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.

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In 1968, Adrian Frutiger was commissioned to develop a signage system suited to the architecture of the new Charles de Gaulle Airport outside Paris; he designed a simple, clean, robust sans serif type that is highly legible. In 1976, Frutiger completed the family for the Stempel foundry.

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Museo Sans is based on the well-known Museo.

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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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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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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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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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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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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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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 Sommet series has been updated with a rounded variant.

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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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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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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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Project a powerful image with Sommet.

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A family of sans serif typefaces.

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

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

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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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A type face lighter than air, if it is possible to express something like this by typographic means. But the name does not make a difference. This mosquito-like Grotesk appropriately complements the jobbing steel-engraver’s scripts Splendid and Excelsior, and is, therefore, suitable for designing letterheads and graphic materials for personal representation. Medium and Black weights have been added recently to improve the range of application of this type face. Ideal font for captions, footnotes and headlines, it appears legible from 3 point size.

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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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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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The Cinio family was specially designed for sign applications.

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Helsinki is inspired by the Finnish traffic sign type.

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Kathleen Sans is a geometric sans-serif display font and works best in text and display applications, such as posters, headline, magazine, logos, titles, product branding, corporate branding and publishing.

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A family of sans serif display typefaces.

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Although originally conceived as a magazine face – with strong serifs and open character shapes for good legibility in small sizes, and compact letter forms optimized for narrow columns and tight headlines – Marat evolved into a comprehensive family for general use.

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

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Dienstag is an extended sans-serif and a new companion to insigne’s popular Montag family.

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

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Designed in 1955 by Howard G. Kettler for the IBM bar typewriter and later adapted for the Selectric typewriter, Courier? has truly stood the test of time. Installed on nearly every computer in the world, Courier? is also one of the most used typefaces in history. The 12 pitch mono Kettler type family pays tribute to the simplicity of Howard Kettler¹s monospaced classic by revisiting the smooth letter fit and efficiency of form.

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See also BF Fiona Script and BF Fiona Slab.

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Although a sans serif, Colosseum owes its style to the original Trajan Roman form. Borrowing some characteristics from Friz Quadrata, in its san serif form it is more adaptable to text usage whilst still having a modern and original look which works well in headlines.

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Aviano slab is an extended slab serif and the newest member of the popular insigne series Aviano.

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Although originally conceived as a magazine face – with strong serifs and open character shapes for good legibility in small sizes, and compact letter forms optimized for narrow columns and tight headlines – Marat evolved into a comprehensive family for general use.

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Smart, sharp Hybrea is seven stages of pure progress: from laser-thin to industrial-fat.

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New Telegraph is designed for daily use on any good occasion. This typeface keeps a fine legibility even in small sizes.

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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 package of three fonts, with well over 200 specially drawn pictorial symbols and pi characters and symbols, including web and e-mail symbols, and serif and sans-serif versions of copyright (C and P), trademark (TM) and registration (R) symbols in small superscripted format.

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Newsanse has an open, rounded style and a quite generous x-height - both of which give extra legibility especially at smaller sizes.

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Clarity and Clarity Lost play on readability, from extremely legible to bordering on hard to read and worn away, offering the designer a range of use.

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Monospaced but no mono space.

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Are you tired of blurry fonts on your TV or computer screen? Do you wish there was a font that stayed crisp and clear in video games? Do you want your DVD menus to be easier to read on-screen? Well, your wish just came true! Affluent is unique because it was tailor-made to stay razor-sharp on screen keeping text clear and readable from a distance even at small sizes.

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Named after the collaboration of Frank Sheeran, Ian Chai and Glenn Chappell that produced the FIGlet application, FIG is set of three postscript typefaces in the spirit of early email and ASCII art explorations. Written in 1991 using the programming language C, the FIGlet application allows users to create fonts with basic ASCII characters. The FIG types capture the simplicity of the FIGlets with a family that includes a sans, a serif and a script.

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A modern geometric typeface influenced by the Dutch designer Wim Crouwel.

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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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Snazzy is a sans-serif that is squarer than most other sans faces, giving it a distinct appearance that we think is quite, well, snazzy.

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Phoenica Std Mono expands the already large family of my very successful Phoenica. The motivation to develop a new mono-Phoenica family was that I was not satisfied with monospaced fonts in programming code, or simply in e-mail correspondence.

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A linear modern typeface suited for branding & advertising projects. The variations in weight give great contrast when used across body
copy & headlines.

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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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A modern digital typeface inspired by the 1976 sci-fi film Logan’s Run.

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Xenu is a high-tech, contemporary typeface family of eight styles which includes Regular, SemiBold, Bold and Black weights with italics for each.

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Sanzettica is a very easy-to-read sans-serif typeface with a design principle of open, rounded characters with at least 3 weights being suitable for large bodies of text. Legibility is augmented by the quite large x-height, giving lower case letters increased prominence in mixed text.

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Stephanie is a rounded geometric display font and works best in display applications, such as posters, headline, magazine, product branding, corporate branding, signage, logos and titles.

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

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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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A headline typeface with an impression of standardisation and stylish touches.

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Folder is a font custom designed for education. Each style features:

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

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Jekatep is a sans-serif display font and works best in text and display applications, such as posters, headline, magazine, logos, titles, product branding, corporate branding and publishing.

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Humanist sans serif typeface.

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Mokka is a robust and crisp typeface with strong serifs and individual forms.

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Snather is a simple, slightly square sans-serif with modern (if not futuristic) clean lines, giving great clarity and legibility.

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Luzaine is a slightly rounded sans-serif face; and to give a more even distribution of emphasis the difference between thick and thin strokes in this font is minimised to a certain extent. We think this helps make it attractive and slightly different.

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Machinato is a contemporary, fresh, sans serif fontfamily, subtle and legible but at the same time distinct and classy. It contains 5 different weights - extralight, light, regular, semibold and bold - plus their respective italic counterparts.

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Quickle is a square-ish sans-serif, and the design principle is to have clean upright lines and very few round characters - in fact it’s the rounded corners that contain all the curves.

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Sink your teeth into the heavy-hitter Sistine Family consisting of Regular to Extra Black weights along with an extra black stencil style.

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

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Stratham is vigorous sans-serif inspired by the slab serif Clarendon.

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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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Phoenica Std Office and Phoenica Cn Std Office (condensed style) are part of the Phoenica Std family. The four usual styles Regular, Italic, Bold and BoldItalic are combined in one font family. All styles contain tabular figures like its common for office usage.

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