Geometric, stylish, and not quite a stencil face: Glance Sans is the urban alter ego of Glance Slab—a strong-willed sans-serif with no frills but a few unique character traits. Glance Sans follows the design principle of nonjoining parts that made Glance Slab successful. Some strokes may not connect to their stems, creating visible gaps and thus, a dynamic impression of balance and movement. However, Glance Sans has a calmer appearance due to the lack of detached serifs. If Glance Slab’s home territory are large, crowded stadiums and massive sports events, Glance Sans prefers streetball courts, well-used skate parks, and underground clubs. It also adapts to urban work environments from finance to high-tech. Whenever a more toned-down look is called for while retaining the elegance of an athlete, Glance Sans is ready to roll. In the city environment, versatility is key. That’s why Glance Sans sports 7 weights as well as a complete set of italics. These are not just sloped romans but individually drawn letterforms, subtly referencing classic italic construction for more effective emphasis. Among the 600+ glyphs of Glance Sans, you’ll find goodies such as six sets of figures, circled numbers, circled arrows, and all kinds of currency symbols in two stylistic versions. Glance Sans is a great tool for industrial and high-tech branding, for wayfinding systems in contemporary or modernist architecture, for corporate identities in arts, crafts, medicine, culture, and education, and for all kinds of sports-themed design. Both members of the Glance superfamily are easily and effectively combinable; both are able to stand on their own feet. With its powerful italics, you might opt for Glance Sans as your text typeface and use Glance Slab for headlines. Or you set large, clean, display-sized lines in Glance Sans and spice them up with a bit of sportive Glance Slab. It’s up to you to decide how to bring out the best in both of them.

FF Good is a straight-sided sans serif in the American Gothic tradition, designed by Warsaw-based Łukasz Dziedzic. Despite having something of an “old-fashioned” heritage, FF Good feels new. Many customers agree: the sturdy, legible forms of FF Good have been put to good use in the Polish-language magazine ‘Komputer Swiat,’ the German and Russian edition of the celebrity tabloid OK!, and the new corporate design for the Associated Press. Although initially released as a family of modest size, the typeface was fully overhauled in 2010, increasing it from nine styles to 30 styles, with an additional 30-style sibling for larger sizes, FF Good Headline. In 2014, the type system underwent additional expansion to become FontFont’s largest family ever with an incredible 196 total styles. This includes seven weights ranging from Light to Ultra, and an astonishing seven widths from Compressed to Extended for both FF Good and FF Good Headline, all with companion italics and small caps in both roman and italic. With its subtle weight and width graduation, it is the perfect companion for interface, editorial, and web designers. This allows the typographer to pick the style best suited to their layout. As a contemporary competitor to classic American Gothic style typefaces—like Franklin Gothic, News Gothic, or Trade Gothic—it was necessary that an expanded FF Good also offers customers both Text and Display versions. The base FF Good fonts are mastered for text use, while FF Good Headline aims for maximum compactness. Its low cap height together with trimmed ascenders and descenders give punch to headlines and larger-sized copy in publications such as newspapers, magazines, and blogs. There is even more good news about FF Good: it has something of a serif companion. Łukasz Dziedzic built FF Good to work together with FF More, creating in a powerhouse superfamily that is versatile in both its function and aesthetic.

Paralucent is versatile all-purpose modern sans. Available in seven weights, from Thin to Heavy, and in two widths each with corresponding italics, it avoids some of the more eccentric calligraphic quirks of Akzidenz or Helvetica or the cool precision of Univers for an elegant, functional, yet warm design. There are two additions to the core 28-weight family: a three-weight stencil set, and a four weight text family. The text weights have been adjusted for use at small point sizes, and feature more open character shapes, looser inter-letter spacing for improved readability, and lining numerals for use in listings and tables. Several core ideas inform Paralucent’s design. Prime attention has given to the negative space between characters, giving a more even “colour”, especially in text. For example, the J, L and T have shorter arms than comparable sans typefaces, while the M and W are wider. The A has a lower bar, opening up the interior counter. An unusually high lower-case x-height again helps to give a more even colour and improve legibility. Care has been taken to rationalise repeated elements like the tails on lower-case letters, or the Q and the “ear” of the g. Typographic design solutions that are consistent across all these features add more stylistic cohesion. ‘Ink traps’ are exaggerated incisions used to open up a letter's narrower internal angles, which can become clogged with ink, especially in small point sizes. Now largely redundant due to the high quality of modern print, they are still sometimes used as a stylistic quirk or design feature. Now that digital fonts are often reversed or outlined, or enlarged to enormous sizes, these can also lead to unexpected or obtrusive results. Paralucent takes these inevitable digital manipulations into account, and adds optical corrections without resort to ink traps. The family has been picked up by many UK and US publishers, featuring heavily in magazines like Loaded, Heat and TV Quick, as well as high-end coffee-table photography books and gallery websites. A perennial Device bestseller.