Museo Sans is based on the well-known Museo.

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Gala is the digitization of the one of the most important Italian typefaces of the twentieth century: G. da Milano’s 1935 Neon design for the Nebiolo foundry.

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

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The Sommet series has been updated with a rounded variant.

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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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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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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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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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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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Sweet Gothic is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. 

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

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Produced by ATF in 1904, Morris Fuller Benton’s personal version of the heavy sanserifs first made popular by Vincent Figgins in 1830. Franklin Gothic remains popular after nearly a hundred years of use.

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Project a powerful image with Sommet.

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

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FranklinGothicHandLight is part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked.

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Designed to Swiss principles by Alessandro Butti and Aldo Novarese for Nebiolo in 1952 as an improvement on the squared-off Bank Gothic capitals.

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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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A Swiss Sanserif designed for FotoStar with traditionally straight elements deliberately curved.

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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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Vox, an extensive monoline sans serif family, is the manifestation of the idea for a typeface that can be both precise and friendly, yet contain enough choice of totally interchangeable variation for a more defined appearance, ranging from the clean and nondescript information relayer to the angular, futuristic and sleek headline maker.

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FranklinGothicHandDemi is part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked.

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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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Urbana is a contemporary sans-serif typeface inspired in the traditional lettering seen in one of the most popular, massive transportation mediums available in Bogotá (Colombia): “busetas” (small city buses).

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

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This series of faces was designed initially by Morris Fuller Benton, circa 1900.

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The distinguishing characteristics of the serif Clearface family—the slight serifs atop A, and at the stroke ends of V and W; the curves of k and y; the slanted bar of e; and the open 4—are apparent in its companion, Clearface Gothic. Both were designed by Morris Fuller Benton for American Type Founders and released between the years 1907 and 1910. Clearface Gothic is also a legibility typeface and, therefore, is most distinguished when used for text.

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Franklin Gothic, one of the most popular sans serif types ever produced, was designed by Morris Fuller Benton in 1902 for American Type Founders. In 1979, under license with ATF, Vic Caruso began work on more weights of the design for ITC.

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The original designs were drawn by C.W. Pischiner for the Stempel foundry in 1928; this book version was added by the Linotype Corporation in 1959. Neuzeit S is a geometric-grotesque hybrid design, unusual in that round shapes are wide and circular, while other characters appear slightly condensed. Also note the unusual J: this particular letter’s design is versal in origin. The name translates from German as “new times.” Neuzeit S is useful for short texts, while its heavier weight supplies enough contrast for display work and headings.

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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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Based on an early wood type design. An original creation.

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Influenced by the 1960’s typeface, Design Fineline.

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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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Hiruko is a full family of 16 different styles. Inspired by the early Swiss movements, Hiruko offers creativity and clarity within many media. Influenced by Japanese culture, Hiruko is based on the idea that less is more, however this applies in other directions when referring to the amount of work gone into producing the type family.

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A longtime font favorite of his, Michael felt that a set of lowercase characters would make Bank Gothic a more universally useful font. He set out on this ambitious task always mindful of the huge presence of its original designer, Morris Fuller Benton, hoping that whatever he did would live up to the high standards of this former giant of the font world.

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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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In 1908, Morris Fuller Benton designed News Gothic for American Type Founders. The original design, with two condensed faces, is essentially a light version of Franklin Gothic.

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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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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. This typeface is used by a famous European car company in all their marketing!

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Digitally engineered by Steve Jackaman. Ludlow, circa early 1900.

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Sweet Gothic Serif is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. It is a serif variant of Sweet Gothic.

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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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Designed at American Type Founders in 1930-33 by Morris F. Benton.

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Impact wide was developed from the designer’s original drawings for the production of ‘Impact’ metal type, with many detail changes because of the density of the letters. These include the restoration of the bevelled i and j dots of the original. Character maps show some useful alternative characters in both roman and italic. Included are a crossbar numeral 1, mirror quotes and some sorts which were cast in metal but never reproduced in digitized versions of the typeface. There is also a font-specific Euro symbol. (Impact is a trademark of The Type Museum, London).

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