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Best Selling Commercial Fonts |
 The Helvetica® design is a classic that has stood the test of time – and changed with technological advances in the process. First announced in 1957, Helvetica was re-released in 1983 as the Neue Helvetica® family, with a suite of subtle differences that made a positive impact on the design. Neue Helvetica - Click Here For More Details |
 The Univers® typeface family is one of the most prolific grotesque sans-serif typefaces of the century. Like Helvetica®, Univers is based on 1898’s Akzidenz-Grotesk. However, Univers is unique in that the design lacks superfluous features of any type, creating a design that is versatile and distinctive without being obstrusive. Adrian Frutiger began work on Univers in 1954, completing his design in 1957. The Univers type family has grown to 44 different weights and styles, some of which include Cyrillic characters. Univers Regular - Click Here For More Details |
 The Helvetica® typeface is one of the most famous and popular in the world. It’s been used for every typographic project imaginable, not just because it is on virtually every computer. Helvetica is ubiquitous because it works so well. The design embodies the concept that a typeface should absolutely support the reading process – that clear communication is the primary goal of typography. Helvetica - Click Here For More Details |
 Contrary to popular thinking, the Futura® typeface was neither conceived at Germany’s Bauhaus nor decreed as the quintessence of the design school’s teaching. Paul Renner, Futura’s designer, had no Bauhaus affiliation, although his original sketches embodied the ideologies of the Bauhaus movement. His work was translated into fonts of metal type by The Bauer Type Foundry of Frankfurt, which made considerable changes to his Futura. The end result was a melding of Renner’s philosophy with proven typeface design precepts. Futura - Click Here For More Details |
 World renowned typeface designer, Adrian Frutiger, was commissioned by the Charles De Gaulle Airport near Paris in the late 1960s to develop a typeface for airport signage. Instead of adapting his previously designed Univers® family, he developed something new that would also go on to become a classic – the Frutiger® typeface. The new design was completed in 1975 and installed at the airport that same year. |
 Since their initial release, the Trade Gothic® typefaces have been a staple of North American graphic design. For a time, the design was even seen as a formidable competitor to the Helvetica® family. Trade Gothic bridges the gap between the somewhat quirky grotesques of the late 19th century and the carefully modulated typefaces that began to emerge in the mid-20th century. |
 In drawing the Avenir® typeface, Adrian Frutiger looked to both the past and the future for inspiration. His goal was to reinterpret the geometric sans serif designs of the early part of the 20th century in a typeface that would portend aesthetics of the 21st century. He succeeded handsomely. In doing so, Frutiger added a bit of organic humanism to the design, freeing Avenir from the rigid geometric overtones of the earlier designs. |
 Take a drive and you'll see it: the design that inspired Tobias Frere-Jones to draw the Interstate™ typeface family. It’s absorbed at a glance everywhere we drive. Interstate is a neo-grotesque sans serif typeface based on the signage alphabets of the U.S. Federal Highway Administration. Clean, simple and easy on the eyes, few jobs are outside the range of the Interstate family. The design lends itself particularly well to headlines and subheads in newspapers and periodicals, in addition to branding and online work. |
 The ITC Avant Garde Gothic® design was one of the first typeface families released by ITC – and continues to be one of its most popular. The basis for the typeface was created in the late 1960s for a new magazine conceived by the forward-thinking publisher and editor, Ralph Ginzburg. The publication was called, fittingly, Avant Garde. Herb Lubalin created the logo and Tom Carnase drew the alphabet based on Lubalin’s sketches. |
 The Myriad® font family is classified as a humanist sans-serif typeface. “Humanist” refers to the style of the design, which draws from classical Roman heritage. Myriad was originally designed by Carol Twombly and Robert Slimbach for Adobe Systems with qualities of a very legible, friendly and elegant font. |
 The Trajan™ design is a serif font with elegant, sweeping curves and due to its Roman typography inspiration is consequently an upper-case only font family. The Trajan typeface family was originally designed by Carol Twombly and released in 1989 by Adobe Systems Inc. in OpenType® format. |
 The client wanted an “ultra modern” typeface. The design brief said the finished product should be “futuristic without being gimmicky or ephemeral.” The result was the Neo® Sans design. An “extended” typeface family, Neo Sans and Neo Tech were designed to encompass readability and have a futuristic demeanor. |
 While many consider it to be the quintessential British type style, the Gill Sans® typeface family has been used in virtually every country – and for every application imaginable. The reason for Gill Sans’ near ubiquity is because it is an exceptionally distinctive design with a potential range of use that is almost limitless. |
 The Arial® typeface is one of the most widely used designs of the last 30 years. Drawn in 1982 by Monotype Imaging designers Robin Nicholas and Patricia Saunders for use in an early IBM® laser printer, Arial has become a staple for textual content. While some believe Arial has its design roots in the Helvetica® typeface, its foundation is actually in the Monotype Grotesque® design, drawn at the turn of the last century. Arial - Click Here For More Details |
 The Optima® typeface is a clear and precise font designed by the renowned type designer Hermann Zapf. Optima was inspired by classical Roman inscriptions and is distinguished by its flared terminals—the ends of letters. This flare is a broadened thickness of the line and a touch stronger ink. The curves and straights of the Optima fonts vary minutely in thickness to provide a graceful and clear impression to the eye. Optima - Click Here For More Details |
 Designed in early 1950s as a modern interpretation of sans serif letterforms, the Eurostile® typeface is still an iconic, contemporary design. First drawn as a cap only face by Alessandro Butti, with help from his young assistant, Aldo Novarese for the Nebiolo type foundry, this all-cap (or titling) typeface became the Microgramma™ design. Eurostile - Click Here For More Details |
 A spacious, modern version of a classic mid-century font, the Century Gothic™ design embodies the digital age with its sleek sans serif style, but still retains the graceful geometric look common to early 20th-century typefaces. It is supported by all major browsers on the web and is therefore considered a “safe” font to use for web design as it will translate well across multiple platforms. Century Gothic - Click Here For More Details |
 The Rotis® Sans Serif family is arguably the most ubiquitous and prominent branch of the Rotis superfamily. Designed to work alongside the Rotis Serif, the Rotis Semi Serif and the Rotis Semi Sans font families, the Rotis Sans Serif design has come to define many aspects of European commercial design. Rotis Sans Serif- Click Here For More Details |
 The DIN Next™ typeface family was designed by Akira Kobayashi, Type Director for Linotype. Intended as a modern representation of the DIN 1451™ font, which has been used as a governmental typeface in Germany since 1936, this sans serif font is slightly rounded on the corners (unlike DIN 1451), but retains the other characteristics which made the its predecessor famous. Din Next - Click Here For More Details |
 Long considered among the purest interpretations of standard 19th century type style, the ITC Franklin Gothic™ font is an extra-bold sans serif typeface family designed by Victor Caruso in 1980 based on the original Franklin Gothic fonts originally desiged by Morris Fuller Benton in 1902 for the American Type Founders (ATF) company. Familiar to anyone who reads newspapers or magazines, Franklin Gothic has been widely used in everything from news headlines to book covers and billboards for over a century. ITC Franklin Gothic is easily distinguished by its traditional double-story “g” and “a” and the distinctive tail on the “q” and ear of the “g”. In 2004 a new and improved family was developed by ITC and the Font Bureau’s David Berlow and introduced as ITC Franklin™. ITC Franklin Gothic - Click Here For More Details |
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