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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Negotiate is a sans-serif family in five weights plus italics.

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Ligurino is a sans serif font that’s slim, trim and understated. Inspired by the daisywheel printers of the 80s, this font is free of embellishments that made so many other fonts hard to read especially at small sizes. Balanced lines and generous, open shapes make it versatile for everything from reports to packaging to billboards. Slim and uncluttered yet weighty enough to be taken seriously, Ligurino is a font you can’t afford to do without.

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In 1968, American Type Founders produced OCR-A, one of the first optical character recognition typefaces to meet the criteria set by the U.S. Bureau of Standards. The design is simple so that it can be read by a machine, but it is slightly more difficult for the human eye to read.

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JetJaneMono is a large family of sans-serif faces which are monospaced. It is very plain (plain=plane=jet).

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Based on the classic, clean lines of a 1970s daisywheel printer, Wyvern is a dignified sans serif font with elevated x-height and short descenders making it ideal for tight spaces.

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Legible even at small sizes, when viewed at large sizes you'll notice the slight elegant twist!

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Variable is a sans-serif monoline typeface family that can be used in a variety of typographic environments.

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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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This font has wide letterforms and bends which echo the continuous roads traveled on when reaching distant holiday destinations. The typography aims to be clear and legible, as do helpful road signs. This font can function as headings, subheadings and body text.

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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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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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The Sommet series has been updated with a rounded variant.

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In 2007, insigne released Aviano. It’s beautifully drawn extended letterforms were a hit with designers and Aviano quickly became insigne’s most popular offering of early 2007.

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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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Project a powerful image with Sommet.

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

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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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Montag is an extended, rounded sans-serif.

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

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Estilo is a very elegant headline typeface in a 30s style with plenty of ligatures for better design possibilities and includes Greek.

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Updated in 2009, Chennai has new weights and OpenType features. Chennai is a simplified sans-serif with a full complement of OpenType alternates. The typeface is rounded, slightly extended and geometric. Over fifty OpenType alternate characters are available, including swashed lower forms, traditional caps and a traditionally formed lowercase. Chennai also includes seven style sets, oldstyle figures, and small caps. Please see the sample .PDF to see these in action.

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Carve a new path with Expressway. Engineered to hug the road, it features a tight new frame with redesigned lines and curves. Reflecting the sleek lines of the U.S. Department of Transportation’s “Standard Alphabets” font, Expressway has superior readability. It combines the best features of the famous highway sign font while breaking away from monotonous government specifications.

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

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Long-awaited softer new companion to the original Houschka sans font family.

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Dienstag is an extended sans-serif and a new companion to insigne’s popular Montag 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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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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Based on an early wood type design. An original creation.

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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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Register Sans is a typestyle family inspired by the draft-letter handwriting samples from old Speedball booklets, with a little variation for a more friendly flair.

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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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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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Re-tooled from the QBF Collection.

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Re-tooled from the QBF Collection.

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Pauline is a sans serif with a strong influence from retro scripts. Pauline is a geometric face formed with slow and deliberate rounded brush strokes. The tall ascenders give it a useful touch of naïveté. It’s a face suitable for some interesting titling and short bits of copy.

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A rounded sans-serif with even stroke thickness, based on the standard round-pen ink lettering used on technical drawings in the middle of the 20th century. Accented letters for Western and Central European languages are included.

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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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Created in 2009 by V.H. Fleisher, Monod Brun is a geometric sans serif typeface.

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Not quite a sister typeface to Aminta, more a cousin.

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The object of Grover was to join two distinctive typeface designs: the basic European gothic of the late nineteenth century and the ‘rounded’ style found in 1960s America.

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Whether with pen on paper, or in digital, realistically connecting vertical handwriting is never an easy task to accomplish.

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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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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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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.

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Neuropol is a futuristic font family inspired by science fiction video games and flatbed plotters. Designed by Ray Larabie in 1997, the original Neuropol was an instant hit with younger graphic designers, neatly filling the void between Microgramma, the universal geometric sans serif of the late 20th century, and the fast approaching 21st century.

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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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The first elements of the Subinter font were designed for a transportation company. Then we spent almost a year on refining and completing the entire font package. The final result is a unique sans-serif font with subtle curves.

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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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Influenced by the 1960’s typeface, Design Fineline.

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