif with an experimental bent, offering a large x-height, some contrast of stroke weight, and capitals inspired by classical lettering.
The large x-height gives it a voice with a little more volume so that those in the back of the room have no trouble hearing. Because the letters seem slightly large, Cora remains clear at smaller point sizes. It is a typeface intended to perform well on screen without loosing its attraction in print and the nature of its shapes allows for condensation or expansion without becoming severly distorted. The uppercase exhibits classical proportions found in ancient Roman inscriptions, which provides opportunities for setting titles in all caps.
Cora Opentype Pro has a full range of numerals for every use, small caps, the most common open type features and supports many languages that use the latin extended alphabet. It is available in a range of three weights plus Italics.

More…

Pragma ND is part of Neufville Digital’s MODERN COLLECTION.

More…

Miramonte Pro was designed by Steve Matteson in 2006 as a friendly sans serif design suitable for user-interface design, corporate branding and publishing.

More…

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.

More…

The first photo-typesetting machine in operation, the Uhertype, was introduced in 1925. It was a combination of manual phototypesetting machine and make-up machine. The machine’s typefaces were designed by Jan Tschichold. The patents on Uhertype were bought up at the time to prevent the invention of filmsetting spreading. Jan Tschichold has been very influenced by Gill Sans (1928) for this humanistic sans serif drawn in 1933/36 for Uhertype.

More…

Richmond is a geometric sans family in the spirit of Dwiggins' Metro, Erbar by Jakob Erbar and the Underground type of Edward Johnston.

More…

Tooting Sans is a well-crafted, contemporary humanist sans. Designed for the needs of editorial, advertising and signage, Tooting Sans is not only suitable for setting large amounts of text at small sizes, it also has a presence and robustness for powerful headlines.

More…

A humanist sans-serif family which displays subtle influences of the edged writing tool.

More…

See also BF Fiona Serif and BF Fiona Script.

More…

Aldersgate was designed as a comfortable, easy-to-read sans serif alternative font for a series of retirement community brochures. It was intended to compliment existing sans serif fonts for subheads and captions and is ideal when a conservative but subtly different font is needed.

More…

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

More…

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

More…

Alphii is a high-tech, contemporary typeface family of four styles which includes Regular, SemiBold, Bold and Black weights.

More…

Tempera Rose is a soft contemporary sans typeface with rounded corners.

More…

Everyone in each member country of the European Economic Community is represented by a Member of the European parliament. An MEP.

More…

With a gentle, modulating effect and very neat from a formal point of view, Botija is ideal for medium sized texts: it is a font family with a unique style.

More…

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.

More…

Unita is my version of a classic Grotesk or Sans typeface.

More…

During development of Colophon 30, the base font of the typeface family, two requirements emerged, namely, that it should demonstrate good legibility and robustness when used for text composition, and where individual characters become more apparent, as in much larger sizes, these should appear well formed.

More…

Massif Pro was designed by Steve Matteson to impart a natural feeling with crisp readability both on screen and in print.

More…

I think it is one of our most useful fonts in that it doesn't draw much attention to itself while it is quite refreshingly different.

More…

Designed by Hans Eduard Meyer for the Stempel foundry in 1968, Syntax is based on both Renaissance minuscule writing and Roman lapidary capitals.

More…

Cicero was the first typeface designed by Thierry Puyfoulhoux in 94. It is what could be called a semi-serif. Only the serifs which occur naturally when drawing letters with a flat nib pen have been retained. The absence of certain serifs allows for much tighter spacing. The remaining serifs still stabilize the baseline, although less effectively than a "full-serif" typeface. By borrowing features from both the sans and serif styles, Cicero truly stands at their crossroads.

More…

Story is a modern magazine typeface equally suitable for large pieces of text, headings and everything in between. It includes four styles.

More…