Describe the 21st century politician. Left or right? Fat or thin? War or peace? Straight or gay? Hard or soft? Male or female? Pro or con? Young or old? East or west?

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The SFPL family was developed as part of a visual identity program for the San Francisco Public Library.

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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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Comment is a unique yet still basic sans serif created to provide a consistent, attractive appearance in print, especially in small-to-medium sizes.

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Neue Steinschrift is a condensed, geometric sans serif inspired by mid-20th century vernacular styles from Europe. The Pro font includes alternate characters and figures for added versatility. This flexible workhorse will give signs, product labels, letterheads and sports team logos a tough, uncompromising look.

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Trump Gothic is a revival and expansion of two different takes on Signum, Georg Trump’s popular mid-twentieth-century condensed gothic.

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In 1941, Chauncey H. Griffith supervised the redrawing of Corona to improve its utility as a newspaper typeface; one of the five typefaces in Griffith’s Legibility Group, Corona was designed to meet the rigorous requirements of high-speed printing. Corona is still the chosen type of many American daily newspapers. Its narrow widths and large x-height make it a typeface that meets the requirements of demanding jobs such as datasheets and newsletters.

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Atlantica was designed in 2004-2005 and it is a transitional typeface. The stress is vertical between thick and thin strokes.

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In 1988, Martin Wilke designed this legible text typeface for Linotype, combining elements from a variety of models, including the Caslon typeface, classical inscriptions, late-eighteenth-century sources, and even the eighth-century Book of Kells.

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The Morgan Project can be considered a big type family with ‘many styles’ or a set of different types that match with each other. For me it’s one typeface with different versions with deliberate and visible differences according to the propose to which each version was created. The design started in 2000 as a display type with the design of the Morgan Tower, to which more two display versions were added; Morgan Poster and Morgan Big — all together the make our: FTF Morgan Display Kit 1. All three versions consist only in uppercase with alternate letters in the lowercase and a set of special ligatures. Morgan Tower has four variants that differ in width/weight, Morgan Poster has six variants (often called styles), three weights in upright and oblique and Morgan Big has twelve, six weights in upright and oblique. Lately, the FTF Morgan Tex Kit 1 was added. Apropriate versions to use in text setting. Both versions, FTF Morgan Sans and FTF Morgan Sans Condensed share the same structure and character mapping. Four variants each; regular, bold, oblique and bold oblique with a large character set including: small caps, lining and old style figures (here called Office figures) — both tabular —, small caps lining figures, mathematical symbols and fraction figures, and, a set of foreign characters expanding the possibilities of use for a wider range of languages. Characters are distributed in six different font layouts: Lining, Office, Expert, Caps, Figures & Pi.

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Created at D. Stempel AG in 1977, Linotype’s Gazette is a text typeface that was designed to withstand the rigors of high-speed newspaper presses and coarse newsprint, and to guarantee legibility throughout long press runs.

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The first idea was to simulate a sewing technique called overlock. The special thing about it, is the warm feeling that gives to your text because of its particular rounded glyphs shape.

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A revival of one of the popular sans serif wooden type fonts of the 19th century, narrow, short ascenders and descenders.

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Karmina is a text typeface developed mainly for pocket books and budget editions. It was built to withstand the worst printing conditions: low quality papers, high printing speed with web presses and variations in the ink level of the printing press.

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Konscript is a distressed typewriter face developed from analog samples from papers Mary Browers typed in the 1950s for her high school coursework. The model and age of the typewriter are not known.

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Benicia is serif typeface. It reflects my ongoing fascination with the Golden Type/ATF Jenson design genre of the late 19th and early 20th centuries. Designed for display, it also works well at small sizes. It is named after a historic town in northern California.

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Diaconia Old Style is a new rendition of my workhorse body copy font that I originally designed to use for the body copy of “Printing in a Digital World.” I became increasingly upset with the lack of lowercase numbers and true small caps. Diaconia started life as a modification of one of the Dutch Bible fonts I traced. It has changed a lot since then (although I have a hard time telling how much because I have lost the original). The plain and italic work especially well when used in very large sizes as display faces. The other four variants (small caps, heavy, heavy italic, and black) are designed for use in book production. Because I format all my own books, I was able to design fonts that met my needs exactly: lowercase numbers, SMALL CAPS font, Mac Command, Option, and Control symbols, ballot box in the section slot, and several other special characters.

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Matrix II is a complete reworking of the original Matrix type family which was designed by Zuzana Licko in 1985.

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Calluna was born more or less by accident.

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Leitura News is part of Leitura Type System and was specially designed for editorial purposes.

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In 1987, Sumner Stone completed his designs for the Stone type family. ITC Stone solves the problem of mixing different styles of type on the same page. Most combined type styles, because they aren’t designed to work together, often have radically different characteristics such as cap heights, stem weights, and proportions.

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Loosely based on Prumyslava, an old Monotype design.

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Aquila is a highly legible serif typeface, designed with cursive letterforms in the italic version and without top serifs on the lower case characters giving it a more casual look.

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Typefaces without serifs were known in nineteenth-century England as Grotesque (or Grotesk in German) because they seemed so unusual to most readers. Monotype Grotesque is a straightforward 1926 design that is among the earliest sans serifs cut for hot-metal machine typesetting.

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Nosta is a modern text typeface. It was designed to be easily legible and therefore expressly suitable for setting sizeable lengths of continuous text such as magazine articles, books and essays.

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URW Grotesk was designed exclusively for URW by Prof. Hermann Zapf in 1985. At the same time, Zapf designed URW Antiqua to go with URW Grotesk. At that time, we were working with a large German publishing house (Axel Springer) on type design solutions to replace certain of their newspaper fonts. Test pages of large German newspapers (e.g. Bildzeitung) were printed with URW Grotesk and URW Antiqua font families. For reasons not disclosed to us, the project was dropped and Springer never used URW Grotesk and URW Antiqua for that purpose.

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Based on the Stephenson Blake design.

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Tempo was a popular newspaper typeface in the mid 20th Century. Problem: mismatched styles. Individually, they were brilliant. As a family: chaotic. Except for a recent stint as Neuzon, Tempo Bold Extended was abandoned by the cruel tides of history.

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Designed by Konrad F. Bauer and Walter Baum, Impressum was released by the Bauer foundry in 1962.

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A revival of one of the popular wooden type fonts of the 19th century, suitable for display, or text, closely related to Latin.

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Glosa is a type family designed for editorial purposes.

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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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Tribute is a new typeface by German type designer Frank Heine. This is Heine’s fourth release with Emigre Fonts. Remedy, released in 1991, was a major commercial success. It’s curlicue, free-style, comic appearance, provided a perfect counter to Emigre’s then primarily modular type designs. Dalliance, a classic roman and script combo based on handwriting from a photocopy of a 1799 battle map, was released in 2002 and became an instant classic.

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When approached to give informal advice on the redesign of the leading German weekly Der Spiegel, Luc(as) de Groot offered to design a completely new headline font. A newly developed typeface, he argued, would lend an unmistakable personality to the magazine. He worked late nights for a week and sent in sketches; the designers immediately ordered six weights. Says Luc(as): "I get a weekly free copy of the magazine as long as the typefaces are being used - it’s been ten years now."

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Ed Shaar’s Intertype alternative to the Linotype legibility group.

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Tempera Biblio is a serif text typeface available in three weights: Book A, Book B and Book C.

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In 1903 faced with the welter of sans offered by ATF, Morris Fuller Benton designed News Gothic, a 20th Century standard.

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Museo Sans is based on the well-known Museo.

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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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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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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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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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Named after the German Renaissance astronomer, Kepler is a contemporary type family created by Adobe type designer Robert Slimbach in the tradition of classic modern 18th-century typefaces.

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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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This family was inspired mainly (Normal and Italic style ) by a Didot pattern font used in Rennes (France, Britanny) by Cousin-Danelle, printers, for Antiquités historiques et monumentales ‡ visiter de Montfort ‡ Corseul, par Dinan... Saint Malo... etc. an historic guidebook for journey through a part of (French) Britanny 1820, and many other books.

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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 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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German-born punchcutter Johann Fleischman, contemporary of Baskerville and Fournier, worked at the Enschede Foundry in Haarlem. Expert in advanced tools and the qualities of fine steel, he pushed beyond the frontiers of his time, cutting active typefaces famous worldwide for their “sparkle.”

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

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Utopia is an Adobe Originals text face designed by Robert Slimbach in 1989. It combines the vertical stress and pronounced stroke contrast of eighteenth-century Transitional types like Baskerville and Walbaum with contemporary innovations in character shapes and stroke details.

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

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This font takes its name and the overall shape from modern bentwood furniture, namely Scandinavian designs since the 1940s. The curved corners of the letterforms are practically hyperbolic, to convey the tension and strength of the bent plywood. These curves are meant to appear more dynamic than circular or elliptical segments of traditional sans serif fonts.

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See also Triplex Italic.

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Mentone is a new general purpose typeface, an attempt at extending the line of the great sans-serifs of the previous century, Frutiger - Stone Sans - Myriad.

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Clarendon Text is a contemporary remake of the truly classic slab serif typeface with a distinctively clear and legible visibility. It is a widely usable text type suited equally well to advertising, books, publications, and a wide range of corporate literature where large amounts of reading matter call for distinction and style without sacrificing readability.

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Designed in 1975 by Tony Stan, ITC Cheltenham is a revival based on a turn-of-the-century design by architect Bertram Grosvenor Goodhue. Typefaces from that period were often thin and anemic in appearance, and Cheltenham was created as an alternative; the original Cheltenham was designed with long ascenders and short descenders as a result of legibility studies indicating that the eye identifies letters by scanning their tops. ITC Cheltenham combines heavier stroke weights with condensed proportions and a large x-height to provide a legible, unusual text type.

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Minuscule was inspired by Émile Javal’s research into the physiology of reading. He was a 19th-century opthalmologist, the first to analyze how we read.

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Minion Pro is an Adobe Original typeface designed by Robert Slimbach. The first version of Minion was released in 1990. Cyrillic additions were released in 1992, and finally the OpenType Pro version was released in 2000.

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

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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.

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Hermann Zapf’s Palatino, designed for the Stempel foundry in 1950, is one of the most widely used typefaces in the world today.

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Oksana Text is the demure version of Oksana, with shorted serifs, higher contrast, more slender proportions.

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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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