A classic-modern sans serif appearing in two forms — ”standard“ and a ”stylistic alternate“ with uncial script-orientated characters which give the font a completely different ”look.“ Faber Sans is a sans serif in the classic-modern style of type creations of the early 20th century — godfathered by Futura from Paul Renner and Gill Sans from Eric Gill. Unlike classic sans serifs, Faber Sans includes a ”true“ italic. Faber Sans Pro will perfectly pair with the accompnying Roman Faber Serif Pro.

Mesquite is a narrow Tuscan-style typeface designed at Adobe in 1990. Like older Tuscans from the 19th Century, Mesquite has elaborate, creative serif treatments-although the serifs are so unique that it is difficult to call them serifs anymore, they are more like pointy finials. A convex-concave-convex ornamental feature appears on the middle of each vertical and diagonal stroke. Together with the serifs" at the tops and bottoms of each stroke, this feature creates a "tri-band" pattern over text set in Mesquite. Mesquite is not a text face. Aside from its narrowness and decorative qualities, Mesquite has no lowercase. The font's uppercase glyphs have been directly copied and placed in the lowercase range."

A traditional Sans serif with a modern flair and uniform consistent weight to the vertical and horizontal stokes. Vanquish was designed for all media and can be used in a wide range of point sizes. Vanquish was kerned for text point sizes but requires subjective display kerning and compensation.

HU Cheonggye is a typeface for titles with thick strokes and wide flats, mainly produced with a retro feel. In order to bring out the characteristics of the retro typeface, a difference in thickness between horizontal and vertical strokes was applied, and obtuse right-angled serifs were applied.

Hailgen is a Serif typeface that explores the flexibility in contrast, with a thicker horizontal and thinner vertical contrast. Designed specially for short texts or quotes. Hailgen comes with 5 weights ranging from Thin to Black and is armed with several opentype features and Latin and Cyrillic language support.

Manier is a fresh, display, wedge-serif font family inspired by transitional and contemporary typefaces. Manier has a big x-height value, modern proportions, sharp serifs and an extreme stroke contrast with a vertical stress. The Roman style is paired with dynamic Italics which combines the elements of classic Cursive and the characteristics of Manier. The typeface is a great choice for headlines, titles, posters and branding but also can be successfully used in occasional texts.

Enzia is a friendly and flowing sans serif. Enzia exists somewhere between a slab serif and a semi-sans, and features flared vertical stems and rounded terminals. Its bulbous terminals and open counters inject a flavor of ease and excitement. Enzia provides plenty of impact and is best used with short to medium length texts. Six different weights provide plenty of versatility and contrast for poster designs, logotypes and headlines, while still retaining excellent legibility for extended copy.

Blatt is a retro-modern font which features downtoned strokes of writing brush, a writing instrument of Korean Serif font. The vertical/horizontal and high-contrast strokes as well as large graphemes complete the modern style of Blatt, with strokes finished off by the distinctive style of Latin Bracketed-Serif fonts. Blatt is a display font which looks ideal in big sizes (with details of each letter highlighted), while it remains legible in small sizes, too.

Salda Soft; It is a modern sans serif family that blends old and new generation sans serif fonts in the same body. It has a wide usage area with its light narrow structure, soft and clean lines, humanist touches. It provides clean and smooth visuals in vertical screens, mobile applications and block texts. It consists of a total of 20 styles. Ideal for all kinds of editorial design, packaging, corporate identity, brand, application, web and desktop.

Designed primarily for display use, Tangient is serviceable down to the larger text sizes. It presents an idiosyncratic profile, with a tight fit, clearly proportionally spaced, yet having the texture of a monospaced design. Its shapes leap out from the page, where well behaved characters would make a more subdued statement. The calligraphy from which Tangient GD was electronically "cut" originally appeared in a series of personal greeting cards prepared by the Zafaranas in celebration of the New Year.

ฟอนต์ยิ่งใหญ่ เป็นอักษรแบบแซนเซอริฟ ที่มีความหนาของเส้นมากว่าปกติ สังเกตุได้จากน้ำหนัก Black ให้ความรู้สึกหนักแน่น หนา ใหญ่ และ ทันสมัย มีทั้งหมด 9 น้ำหนักและตัวเอียงของแต่ละน้ำหนักรวมทั้งหมดมี 18 สไตล์ รองรับหลากหลายภาษา เหมาะสำหรับการใช้ผาดหัว ป้าย เนื้อความ ฟอนต์ยิ่งใหญ่สามารถช่วยส่งเสริมให้งานของคุณดูสะดุดตาอย่างยิ่ง เหมาะกับผู้ที่ต้องการให้โฆษณาสินค้าและบริการดูสะดุดตากว่าใคร ๆ Yingyai is a sans serif typeface with a large line stroke thickness more than usually, especially Black weight. It gives a heavy, big and modern feel. Comes with 9 weights and italics of each weight total 18 styles. Support multi-languages. Suitable for headline, sub-headline or text body. Yingyai can make your work more eye-catching, for those who want to advertise products and services more eye-catching than others.

As Word War I raged on during 1917, a large number of songs were written as morale builders for both the soldiers leaving for overseas service as well as their friends, family and loved ones. One such song, "Send Me Away with A Smile" has its title hand lettered in a simple, yet somewhat stylized sans serif design that was so much a part of the Art Nouveau style of that era. Simply Nouveau JNL captures and preserves that design within a digital typeface; available in both regular and oblique versions.

Escoffier Capitaux is named for culinary legend Auguste Escoffier (1846-35) and inspired by lettering used in vintage French advertising – including the work of commercial illustrator/fashion designer Ernst Dryden (1887-1938) WITH a hearty serving of 1960s ligatures influenced by the work of Herb Lubalin (1918-81) as well as a twist of Claude Garamond (1480ish-1561) AND featuring many alternate characters and extravagant extras, Escoffier Capitaux is enough to fill out your menu, add zest to your cook book, greeting card, resume or just the right amount of sauce to your blog. DINNER IS SERVED No substitutions, please. Minimum service per person. Warning: May taste gamey.

Lexikos was designed by Vince Whitlock and based on the design of the typeface Corinthian. It is a condensed sans serif typestyle with heavier horizontal weights as vertical. Lexikos is best used with close letter and word spacing and is an excellent choice for applications requiring a clean, contemporary look.

The Slatz Font Family is Vertical. It has a slender, consistent weight that is best used in limited, left to Right, space limitations as to maximize font height. Slatz font variations all have extremely clean edges and even the serif versions are crisply defined with a flat-pointed serif for an added unique character. The designed intent was for a tight kern, however evenly letterspacing these family members give a distinct personality and continues to command the negative space just as in tight kerned examples. The compatible relationship of these font family members, serif to sans serif, and regular to italic is seamless and the overall design coloring of words as sentences is well balanced and extremely legible. The Slatz Family fonts are matching members glyph to glyph yet there is a noticeable difference between the serif and sans serif members. The sans serif works in contemporary and vintage settings. The serif members work particularly well in vintage, period applications. The Bold and Drop versions of Slatz also fit the above descriptions and also work on their own.

The font family "Clasica" is ideal to cover every design need. Excellent for titles, paragraphs, magazines, books, editorials and logos. The particularity and identity of this font is found in the thinness of its vertical strokes and symmetrical serif. Inspired by the "Optima" font but with a serif that gives a different and new feel. "Clasica" counts with glyphs for the letters: a, e, f, g, r and y. This font family comes with 9 different weights with their respective italics.

Eroika Slab is a robust, display serif, intended to be set large. While for most serifs, display means high contrast, Eroika's "displayness" stems from its wide stance, tight spacing, equal cap and ascender heights, flared stems and large x-height. The italics in particular are quite unorthodox, with their vertical serif cut-offs and foot serifs where most fear to tread ('scuse the pun). All fonts feature a useful array of stylistic sets, oldstyle figures, automatic fractions and case sensitive forms. All ligatures are in the discretionary section, as it's my belief that this typeface looks better without them, but I like to offer the choice. Perfect for book covers, craft beer logos, boxing paraphernalia and tattoo magazine pull quotes. And probably a whole lot more besides!

Designed as a typewriter face for IBM, Courier New was re drawn by Adrian Frutiger for IBM Selectric series. A typical fixed pitch design, monotone in weight and slab serif in concept.

Few projects are outside the range of PMN Caecilia® Sans. Drawn specifically for on-screen imaging, the family benefits from a large suite of weights, each with several stylistic variations. This is a design ideally suited to building digital interfaces, complex websites, apps, games, kiosks, HTML ads and large-scale brand identities. “My goal was to create a, friendly, versatile, ageless, yet discerning typeface family that will serve the needs of many users,” says Peter Matthias Noordzij. the typeface’s designer. “It is not intended to be eye-catching, but generous: enabling numerous visual and typographical expressions.” The use of Noordzij’s earlier design, PMN Caecilia, in Amazon’s Kindle® wireless reading devices, gave him the opportunity to study the behavior of the slab serif typeface in an on-screen environment. Although based on his earlier design, Noordzij incorporated fundamental changes to optimize PMN Caecilia® Sans’ digital performance. While PMN Caecilia has proven to be a steadfast serif typeface in print and on screen, the addition of a sans serif counterpart gives designers more flexibility when creating complex hierarchies. The combination of serif and sans serif makes the PMN Caecilia family a good choice for everything from print editorial projects to complicated web sites. A broad range of typefaces pair well with PMN Caecilia Sans. Humanist serif typefaces, such as Agmena™, Dante®, and Frutiger® Serif, set up dynamic typographic harmony, while designs like ITC New Veljovic™ Masqualero™ and Perpetua®, will create a striking counterpoint. And, of course, PMN Caecilia is a natural design partner – as are other slab serif typefaces, like the Aptifer™ Slab, Joanna® Nova and Soho® families.

Sharik Sans (named after the brave and smart dog-hero from my favorite TV series) has a warm and gentle personality. It does not shout; it does not stand out. Sharik serves his master in everyday work. Although it is a sans serif, you can feel a calligrapher’s touch in its subtle details and endings. They shine out, especially at display sizes. The family consists of nine weights plus matching italics. It meets most of the needs designers deal with on a daily basis, including web usage. It is stuffed up with various OpenType features such as small capitals, a wide set of numerals, fractions, ordinals, alternates, and, of course, ligatures. And it perfectly harmonises with my other serif-like typeface family Clavo. NB: This font is NOT style linked by weight!

The origin of this font was a frieze in the RAF Chapel in Westminster Abbey which Michael Harvey was commissioned to design and create. It was comprised of the names of the top brass in wartime Bomber Command, namely Dowding, Harris, Newall, Tedder, Portal and Douglas. The Brief was to cut the letters in bronze and gild them. Instead, they were cut in perspex and gilded. To sit comfortably within the long and narrow vertical space available beneath the chapel’s stained glass window, extended letterforms were used with many vertical serifs omitted and with lengthened horizontal serifs. Some twenty years later, the missing upper-case letters were drawn together with the lowercase letters and Frieze, the font, was born. Subsequently, additional weights and styles were added to create a font family of six styles.

Branca Poster is a heavy font with triangular serifs and with three versions of horizontal contrast. It was inspired by the Romantic fonts of vertical axis, with small openings and pronounced contrasts. Specially designed for posters, it has a wider characters map, with some Ligatures, Stylistic Alternates and Swashes, providing greater versatility to the user.

HU Cheonggye KR is a typeface for titles with thick strokes and wide flats, mainly produced with a retro feel. In order to bring out the characteristics of the retro typeface, a difference in thickness between horizontal and vertical strokes was applied, and obtuse right-angled serifs were applied. This font contains Korean characters.

A misprinted sans serif loosely based on Phillip Cavette’s 1999 font 4990810, but with re-drawn outlines, more distress marks, a neater vertical aspect and no baseline irregularity. Unlike its inspiration, Sans Culottes is a complete font which includes a lower case, accented characters and as many dingbats as you can shake a stick at.

This is a blocky typeface with thick lines and no serifs. It's a modern design with a hint of vintage lettering with a thicker vertical line on one side of each letter. Most letters are square shaped. The two styles are regualar and hollow, with the hollow style having the thicker areas hollowed out.

Zart is a heavy yet delicately sensitive display typeface filled with character, a free interpretation of the classical French styles from the late eighteenth century, reimagined for modern use. While it’s vertical strokes carry the typical weight of this style, the thinness of the horizontal strokes is further extended into the characters with the introduction of large vertical ink traps. This allowed us to design slightly narrower letters which, coupled with shorter serifs, result in a overall darker expression, creating really impactful headlines. Zart is available in three versions: Regular, Italic and Script.

Tabac Big Glam probably stretches the Tabac super-family’s boundaries the furthest. While it’s based on the serif version, it achieves an especially surgical cleanliness and extremely sharp typesetting by completely letting the serifs go. Despite this, the text isn’t boring for a moment — the angled cut of the stems on b, d, h, k, l, the open loop on g or the rounded variant of the italic y, which can be called by turning on the stylistic set, reliably banishes any suspicions of the letters’ monotony.