Familiarity lies at the heart of legibility. Interstate is based on the signage alphabets of the U.S. Federal Highway Administration, letterforms absorbed at a glance everywhere we drive.

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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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Avenir was designed by Adrian Frutiger and released by Linotype-Hell AG in 1988. The design is based on two earlier sans serif typefaces, Erbar and Futura. Avenir is unusual in that it has weights that are similar, but each is designed for a different purpose.

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Etelka was designed in summer 2005 for purposes of corporate style, product package design and electronic publishing.

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

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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 Proxima Nova family is a complete reworking of Proxima Sans (1994). The original six fonts (three weights with italics) have been expanded to 42 full-featured OpenType fonts. There are three widths: Proxima Nova, Proxima Nova Condensed, and Proxima Nova Extra Condensed. Each width consists of 14 fonts--seven weights with matching italics.

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Prelo was designed to be a neutral, highly readable typeface, for identity, editorial and information design. With nine weights and nine true italics, from Hairline to Black, Prelo is a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others.

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Pill Gothic walks the tightrope between a heads down, hard working, utilitarian sans and something that stands out, saying, “Look at me!” Designers looking for a type that will work in blocks of text for callouts, captions and headlines will find that unique balance with Pill. Pill Gothic asks the question: what is the effect of a few truly unique characters on the meaning of a type? In particular, the ‘a’ and the ‘g’, while relating strongly to the forms of the other characters, stand out from the traditional milieu of sans serif types. The name Pill Gothic came from early studies of the condensed weight where the lower case characters had the shape of a pill capsule.

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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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While Adelle is a slab serif typeface conceived specifically for intensive editorial use, mainly in newspapers and magazines, its personality and flexibility make it a real multiple-purpose typeface.

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

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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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Leksa is an oldstyle, even a bit old-fashioned text family in 12 faces, including six upright an‚ six italic ones, from Light to Black, with both oldstyle and tabular digits and true small caps.

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Sauna, a typeface for all sizes.

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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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Dobra is a redesign of the previous released Dione.

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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.

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Dobra is a very geometric and robust typeface with Sans and Slab Serif companions, specially suited for magazines and newspapers, although it works great as a corporate typeface.

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

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Dutch Mediaeval is a text family based on Hollandse Mediaeval, the 1912 Sjoerd Hendrik deRoos classic, arguably the most popular Dutch text face of the 20th century. Over the years, many typographers and pressmen have gushed loving words about this typeface in metal, and now it comes to digital life in wonderful and expert style.

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

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When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is ‘connected at the hip’ with each style—each character carries the no frills, simple architecture that endeared so many users to it.

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

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The idea behind the font called Chaco originated after testing the deficiency shown in road signs in Latin America.

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

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This is a contemporary typeface which may function as the perfect alternative to several overused classic sans. Encore Sans Pro does not pretend being different but it does claim its own personality. It is simple and stylish. Encore Sans Pro is a humanistic sans serif which projects an image of reliability, authority and competence making it ideal for corporate applications. A functional typeface which combines utility with style. It’s subtle round characteristics such as the slightly curved-in edges, create a distinctly contemporary look, blending effectively traditional with modern details.

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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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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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Of all his work, C.H. Griffith claimed one type, Bell Gothic, as his own design. Griffith Gothic is a revival of the 1937 Mergenthaler original, redrawn as the house sans for Fast Company.

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Fishmonger originated from a commission of two fonts for the corporate identity of a fishmonger shop.

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When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is ‘connected at the hip’ with each style—each character carries the no frills, simple architecture that endeared so many users to it.

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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 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...

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Cyrus Highsmith drew Scout and related logotype for Geraldine Hessler’s redesign of Entertainment Weekly. The large family marks the magazine’s first significant typographic update in a decade. Captions and sidebars are set in Regular and Bold; Light, Black, and Condensed styles form the backbone of the display. Scout’s form derives structural elements from both new and old: DIN, Venus, and Cairoli.

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The Taz type family was originally developed as a headline typeface for taz - short for Tageszeitung - a nation-wide German daily. It was, and still is, the cornerstone of the paper’s strong, trustworthy visual identity. Says Luc(as): "For a headline font, you want the lines to be as closely line-spaced as possible. The accents on the capitals - a very common feature in German - cannot take up too much space." Ascenders and descenders were kept short for maximum impact.

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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.

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When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is ‘connected at the hip’ with each style—each character carries the no frills, simple architecture that endeared so many users to it.

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Has altogether 60 designs, because it was originally produced as a Multiple Master typeface. The entire big family is grouped into eighteen independent, smaller four-design families, of which the user may choose, for example, only two or three which suit him as regards colour and width. The somewhat confusing use of abbreviations to designate the individual designs is, nevertheless, simpler than giving them numbers or full names. The abbreviations denoting weights are as follows: L - Light, R - Regular, D - Demi; and those denoting widths are: XC - Extra Condensed, C - Condensed, M - Semi Condensed, E - Extended, XE - Extra Extended.

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When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph’s skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is ‘connected at the hip’ with each style—each character carries the no frills, simple architecture that endeared so many users to it.

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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.

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In answer to a number of requests, lowercase characters have now been added to the Anisette Std display series, which was created in 1996. The lowercase characters are based on capitals of an intermediate width, between the two origninal widths, to provide a wider diversity of use. The Anisette Petite lowercase shares the sobriety of geometrical typefaces and the dynamics of the tension in the curves. Subtle imperfections seen in the r, l, and the particular g, help to create an original typeface.

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Relay reaches back to the middle of the last century for inspiration.

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Oksana Sans is a gothic sister of the Oksana Text typeface.

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Fontana ND is part of Neufville Digital’s MODERN COLLECTION.
Designed for the printing of a magazine, the Fontana Sistema was based fundamentally on the Spanish language as its natural and cultural context. Due to the spanish colonization of America, the spanish language has been influenced by native american terms that enriched it and caused significant changes in both the sound and form of words. These sounds and forms had a strong influence on the identity of text, substantially modifying the nature and the characteristics of the composition. The Fontana Sistema we present is the fruit of our desire to design a font that, based on the spanish language, would endow the publication with identity and at the same time offer a framework for typographic research.

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

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Where Modern is too fragile and Century too boring, Hercules comes with its elegant forms and, at the same time, with sufficient firmness to be usable for longer texts. In its heavy, bold designs it approaches Falstaff, while in the light ones it has some features which are taken over from Didot or from Modern. The text designs have been corrected for small sizes. The range of its use is, therefore, quite extensive - from dictionaries and technical literature through magazines to art posters and advertising materials.

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This sans serif type was completed in 1985, a descendant of the earlier serifed Congress shown for the first time at the Association Typographique International Congress, which proved to be so popular in 1980 at Kiel; designed to present a style equally appealing in European languages.

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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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For years Matthew Carter wondered why no Latins with Bodoni proportions had been developed, or why no Bodonis had Latin serifs.

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

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Rayuela (Spanish for ‘Hopscotch’) is inspired in the ludic atmosphere of literature by Argentinean writer Julio Cortázar.

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A precise, contemporary, economical face that maintains readability in the most demanding layouts.

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The Tang family came to be, when I started studying fonts made for use in very small point sizes, like Bell Gothic. I studied the use of ink traps and went to town with them. Instead of just using them for their purpose: trapping ink to prevent the type getting blotted; I used them as a design feature.

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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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Museo Sans is based on the well-known Museo.

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NewJune is a very strong unique character. It is already used in many magazines all over the world.

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One day in his sketchbook Cyrus Highsmith began hacking the serifs off his Dispatch characters, and liked this rough start.

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Skolar is a text serif which has been originally designed with scholarly and multilingual publications in mind. The typeface maintains its credibility while incorporating a subtle personal style, neither neutral nor conspicuous. Prominent serifs and low-contrast modulation add to its robustness, and together with relatively large x-height, they improve the typeface readability in small sizes. Skolar family of six weights and large character set is flexible enough for complex text settings and editorial work. It becomes distinctive in bigger sizes, thus fitting corporate design demands.

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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.

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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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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.

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

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

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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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While Adelle is a slab serif typeface conceived specifically for intensive editorial use, mainly in newspapers and magazines, its personality and flexibility make it a real multiple-purpose typeface.

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Oksana Sans Condensed is designed for tight-fitting text.

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Freight’s comprehensive range of weights and styles excels in a variety of uses, from train schedules and university catalogues to technical manuals and cookbooks.

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Freight’s comprehensive range of weights and styles excels in a variety of uses, from train schedules and university catalogues to technical manuals and cookbooks.

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Aptifer Sans and Aptifer Slab are two 21st century typeface families created by Mårten Thavenius. Each family has seven weights, in roman and italic respectively, making 28 font styles in total.

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Aptifer Sans and Aptifer Slab are two 21st century typeface families created by Mårten Thavenius. Each family has seven weights, in roman and italic respectively, making 28 font styles in total.

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This typeface was initially released as Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas’sche Schriftgiesserei (Haas Type Foundry) in Switzerland.

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