ITC Johnston is the result of the combined talents of Dave Farey and Richard Dawson, based on the work of Edward Johnston. In developing ITC Johnston, says London type designer Dave Farey, he did “lots of research on not only the face but the man.” Edward Johnston was something of an eccentric, “famous for sitting in a deck chair and carrying toast in his pockets.” (The deck chair was his preferred furniture in his own living room; the toast was so that he’d always have sustenance near at hand.) Johnston was also almost single-handedly responsible, early in this century, for the revival in Britain of the Renaissance calligraphic tradition of the chancery italic. His book Writing & Illuminating, & Lettering (with its peculiar extraneous comma in the title) is a classic on its subject, and his influence on his contemporaries was tremendous. He is perhaps best remembered, however, for the alphabet that he designed in 1916 for the London Underground Railway (now London Transport), which was based on his original “block letter” model. Johnston’s letters were constructed very carefully, based on his study of historical writing techniques at the British Museum. His capital letters took their form from the best classical Roman inscriptions. “He had serious rules for his sans serif style,” says Farey, “particularly the height-to-weight ratio of 1:7 for the construction of line weight, and therefore horizontals and verticals were to be the same thickness. Johnston’s O’s and C’s and G’s and even his S’s were constructions of perfect circles. This was a bit of a problem as far as text sizes were concerned, or in reality sizes smaller than half an inch. It also precluded any other weight but medium ‘ any weight lighter or heavier than his 1:7 relationship.” Johnston was famously slow at any project he undertook, says Farey. “He did eventually, under protest, create a bolder weight, in capitals only ‘ which took twenty years to complete.” Farey and his colleague Richard Dawson have based ITC Johnston on Edward Johnston’s original block letters, expanding them into a three-weight type family. Johnston himself never called his Underground lettering a typeface, according to Farey. It was an alphabet meant for signage and other display purposes, designed to be legible at a glance rather than readable in passages of text. Farey and Dawson’s adaptation retains the sparkling starkness of Johnston’s letters while combining comfortably into text. Johnston’s block letter bears an obvious resemblance to Gill Sans, the highly successful type family developed by Monotype in the 1920s. The young Eric Gill had studied under Johnston at the London College of Printing, worked on the Underground project with him, and followed many of the same principles in developing his own sans serif typeface. The Johnston letters gave a characteristic look to London’s transport system after the First World War, but it was Gill Sans that became the emblematic letter form of British graphic design for decades. (Johnston’s sans serif continued in use in the Underground until the early ‘80s, when a revised and modernized version, with a tighter fit and a larger x-height, was designed by the London design firm Banks and Miles.) Farey and Dawson, working from their studio in London’s Clerkenwell, wanted to create a type family that was neither a museum piece nor a bastardization, and that would “provide an alternative of the same school” to the omnipresent Gill Sans. “These alphabets,” says Farey, referring to the Johnston letters, “have never been developed as contemporary styles.” He and Dawson not only devised three weights of ITC Johnston but gave it a full set of small capitals in each weight ‘ something that neither the original Johnston face nor the Gill faces have ‘ as well as old-style figures and several alternate characters.

Casablanca is a decorative sans serif font family. It was designed and produced in 1997 by Steve Jackaman (International TypeFounders). Jackaman loosely based the designs on the Carlos Winkow typeface ‘Electra’ from the Spanish foundry, Nacional, circa early 1940’s. Casablanca has a clean, Art Deco, jazz, and/or noir film feel. It sets nicely at any size, and brings an air of bold mystery to the projects it is applied in.

HU Sansans KR is a San-serif Korean fonts. It is a solid and trendy full square typeface that contains powerful and bright energy. I created a young and bright feeling by making a blank at the bottom of the first consonant of the initial letter, and the curve of the first part continued the bright feeling of the font. By configuring 4 types of font families, the usability of typefaces has been increased.

The Standard version of the Norden font family (see Round and Display) is "a standard sans serif" font. However, the significant detail and difference is that it comes with slightly rounded end corners, which makes the font “easier on the eye”, especially at large sizes compared to traditional fonts with sharp-edge corners. This little but important difference gives the font a commanding yet poised presence, without it imposing itself, as it were.

Nexgen SLD font family is a modern sans serif font. The family includes 6 fonts, 3 weights each with 2 styles; regular and italic. The fonts are designed to be clean and easy to look for readability. The straight lines and diagonal cut at the corners of each character give the fonts their solid modern tech look. The family works great in all kinds of themes especially in tech, science and sports themes.

HU Sansans is a San-serif latin alphabet font. It is a solid and trendy full square typeface that contains powerful and bright energy. I created a young and bright feeling by making a blank at the bottom of the first consonant of the initial letter, and the curve of the first part continued the bright feeling of the font. By configuring 4 types of font families, the usability of typefaces has been increased.

Mooseheart is derived from some hand lettering on a 1920s membership card for a fraternal organization. It is a slightly rough and casual sans serif at a gentle oblique angle, with a comic book feel. It has numerous alternate glyphs intended for use with OpenType features to help create the feel of hand lettering, and a robust international character set. The numerals are in a contrasting style, inspired by the original source material.

Dempster is a geometric sans serif design by Jim Ford. It is tall, bold and square with interesting details such as the angled terminals on the lowercase letters and friendly-looking punctuation. This typeface could feel at home with Art Deco and Modernism themes, as well as Sci-Fi and high-tech flavored graphics. Medium to large headline sizes work best when using Dempster. Dempster features include Extended Latin, Greek and Cyrillic support.

Core Label is a condensed sans serif font. You will be able to manage a lot of information into limited spaces with Core Label. Its highly legible even in condensed forms and also clear at small sizes. Supported codepages are MS Windows 1252 Latin1 and MS Windows 949 Korean consisting of 11,172 Korean letters and Symbols, except Chinese. This Type-face is good for narrow spaces such as Labels, Books and so on.

Ni is a kind of typographic love letter, revealed in three distinct, yet close, type formulas. Ni Serif is a contemporary serif typeface with slight diagonal modulation, amazingly legible, and with a very steady rhythm that allows a wonderful performance, especially in long passages of text. Ni Sans closely match the design characteristics and proportions of the serif counterpart. Ni Sans undeniably shows the strong calligraphic influence that comes from Ni Serif, resulting in a very comfortable humanistic typeface, suited both for print and digital environments. Ni Slab is not a simple Sans with serifs attached. Despite the thick and strong serifs, Ni Slab is a gentle mixture of the DNA of the Serif and Sans counterpart and does not intend to reflect any mechanic approach.

Dilemma is a sans/sans serif type system with 42 styles; it is inspired by the anonymous Polyphème, Cyclopéen and Extra Condensé designs from the early 1900s at the Peignot Fonderie. From these initial points of reference, Sudtipos went further and reimagined these projects for an actual use by blending them into a unique and complex type system. Dilemma is defined as ‘a situation in which a difficult choice has to be made between two or more alternatives, especially ones that are equally undesirable’ and that is exactly how we designed this font. We created a workhorse system where each style functioned well alone but would be more powerful when working as a team, pairing the sans styles with the serifs. Dilemma comes in 3 different widths and 7 weights in both the sans and the serif, ranging from the more economical yet legible condensed styles, to the opulent bold and expanded weights. Dilemma also contains 2 Variable Fonts. We imagine Dilemma being used in a limitless array of graphic projects including identity systems, digital platforms, public spaces, editorial design and beyond. Now the Dilemma is yours.

A display style, with protuding bulb round ends at the serifs and mid-points, very bold, lower case originally not designed.

Kulturista is an unmistakeable linear slab serif typeface with pronounced rectangular serifs. The drawings are based on the sans-serif Nudista typeface, and Kulturista also inherits Nudista’s distinctive narrowed character proportions, range of weights and glyph sets. The italics are inclined sufficiently, and have the same width and colouring as the plain styles. They aren’t just a mechanically-slanted version of the basic styles, as is often the case for typefaces derived from geometrical images — a whole range of characters have their own drawn variants, which greatly strengthens their highlight function. The italics are therefore an equal partner for the roman styles. Kulturista is definitely a good choice for a headline typeface for magazines and book covers. The range of boldness can come in handy when editing sections, headlines and supplements. The typeface understandably proves itself as a healthy foundation for a unified visual style, and holds up at display sizes as well as on shorter texts.

The Classic Charles Rennie Mackintosh Font. Created in 1993, the timeless beauty of Charles Rennie Mackintosh’s letterforms is now available at MyFonts for the first time. Often imitated, but never bettered, this font has been used in various projects all over the globe, enjoying the limelight of Hollywood when it was requested for use in Sam Raimi’s second “Spider Man” adventure. A form of this font has subsequently been used for the TV series “An American Horror Story”.

Angustina is an elegant display typeface, it takes inspiration from classic letter styles. I chose the font name after reading the classic Italian novel “The Tartar Steppe”. I was inspired by the sickly, stoic and mysterious man who differs for his willingness to stay at Fort Bastiani. Angustina conveys distress and stinging sensation with extreme contrasts between thick and thin strokes and exasperated serifs. The alternate of hairline and bracketed serifs gives Angustina a modern and military appearance.

Bronzier is a strong serif display family with 8 different styles. Bronzier was designed with a strong and sharp serif which gives it a more manly look. Sporty, vintage and modern taste at the same time which mean you can use this font family for many design styles. Inspired by old-school typography and modern style. Create a perfect design with Bronzier! Because Bronzier is suitable for logos, logotypes, apparel, jersey, tags, labels, posters, stickers, branding and more.

Choriza is a multilayered font and a kind of spicy spanish sausage. With three layers you can colour any salami, salchichen, sausage, wurst or pudding. Chorizo also means burglar in spanish, so it's some sort of typographical joke about the today's spanish politicians. It comes with Choriza Sans, with its cutted ends to make a sans serif version.

Palestra - a modern sans serif font in four style : Regular, Italic, Bold and Bold italic. In this font, I can see many alternatives for the lowercase and most common ligatures that fit perfectly with this font style. This font can look more classic without serifs and more expressive with alternative substitutes, try to play with them and you will get the uniqueness in your project. All characters in this font are PUA-encoded.

This square serif typeface is a real workhorse. It is a modern tool for text design: extremely legible and well shaped. Bandera has six weights with original italics. It catches attention in headlines of posters and magazines or makes reading comfortable in plain texts. Bandera shares main proportions with sans serif Osnova Pro typefamily so ideally can pair it. It has Bandera Text and Bandera Display sister families as well. Please check also Pro version for pan-european support (full Latin-Greek-Cyrillic). Bandera is Spanish for ‘flag’. And Bandera is a symbol of Ukrainian fighting for freedom for many years.

The Aviano series returns with a vigorous and futuristic sans serif. Aviano Future’s powerful squared forms lend intensity and authority to your designs. Aviano Future’s extended forms give the face strength and muscle. Aviano Future is a versatile new addition to the Aviano titling series. Aviano Future comes in six different weights with “fast” Fasts and is packed with OpenType features. Want to use more traditional rounded forms? Need swash forms? Art Deco alternates? Aviano Future includes 390 alternate characters. Eleven style sets are available, two sets of art deco inspired alternates, small forms, tough swash, constructivist titling and traditional stylistic alternates. Aviano Future also includes 40 discretionary ligatures for artistic typographic compositions. Please see the informative .pdf brochure to see these features in action. OpenType capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Aviano Future is a great choice for a professional designer that wants to achieve a technological, futuristic or epic look. Be sure to check out the rest of the Aviano series which can be used as complementary faces, including Aviano, Aviano Serif, Aviano Sans, Aviano Didone, Aviano Flare and Aviano Slab.

Although initially designed as a rational/geometric font, Triplex developed into one of Zuzana Licko's most intuitive typeface designs at the time. Its first extensive use was in Emigre magazine #14, a special issue devoted to Swiss designers published in 1990. Triplex was intended as a friendly substitute for Helvetica. The name Triplex refers to the three versions that make up the entire family; Triplex, Triplex Serif and Triplex Italic. Each version of the typeface comes in light, bold and extra bold. The italic was designed and drawn by type designer and sign painter John Downer, and was designed to work with both the serif and sans serif versions. See also Triplex Italic OT.

Minomu consists of twenty sans serif font families, With a thicker weight, Minomu can be applied as an attractive and bold appearance for title letters, not only that, but Minomu's family with lowercase letters can also be used in designs with use as body text, to create more detailed descriptions.

Zemestro from 2003 was one of the first of the new “squarish sans-serifs”. Its designer David Farey says: “There’s nothing calligraphic about it, and there are no defining or identifiable single characters – it’s just clean and simply constructed.”

Ausion is a minimal and neat sans serif font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out! Caps only fonts.

LyuLin is a modern sans-serif font and contains 24 styles. Available in 6 weights and its italics and condensed forms. LyuLin Heavy Italic weight and LyuLin Light Condensed are free, so you can use them for your projects.

Airy and delicate, Cerulya CF is a striking display typeface brimming with movement and grace. A unique semi-serif design with rounded teardrop terminals, Cerulya CF shines brightest at large sizes – perfect for logos, posters, headlines, and more. Includes five weights, roman and italic sets, and a selection of optional ligatures, swashes, and alternates. Cerulya CF pairs well with a contrasting, simple geometric sans-serif like Greycliff CF; for maximum effect, try a large difference in typeface size between the two. All typefaces from Connary Fagen include free updates, including new features, and free technical support.

East Variable is a condensed sans serif typeface. It is timeless, but with a subtle nostalgia of vintage jazz albums, film titles, newspapers, and signage. The light weight has excellent legibility at small sizes. The Extra Bold weight will capture attention. East is versatile, but would be a good choice for film titles, labels, publications, or any context where space is limited. It has variable axes of weight and slant. The OpenType features include stylistic sets, a one-story 'a', hooked letters, seriffed uppercase 'I' and '1', a slashed zero, raised colon and punctuation (Spanish), German eszett, ligatures, and vertical fractions.

Proza is a humanist sans serif typefamily, consisting of 12 styles (6 weights + italics), with roots in serif designs from the Renaissance, such as Garamond and Jenson. Proza was made to function well at a large range of sizes, from the smallest of text sizes, to gigantic posters, making it a highly versatile type family. Its large character set (support for 100+ languages) and opentype features do all the heavy lifting for you, while its elegance and refined details ensure to deliver a punch of class to your designs. A detailed article about the development and design of Proza on ilovetypography.com.

This American original was designed in 1901 by Frederic W. Goudy for the American Type Founders in Jersey City. Copperplate Gothic is an all caps font which looks like a sans serif at first glance. But closer examination reveals tiny, pointy serifs which almost seem to round off the letters. Designers rely on this font’s lofty and sublime impression and it is often seen in advertisements, but it has also made a place for itself in private and business correspondence and corporate design. The AB and BC designations in the style names refer to the relative sizes of the capitals and small capitals.

This is what you get when you mix monoline rounded letters with some bracketed serifs and finish it off with a sprinkle of ornamental appendages. The result is very readable, rather original and quite charming. I have fixed some inconsistencies in serif designs across the weights, cleaned up the serif connections - and added a fourth weight. But I have kept all the wonky curves and slightly differing stroke thicknesses, as they are so integral to the charm. Kevin King says: "I guess all type designers at some point think 'Well, I'll just have a go at a standard text face...' There is a long story here somewhere, suffice it to say that I started with the thinnest version - typical. I wanted to make a standard serif text face - until I saw it in print and thought "Yuk! it looks like everything else!" - still does really but with twiddles and pooneys..." If you find the "twiddles & pooneys" too much you can tone them down with the OpenType Stylistic Alternate feature (which will make sure they don't appear on three consecutive letters) or remove them completely with the OpenType Swash feature. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

From 1702 to 1811 the French "Royal", then "Imperial", Printers, neglected Garamond and Fournier's designs and used only the font called "Romain du Roy", carved (1693 to 1723) by Philippe Grandjean by order of the king Louis XIV. 1790 Royal Printing was inspired by various variants of Romain du Roy that were in use during this period. Our sources were mainly official and legal documents printed in the late royal period, and in the beginning of the French revolution. There was no bold style. The 1790 Royal Printing Caps fonts contain small caps, plus titling caps for headlines as 1790 Royal Printing capitals are intended to be used preferably for text.

a sans serif naive font

A modern grotesque sans serif

Extended sans serif display face.

Imperfectly hand-sketched sans serif.

A soft, friendly sans serif.

Delmon Delicate is a classy font duo, with elegant sans and script fonts. The two fonts are made with a balance that produces a beautiful blend to support all your design needs. For example, social media content, branding, merchandising, advertising, packaging, etc. Delmon Delicate includes 2 fonts: Delmon Delicate (Sans Serif) and Delmon Delicate Script, each of which has uppercase, lowercase letters, numbers, punctuation, and multilingual support. That's it! I hope you enjoy it. Feel free to comment if there are issues or queries. You can also say hello to me on Instagram: https://www.instagram.com/atharuah_ Thank You!

Kripke is a slab serif with rounded corners. It's readable and soft at small sizes, strong and friendly at large sizes. It's got a Greek and Cyrillic glyphs, as well as a large complement of accented characters. Try it on your designs!

Varisse spans over two centuries of type design and draws its inspiration from well-loved classics that are as fresh today as they were when they were created. The range stretches from a quintessential 18th century transitional serif to an uncompromising 20th century sans. Think Baskerville, think Gill. The idea was to create a family that shared similar forms and the same vertical metrics, allowing them to be mixed to provide impact and readability as required. With a generous x-height and a host of options, the Varisse family is ideally suited to branding, packaging, magazines and editorial. It also provides a wealth of opportunity in website presentation. The fonts are divided into five subfamilies by degree of ‘serification’. Varisse Sans Varisse Soft Sans Varisse (normal) Varisse Soft Serif Varisse Serif Each subfamily contains six weights and accompanying italics.

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. The letterforms are simplified, without extra corners, stems, connections or hooks, yet remain legible at any size. Now at version 2, Bentwood contains Central/Eastern European, Baltic and Turkish character sets and more ligatures with Open Type functionality. Some minor corrections were made to letter shapes and positions, as well as to kerning and spacing.