Effra Sans Serif
The Effra font family has its roots in one of the earliest sans-serif designs commercially available, Caslon Junior, from 1816. Our design is updated for contemporary use, and has been expanded to our Standard character set. While it is not strictly a font intended for setting body copy, the resulting family does function well at
nexa Sans Serif
The Nexa family includes 16 styles & weights - eight uprights with eight italics. It is characterized by excellent legibility in both - web & print design areas, well-finished geometric designs, optimized kerning etc. Nexa is most suitable for headlines of all sizes, as well as for text blocks that come in both maximum and
Garamond-font Sans Serif
Garamond is the name given to many old-style serif typefaces, after the latinized name of the 16th-century punch-cutter Claude Garamont. Some unique characteristics in his letters are the small bowl of the a and eye of the e. Long extenders and top serifs have a downward slope. Like all old-style designs, variation in stroke width
Benton-Sans-font Sans Serif
Benton Sans is a digital typeface family begun by Tobias Frere-Jones in 1995, and expanded by Cyrus Highsmith of Font Bureau. It was a reworked version of Benton Gothic developed for various corporate customers, under Frere-Jones's guidance. In developing the typeface, Frere-Jones studied drawings of Morris Fuller Benton's 1908 typeface News Gothic at the Smithsonian
Gill Sans Sans Serif
Gill Sans is a sans-serif typeface designed by Eric Gill and released by the British branch of Monotype from 1928 onwards. The original design was created in 1926 when Douglas Cleverdon opened a bookshop in his home town of Bristol, for which Gill painted a fascia over the window in sans-serif capitals. In addition, Gill
selfie font Calligraphy
Selfie is a connected sans serif based in vintage signage scripts seen in Galerías of Buenos Aires. These places are, in general, very small shopping centres which pedestrians sometimes use as shortcuts to get to other parts of the city. Their dark corridors take you back in time, and all of a sudden you are
Franklin-gothic-font Gothic
Franklink Gothic and the related faces are realist sans-serif typefaces which are originated by Morris Fuller Benton (1872 – 1948) in 1902. The term gothic is contemporary which means sans-serif. Franklin Gothic has been used in many advertisements and headlines in newspapers. The typeface continues to maintain a high profile, appearing in a variety of
zapfino font Calligraphy
Zapfino is a calligraphic typeface designed for Linotype by typeface designer Hermann Zapf in 1998. It is based on an alphabet Zapf originally penned in 1944. As a font, it makes extensive use of ligatures and character variations (for example, the lower case letter d has nine variations). Zapfino consists of four basic alphabets, with
vag rounded Sans Serif
VAG Rundschrift or VAG Rounded (Rundschrift is German for 'round writing') is a geometric sans-serif typeface that was designed as a corporate typographic voice for the Volkswagen AG motor manufacturer. It features rounded termini on all strokes. Volkswagen ended its use of the VAG Rounded family in the early 1990s, and it is widely available
sabon font Sans Serif
Sabon is an old-style serif typeface designed by the German-born typographer and designer Jan Tschichold (1902–1974) in the period 1964–1967. It was released jointly by the Linotype, Monotype, and Stempel type foundries in 1967. The design of the roman is based on types by Claude Garamond (c.1480–1561), particularly a specimen printed by the Frankfurt printer
neue haas grotesk Sans Serif
Neue Haas Grotesk is a premium font style designed by Max Miedinger in 1957-1958 for the Haas’sche Schriftgiesserei in Switzerland, and art direction by the company’s principal, Eduard Hoffmann. Neue Haas Grotesk is a combination of British and Germany font grotesque that had become hugely popular thanks to the success of functionalist Swiss typography. As
neo sans font style Display
Neo Sans began as an intriguing assignment from a branding agency. The agency’s client wanted an “ultra modern” type family that was "futuristic without being gimmicky or ephemeral.” When a bureaucratic decision cancelled the project, Monotype staff designer Sebastian Lester decided to finish the design on his own. Two highly functional and versatile typefaces emerged.

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