SanS Serifzobel.weebly.com/uploads/1/0/0/9/10097150/font_book_sans_new.pdf · It was the first sans...

SanS Serif

Akzidenz Grotesk pAGe 2

abcdefghijklMnopqrstuvwxyz !,&*”? abcdefghijklmnopqrstuvwxyz 0123456789

Akzidenz Grotesk pAGe 3

for fun i like to jump cars while reading a quote by albert einstein.Akzidenz Grotesk romAn 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.Akzidenz Grotesk liGht 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.Akzidenz Grotesk bold 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.Akzidenz Grotesk blAck 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.Akzidenz Grotesk condensed 30pt

akzidenz-grotesk is a realist sans-serif typeface originally released in 1896 under the title accidenz-grotesk. it was the first sans serif typeface to be widely used and influenced many later neo-gro-tesque typefaces. Max Miedinger at the haas foundry used it as a model for the typeface neue haas grotesk released in 1957, and renamed helvetica in 1960.

Akzidenz Grotesk reGulAr 10/12

akzidenz-grotesk is a realist sans-serif typeface originally released in 1896 under the title accidenz-grotesk. it was the first sans serif typeface to be widely used and influenced many later neo-grotesque typefaces. Max Miedinger at the haas foundry used it as a model for the typeface neue haas grotesk released in 1957, and renamed helvetica in 1960.






It was the first sans serif typeface to be widely used and influenced many later neo-grotesque typefaces.


Akzidenz-Grotesk is a realist sans-serif typeface originally released in 1896 under the title Accidenz-Grotesk. It was the first sans serif typeface to be widely used.

Akzidenz Grotesk bold 7/9

Akzidenz-Grotesk is a realist sans-serif typeface originally released in 1896. It was the first sans serif typeface to be widely used.

Akzidenz Grotesk bold 10/12

akzidenz grotesk

Akzidenz Grotesk pAGe 5Akzidenz Grotesk pAGe 4

For fun I read quotes by Albert Einstein.Akzidenz Grotesk liGht condensed 20/22

For fun I read quotes by Albert Einstein.Akzidenz Grotesk condensed 20/22

For fun I read quotes by Albert Einstein.Akzidenz Grotesk bold condensed 20/22

for fun i read quotes by AlbErt EInstEIn.Akzidenz Grotesk reGulAr And bold All cAps 20/22

For fun I read quotes by Albert Einstein.Akzidenz Grotesk extrA bold 20/22

For fun I read quotes by Albert Einstein.Akzidenz Grotesk liGht extended 20/22

For fun I read quotes by Albert Einstein.Akzidenz Grotesk extended 20/22

For fun I read quotes by Albert Einstein.Akzidenz Grotesk bold extended 20/22


Akzidenz Grotesk liGht condensed 10/12


Akzidenz Grotesk condensed 10/12


Akzidenz Grotesk bold condensed 10/12

akzidenz grotesk face was released in 1923 and was based upon a 1905 typeface For thE royAl PrussIAn rAIl-wAy ComPAny.

Akzidenz Grotesk reGulAr And bold All cAps 10/12


Akzidenz Grotesk extrA bold 10/12


Akzidenz Grotesk liGht extended10/12

Akzidenz-Grotesk is a realist sans-serif typeface originally released in 1896. It was the first sans serif type-face to be widely used.

Akzidenz Grotesk extended 10/12


Akzidenz Grotesk bold extended 10/12

akzidenz grotesk ABCEGJKOQRS acdefgijkmpwAkzidenz Grotesk

ABCEGJKOQRS acdefgijkmpwhelveticA

ABCEGJKOQRS acdefgijkmpwunivers

ABCEGJKOQRS acdefgijkmpwfruitiGer

Avenir pAGe 6


Avenir pAGe 7

For fun I like to jump cars while reading a quote by Albert Einstein.Avenir 45 book 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.Avenir 35 liGht 24/26

for fun i like to jump cars while reading a quote by Albert einstein.Avenir 65 medium 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.Avenir 85 heAvy 24/26

For fun I like to jump cars.Avenir 95 blAck 24pt

For fun I like to jump cars.Avenir 45 book oblique 22pt

avenir is a geometric sans-serif typeface designed by adrian frutiger in 1988. avenir takes inspiration from early geomeric sans-serif typefaces and it’s intent was to be a more organic, humanist interpretation of these highly geometric types. while similarities can be seen with futura, the two-story lowercase a is more like erbar.

Avenir reGulAr 10/12


Avenir reGulAr 9/11


Avenir reGulAr 8/10


Avenir reGulAr 7/9

AvEnIr tAkEs InspIrAtIon From EArly gEomErIc sAns-sErIF typEFAcEs And It’s IntEnt wAs to bE A morE orgAnIc, humAnIst IntErprEtAtIon

oF thEsE hIghly gEomEtrIc typEs.

Avenir 85 heAvy 6/8

Avenir takes inspiration from early geomeric sans-serif typefaces.

Avenir 85 heAvy 10/12


Avenir 35 liGht 10/12


Avenir 55 oblique 10/12

Avenir Large

din pAGe 8


din pAGe 9

for fun i like to jump cars while reading a quote by albert einstein.din reGulAr 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.din liGht 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.din bold 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.din itAlic 24/26

For Fun I lIke to jump cars whIle readIng a quote by albert eInsteIn.din reGulAr All cAps 20/22

din face was released in 1923 and was based upon a 1905 typeface for the royal prussian railway company and was applied mostly to architectural and engineering drawings. spread of the din typeface, after its 1936 was rapid. it was released as metal type, large metal stencil alphabets for application to vehicles and in train yards, and as cast metal lettering for street and building signage.

din reGulAr 10/12

din face was released in 1923 and was based upon a 1905 typeface for the royal prussian railway company and was applied mostly to architectural and engineer-ing drawings. spread of the din typeface, after its 1936 was rapid. it was released as metal type, large metal stencil alphabets for application to vehicles and in train yards, and as cast metal lettering for street and building signage.

din reGulAr 9/11

din face was released in 1923 and was based upon a 1905 typeface for the royal prussian railway company and was applied mostly to architectural and engineering drawings. spread of the din typeface, after its 1936 was rapid.

din reGulAr 8/10

din face was released in 1923 and was based upon a 1905 typeface for the royal prussian railway company and was applied mostly to architectural and engineering drawings. spread of the din typeface, after its 1936 was rapid.

din reGulAr 7/9

DIN face was released in 1923 and was based upon a 1905 typeface for the Royal Prussian Railway Company.

din bold 10/12


din liGht 10/12


din itAlic 10/12

din regular big

abcdefghijklMnopqrstuvwxyz abcdefghijklmnopqrstuvwxyzdin schrift 1451 enGschrift

din And smAll sizes pAGe 11din pAGe 10

For fun I read quotes by Albert Einstein.din blAck 20/22

For fun I read quotes by Albert Einstein.din condensed reGulAr 20/22

For fun I read quotes by Albert Einstein.din condensed blAck 20/22

for fun i read quotes by AlbERt EINstEIN.din reGulAr And bold All cAps 20/22

For fun I read quotes by Albert Einstein.din schrift 30640 neuzeit Grotesk bold cond 20/22

For fun I read quotes by Albert Einstein.din schrift neuzeit Grotesk liGht 20/22

for fun i read quotes by albert einstein.din schrift 1451 mittelschrift 20/22

for fun i read quotes by albert einstein.din schrift 1451 enGschrift 20/22


din blAck 10/12


din condensed reGulAr 10/12


din condensed blAck 10/12

din face was released in 1923 and was based upon a 1905 typeface FoR thE RoyAl PRussIAN RAIlwAy ComPANy.

din reGulAr And bold All cAps 10/12


din schrift 30640 neuzeit Grotesk bold cond 10/12


din schrift neuzeit Grotesk liGht 10/12

Din face was released in 1923 and was based upon a 1905 typeface for the royal Prussian railway Company.

din schrift 1451 mittelschrift 10/12

din face was released in 1923 and was based upon a 1905 typeface for the royal prussian railway company.

din schrift 1451 enGschrift 10/12


din liGht 10/12

din regular big din, the weight of the horizontal strokes has been reduced, and the curves were designed in a more fluent way. the medium weight of din resem-bles the original weight of din Mittelschrift. using it for reading text in smaller point sizes gives a rather dark appearance. the weight scheme for din was conceived to accommodate the addition of a new and lighter “regular” version. each of the weights has been provided with over 700 kerning pairs, including those with international accents. with din, designers can now use the image and impact of a typeface family relating to items as “traffic”, “engineering” and the german “wirtschaftswunder”. it is left to each designer to determine how much the original typeface retains its character, as they can now opt for new weights or the alternate fonts that have friendly circular i-dots and old style figures.

din 4pt

din, the weight of the horizontal strokes has been reduced, and the curves were designed in a more fluent way. the medium weight of din resembles the original weight of din Mittelschrift. using it for reading text in smaller point sizes gives a rather dark appearance. the weight scheme for din was conceived to accommodate the addition of a new and lighter “regular” version. each of the weights has been provided with over 700 kerning pairs, including those with international accents. with din, designers can now use the image and impact of a typeface family relating to items as “traffic”, “engineering” and the german “wirtschaftswunder”. it is left to each designer to determine how much the original typeface retains its character, as they can now opt for new weights or the alternate fonts that have friendly circular i-dots and old style figures.

din 5pt


din 6pt

DIN, the weight of the horizontal strokes has been reduced, and the curves were designed in a more fluent way. The medium weight of DIN re-sembles the original weight of DIN Mittelschrift. Using it for reading text in smaller point sizes gives a rather dark appearance. The weight scheme for DIN was conceived to accommodate the addition of a new and lighter “regular” version. Each of the weights has been provided with over 700 kerning pairs, including those with international accents. With DIN, designers can now use the image and impact of a typeface family relating to items as “traffic”, “engineering” and the German “Wirtschaftswunder”. It is left to each designer to determine how much the original typeface retains its character, as they can now opt for new weights or the alternate fonts that have friendly circular i-dots and old style figures.

din medium 4pt/6pt

din, the weight of the horizontal strokes has been reduced, and the curves were designed in a more fluent way. the medium weight of din re-sembles the original weight of din Mittelschrift. using it for reading text in smaller point sizes gives a rather dark appearance. the weight scheme for din was conceived to accommodate the addition of a new and lighter “regular” version. each of the weights has been provided with over 700 kerning pairs, including those with international accents. with din, designers can now use the image and impact of a typeface family relating to items as “traffic”, “engineering” and the german “wirtschaftswunder”. it is left to each designer to determine how much the original typeface retains its character, as they can now opt for new weights or the alternate fonts that have friendly circular i-dots and old style figures.

Avenir 4pt

din, the weight of the horizontal strokes has been reduced, and the curves were designed in a more fluent way. the medium weight of din resembles the original weight of din Mittelschrift. using it for reading text in smaller point sizes gives a rather dark appearance. the weight scheme for din was conceived to accommodate the addition of a new and lighter “regular” version. each of the weights has been provided with over 700 kerning pairs, including those with international accents. with din, designers can now use the image and impact of a typeface family relat-ing to items as “traffic”, “engineering” and the german “wirtschaftswunder”. it is left to each designer to determine how much the original typeface retains its character, as they can now opt for new weights or the alternate fonts that have friendly circular i-dots and old style figures.

Avenir 5pt


Avenir 6pt

din, the weight of the horizontal strokes has been reduced, and the curves were designed in a more fluent way. the medium weight of din resembles the original weight of din mittelschrift. using it for reading text in smaller point sizes gives a rather dark appearance. the weight scheme for din was conceived to accommodate the addition of a new and lighter “regular” version. each of the weights has been provided with over 700 kerning pairs, including those with international accents. With din, designers can now use the image and impact of a typeface family relating to items as “traffic”, “engineering” and the German “Wirtschaftswunder”. it is left to each designer to determine how much the original typeface retains its character, as they can now opt for new weights or the alternate fonts that have friendly circular i-dots and old style figures.

din medium 4pt/6pt

acoMgaedfjldin reGulAr 86 pt AverAGe leAdinG on cAps -100 AverAGe leAdinG on loWer cAse: -50 (din’s letter spAcinG is very Wide)

acoMgaedfjlAvenir reGulAr 86 pt AverAGe leAdinG on cAps -50 AverAGe leAdinG on loWer cAse: -40 (Avenir is A more Geometric typefAce)

frAnklin Gothic pAGe 12


frAnklin Gothic pAGe 13

for fun i like to jump cars while reading a quote by albert einstein.frAnklin Gothic book 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.frAnklin Gothic medium 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.frAnklin Gothic heAvy 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.frAnklin Gothic book itAlic 24/26

for fun i like to juMp cars while reading a quote by albert einstein.frAnklin Gothic book All cAps 22/24

franklin gothic was originally designed as a type-face with a single weight and only two variations in width. the typeface continues to appear in variety of media from books to billboards. other characteris-tics of this typeface consist of organic features that distinguish it from the geometric sans serifs.

frAnklin Gothic book 10/12

franklin gothic was originally designed as a typeface with a single weight and only two variations in width. the typeface continues to appear in variety of media from books to billboards. other characteristics of this typeface consist of organic features that distinguish it from the geometric sans serifs.

frAnklin Gothic book 9/11


frAnklin Gothic reGulAr 8/10


frAnklin Gothic reGulAr 7/9

Franklin Gothic was originally designed as a typeface with a single weight and only two variations in width. The typeface continues to appear in variety of media from books to billboards. Other characteristics of this typeface consist of organic features that distinguish it from the geometric sans serifs.

frAnklin Gothic medium 10/12

franklin gothic was originally designed as a typeface with a single weight and only two variations in width. the typeface continues to appear in variety of Media froM books to billboards.

frAnklin Gothic book All cAps 10/12

Franklin Gothic was originally designed as a typeface with a single weight and only two varia-tions in width.

frAnklin Gothic book itAlic 10/12

franklin gothic

frutiGer pAGe 14

ABCdEfGhiJKlMnOpQRStuvwxyz !,&*”? abcdefghijklmnopqrstuvwxyz 0123456789

frutiGer pAGe 15

for fun i like to jump cars while reading a quote by Albert Einstein.frutiGer 55 romAn 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.frutiGer 45 liGht 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.frutiGer 65 bold 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.frutiGer book 75 blAck 24/26

fOR fun i liKE tO JuMp CARS whilE REAdinGfrutiGer 55 romAn All cAps 22/24

For fun I like to jump carsfrutiGer 95 ultrA blAck 18pts

frutiger is a sans-serif typeface by the Swiss type designer Adrian frutiger, completed in 1975. frutiger’s goal was to create a sans serif typeface with the rationality and cleanliness of univers, but with the organic and proportional aspects of Gill Sans. the result is that frutiger is a distinctive and legible typeface. the letter properties have a modern appearance and legibility at various angles, sizes, and distances.

frutiGer 55 romAn 10/12

frutiger is a sans-serif typeface by the Swiss type designer Adrian frutiger, completed in 1975. frutiger’s goal was to create a sans serif typeface with the rationality and cleanliness of univers, but with the organic and proportional aspects of Gill Sans. the result is that frutiger is a distinctive and legible typeface. the letter properties have a modern appearance and legibility at various angles, sizes, and distances.


frutiger’s goal was to create a sans serif typeface. the result is that frutiger is a distinctive and legible typeface. the letter properties have a modern appearance and legibility at various angles, sizes, and distances.


frutiger’s goal was to create a sans serif typeface. the result is that frutiger is a distinctive and legible typeface. the letter properties have a modern appearance and legibility at various angles, sizes, and distances.


Frutiger’s goal was to create a sans serif typeface. The result is that Frutiger is a distinctive and legible

frutiGer 65 bold 9/11

fRutiGER’S GOAl wAS tO CREAtE A SAnS SERif typEfACE. thE RESult iS thAt fRutiGER iS A diStinCtivE And lEGiBlE typEfACE.

frutiGer 55 romAn All cAps 9/11

Frutiger’s goal was to create a sans serif typeface. The result is that Frutiger is a distinctive and legible

frutiGer 56 itAlic 9/11

frutiger Roman

futurA pAGe 16


futurA pAGe 17

for fun i like to jump cars while reading a quote by albert einstein.futurA book 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.futurA liGht 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.futurA medium 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.futurA bold 20/22

For fun I like to jump cars while reading a quote by Albert Einstein.futurA extrA bold 24/28

futura is a geometric sans-serif typeface designed in 1927 by paul renner. futura has an appearance of efficiency and forwardness. the typeface is derived from simple geometric forms and is based on strokes of near-even weight. the lowercase has tall ascenders, which rise above the cap line.

futurA book 10/12

futura is a geometric sans-serif typeface designed in 1927 by paul renner. futura has an appearance of efficiency and forwardness. the typeface is derived from simple geometric forms and is based on strokes of near-even weight. the lowercase has tall ascenders, which rise above the cap line.

futurA book 9/11

futura is a geometric sans-serif typeface designed in 1927 by paul renner. futura has an appearance of efficiency and forwardness. the typeface is derived from simple geometric forms and is based on strokes of near-even weight.

futurA book 8/10

futura is a geometric sans-serif typeface designed in 1927 by paul renner. futura has an appearance of efficiency and forwardness. the typeface is derived from simple geometric forms and is based on strokes of near even weight. the lowercase has tall ascenders.

futurA book 7/9

Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. Futura has an appearance of efficiency and forwardness.

futurA medium 10/12


futurA bold 10/12


futurA extrA bold 10/14

futura book big

Geometric font compArison: pAGe 19futurA pAGe 18

For fun I read quotes by Albert Einstein.futurA heAvy 24/26

For fun I read quotes by Albert Einstein.futurA medium condensed 24 pt

For fun I read quotes by Albert Einstein.futurA liGht condensed 24 pt

For fun I read quotes by Albert Einstein.futurA bold condensed 18 pt

for fun i read quotes by AlbERt EInstEIn.futurA book And bold All cAps 24/26

For fun I read quotes by Albert Einstein.futurA book oblique 24/26

For fun I read quotes by Albert Einstein.futurA heAvy oblique 24/26


futurA blAck 10/12


futurA condensed 10/12


futurA liGht condensed 10/12

Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. Futura is efficient and forward.

futurA condensed 10/12

futura is a geoMetric sans-serif typeface designed in 1927 by paul renner. futura has an appearance of efficiency and forwardness.

futurA book All cAps 10/12

FutuRA Is A gEomEtRIc sAns-sERIF tyPEFAcE dEsIgnEd In 1927 by PAul REnnER. FutuRA hAs An APPEARAncE oF EFFIcIEncy And FoRwARdnEss.

futurA bold All cAps 10/12

Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. Futura has an appear-ance of efficiency and forwardness.

futurA book oblique 10/12


futurA heAvy oblique 10/12


futurA liGht 9/11

futura book big abcefgjlMopr svz abcfghijkprtfuturA

ABCEFGJLMOPR SVZ abcfghijkprtneutrA trAckinG (-30)

abcefgjlMopr svz abcfghijkprtneutrA trAckinG (-30)

helveticA pAGe 20


helveticA pAGe 21

for fun i like to jump cars while reading a quote by Albert Einstein.helveticA book 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.helveticA liGht 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.helveticA bold 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.helveticA blAck 20/22

For fun I like to jump cars while reading a quote by Albert Einstein.helveticA medium condensed 24/26

helvetica was created by Max Miedinger with Eduard hoffmann at the haas’sche Schriftgiesserei, Switzerland. haas set out to design a new sans serif typeface that could compete with Akzidenz-Grotesk in the Swiss market. Originally called neue haas Grotesk, it was created based on Schelter-Grotesk. in 1960, the typeface’s name was changed by haas’ German parent company Stempel to helvetica in order to make it more marketable internationally.

helveticA reGulAr 10/12

helvetica was created by Max Miedinger with Eduard hoffmann at the haas’sche Schriftgiesserei, Switzerland. haas set out to design a new sans serif typeface that could compete with Akzidenz-Grotesk in the Swiss market. Originally called neue haas Grotesk, it was created based on Schelter-Grotesk. in 1960, the typeface’s name was changed by haas’ German parent company Stempel to helvetica in order to make it more marketable internationally.


helvetica was created by Max Miedinger with Eduard hoffmann at the haas’sche Schriftgiesserei, Switzerland. haas set out to design a new sans serif typeface that could compete with Akzidenz-Grotesk in the Swiss market. in 1960, the typeface’s name was changed to helvetica in order to make it more marketable internationally.


helvetica was created by Max Miedinger with Eduard hoffmann at the haas’sche Schriftgiesserei, Switzerland. haas set out to design a new sans serif typeface that could compete with Akzidenz-Grotesk in the Swiss market. in 1960, the typeface’s name was changed to helvetica in order to make it more marketable internationally.


Helvetica was created by Max Miedinger with Eduard Hoffmann in Switzerland. Haas set out to design a new sans serif typeface that could compete with Akzidenz-Grotesk

helveticA bold 9/11

Helvetica was created by Max Miedinger with Eduard Hoffmann in Switzerland. Haas set out to design a new sans serif typeface that could compete with Akzidenz-Grotesk

helveticA medium condensed 9/11

helvetica large

abcdefghijklnopqrst uvwxyz 1234567890abcdefghijklmnopqrstuvwxyzAriAl

CGQRS aerthelveticA

cgqrs aertAriAl

font compArison pAGe 23helveticA pAGe 22

For fun I read quotes by Albert Einstein.helveticA neue ultrA liGht 24/26

For fun I read quotes by Albert Einstein.helveticA neue medium condensed 17 pt

For fun I read quotes by Albert Einstein.helveticA neue liGht condensed 17 pt

For fun I read quotes by Albert Einstein.helveticA neue 77 bold condensed 17 pt

For Fun I read quotes by Albert einstein.helveticA neue romAn And 85 heAvy All cAps 22/24

For fun I read quotes by Albert Einstein.

helveticA neue medium itAlic 14pt

For fun I read quotes by Albert Einstein.helveticA neue 87 heAvy condensed 16pt

For fun I read quotes by Albert Einstein.helveticA neue 27 ultrA liGht condensed 21pt

For fun I read quotes by Albert Einstein.helveticA neue 93 blAck extended 15/18

Helvetica was created by Max Miedinger, switzerland. Haas set out to design a new sans serif typeface that could compete with Akzidenz-Grotesk.

helveticA neue 85 heAvy 8/10

Helvetica was created by Max Miedinger, Switzerland. Haas set out to design a new sans serif typeface that could compete with Akzidenz-Grotesk.

helveticA neue 57 condensed 8/10


helveticA neue 37 thin condensed 8/10


helveticA neue 27 ultrA thin condensed 8/10

HelvetIca was created by Max MIedInger. Haas set out to desIgn a new sans serIF typeFace tHat could coMpete wItH akzIdenz-grotesk.

helveticA neue romAn All cAps 8/10

HElvEtIcA wAs crEAtEd by MAx MIEdIngEr. HAAs sEt out to dEsIgn A nEw sAns sErIF typEFAcE tHAt could coMpEtE wItH AkzI-dEnz-grotEsk.

helveticA neue 95 blAck All cAps 8/10

Helvetica was created by Max Miedinger. Haas set out to design a new sans serif typeface that could compete with Akzidenz-Grotesk.

helveticA neue 65 medium itAlic 8/10


helveticA neue 85 heAvy oblique 8/10


helveticA neue ultrA liGht 10/12

Helvetica was created by Max Miedinger. Haas set out to design a new sans serif typeface that could

helveticA neue liGht 10/12

helvetica neue CGJKRhelveticA Akzidenz Grotesk

CGJKRhelveticA univers

CGJKRhelveticA fruitGer

cgjkr frAnklin Gothic fruitGer

interstAte pAGe 24


interstAte pAGe 25

for fun i like to jump cars while reading a quote by albert einstein.interstAte reGulAr 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.interstAte liGht 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.interstAte bold 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.interstAte blAck 22/24

For fun I like to jump cars while reading a quote by Albert Einstein.interstAte condensed 22/24

For fun I like to jump cars while reading a quote by Albert Einstein.interstAte compressed 22/24

interstate is a neo-grotesque sans-serif typeface designed by tobias frere-jones between 1993–1999. the typeface is closely related to the fhwa series fonts, a signage alphabet drawn for the united states federal highway administration in 1949. due to its wide spacing it is best suited for display usage in print.

interstAte reGulAr 10/12

interstate is a neo-grotesque sans-serif typeface designed by tobias frere-jones between 1993–1999. the typeface is closely related to the fhwa series fonts, a signage alphabet drawn for the united states federal highway administration in 1949. due to its wide spacing it is best suited for display usage in print.


interstate is a neo-grotesque sans-serif typeface designed by tobias frere-jones between 1993–1999. due to its wide spacing it is best suited for display usage in print.


interstate is a neo-grotesque sans-serif typeface designed by tobias frere-jones between 1993–1999. due to its wide spacing it is best suited for display usage in print.


Interstate is a neo-grotesque sans-serif typeface designed by Tobias Frere-Jones. Due to its wide spacing it is best suited for display usage in print.

interstAte liGht 10/12

Interstate is a neo-grotesque sans-serif type-face designed by Tobias Frere-Jones.

interstAte bold 10/12


interstAte compressed 10/12


interstAte condensed 10/12

interstate large

metA pAGe 26


metA pAGe 27

for fun i like to jump cars while reading a quote by albert einstein.metA normAl romAn 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.metA normAl medium 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.metA normAl itAlic 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.metA normAl blAck 24/26

for fun i like to jump cars while reading a quote by albert einstein.metA normAl reGuAlr All cAps 24/20\v

Meta is designed by erik spiekermann. it was developed in 1984 as a commission for a corporate typeface for the german federal post. Meta was designed to be a readable, sturdy, basic sans serif typeface, working on the postage stamp scale, but also as livery for post boxes and deutsche bundespost vehicles.

metA normAl romAn 12/14

Meta is designed by erik spiekermann in 1984 Meta was designed to be a readable, sturdy, basic sans serif typeface, working on postage stamp scale, but also as livery for post boxes and vehicles.


Meta is designed by erik spiekermann in 1984 as a commission for a corporate typeface for the german


Meta is designed by erik spiekermann in 1984 as a commission for a corporate typeface for the german federal post.


Meta is designed by erik spiekermann in 1984 as a commission for a corporate typeface for the german federal post.


Meta is designed by Erik Spiekermann in 1984 as a commission for a corporate typeface for the German

metA normAl medium 10/12

Meta is designed by Erik Spiekermann in 1984 as a commission for a corporate typeface for the German Federal Post.

metA normAl blAck 6/8

meta is designed by erik spiekermann in 1984 as a commission for a corporate typeface for the german federal post.

metA normAl romAn cApitAls 10/9

Meta is designed by Erik Spiekermann in 1984 as a commission for a corporate typeface for the German.

metA normAl medium itAlic 10/12

Meta normal big

neutrA text pAGe 28

ABCdEFGhiJkLMnOPqRStuVwxyZ !,&*”? abcdefghijklmnopqrstuvwxyz 0123456789

neutrA text pAGe 29

For fun i like to jump cars while reading a quote by Albert Einstein.neutrA text book 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.neutrA text liGht 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.neutrA text demi 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.neutrA text bold 22/24

for fun i like to jump cars while reading a quote by neutrA text book smAll cAps 22/18

For fun I like to jump cars while reading a quote by Albert Einstein.neutrA text book itAlic 22/24

neutra is a font family that lend to its initial creation as a headline typeface. however, in the spirit of Richard neutra’s approach, a text version of neutra was conceived. departing from the unusual proportions and stylized fashion of the display version, neutraface text features a larger x-height and increased contrast in its strokes for enhanced readability in lengthy passages.

neutrA text reGulAr 10/12

neutra is a font family that lend to its initial creation as a headline typeface. however, in the spirit of Richard neutra’s approach, a text version of neutra was conceived. departing from the unusual proportions and stylized fashion of the display version, neutraface text features a larger x-height and increased contrast in its strokes for enhanced readabil-ity in lengthy passages.


neutraface text features a larger x-height and increased contrast in its strokes for enhanced readability in lengthy passages.


neutraface text features a larger x-height and increased contrast in its strokes for enhanced readability in lengthy passages.


Neutra is a font family that lend to its initial creation as a headline typeface. However, in the spirit of Richard Neutra’s approach, a text version of Neutra was conceived.

neutrA text liGht 10/12

Neutra is a font family that lend to its initial creation as a headline typeface. However, in the spirit of Richard Neutra’s approach, a text version of Neutra was conceived.

neutrA text bold 10/12

neutra is a font family that lend to its initial creation as a headline typeface. a text version of neutra was conceived for enhanced readability.

neutrA text book smAll cAps 10/10

neutra is a font family that lend to its initial creation as a headline typeface.

neutrA text itAlic 10/12

neutra text Large

bold vs reGulAr pAGe 31neutrA displAy pAGe 30

For fun I read quotes by Albert Einstein.neutrA text thin 42/44

For fun I read quotes by Albert Einstein.neutrA text liGht 42/44

For fun I read quotes by Albert Einstein.neutrA text medium 42/44

For fun I read quotes by Albert Einstein.neutrA text bold 40/42

For fun I read quotes by Albert Einstein.neutrA text titlinG 24/26

Neutra is a font family that lend to its initial creation as a headline typeface. a text version of Neutra was conceived for enhanced readability.

neutrA text thin 10/12


neutrA text thin 14/16

Neutra is a font family that lend to its initial creation as a headline type-face. a text version of Neutra was conceived for enhanced readability.neutrA text thin 20/12


neutrA text liGht 10/12


neutrA text condensed 10/12


neutrA text bold 10/12


neutrA text titlinG 10/12

NEutrA Is A FoNt FAmIly thAt lENd to Its INItIAl crEAtIoN As A hEAdlINE typEFAcE. A tExt vErsIoN oF NEutrA wAs coNcEIvEd For ENhANcEd rEAdAbIlIty.

neutrA text bold All cAps 10/12

Neutra Display Large Try this regular and thentry it demi or even heavytry it demi or even heavyneutrA

try this regular and thentry it medium or even blacktry it medium or even blackmetA

try this regular and thentry it bold or even blacktry it condensed or compressedinterstAte

try this regular and thentry it bold or even blacktry it condensed or a different DINdin

scAlA sAns pAGe 32


scAlA sAns pAGe 33

for fun i like to jump cars while reading a quote by albert einstein.scAlA sAns reGuAlr 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.scAlA sAns itAlic 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.scAlA sAns bold 24/26

for fun i like to jump cars while reading a quote by albert einstein.scAlA sAns bold 24/20

For fun I like to jump cars while reading a quote by Albert Einstein.scAlA sAns bold itAlics 24/26

scala sans is a humanist sans-serif typeface designed by dutch designer Martin Majoor in 1993 a music center in the netherlands. both upper and lower case are structually modeled on serif old style faces, the italics are true italics. the lowercase a, e, v and y are particularly calligraphic.

scAlA sAns reGulAr 10/12

scala sans is a humanist sans-serif typeface designed by dutch designer Martin Majoor in 1993 a music center in the netherlands. both upper and lower case are structually modeled on serif old style faces, the italics are true italics. the lowercase a, e, v and y are particularly calligraphic.


scala sans is a humanist sans-serif typeface designed by dutch designer Martin Majoor in 1993 a music center in the nether-lands. both upper and lower case are structurally modeled on serif old style faces, the italics are true italics. the lowercase a, e, v and y are particularly calligraphic.


scala sans is a humanist sans-serif typeface designed by dutch designer Martin Majoor in 1993 a music center in the netherlands. both upper and lower case are structurally modeled on serif old style faces, the italics are true italics. the lowercase a, e, v and y are particularly calligraphic.


Scala Sans is a humanist sans-serif typeface designed by Dutch designer Martin Majoor in 1993. It is structurally modeled on serif old style faces, the italics are true italics. The lowercase a, e, v and y are particularly calligraphic.

scAlA sAns itAlic 10/12

Scala Sans is a humanist sans-serif typeface designed by Martin Majoor in 1993. It is structurally modeled on serif old style faces, the italics are true italics.

scAlA sAns bold 10/12

scala sans is a humanist sans-serif typeface designed by martin majoor in 1993. It is structurally modeled on serif old style faces, the italics are true italics.

scAlA sAns smAll cAps 10/10

scala sans large

univers pAGe 34


univers pAGe 35

for fun i like to jump cars while reading a quote by Albert Einstein.univers 55 romAn 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.univers 45 liGht 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.univers 65 bold 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.univers 75 blAck 20/22

For fun I like to jump cars while reading a quote by Albert Einstein.univers85 extrA blAck 22/18

For fun I like to jump cars while reading a quote by Albert Einstein.univers 55 oblique 16/18

univers was released in 1957, along with folio and helvetica. All three faces are based on the 1896 typeface Akzidenz-Grotesk. these typefaces figure prominently in the Swiss Style of graphic design. differences between univers and helvetica and Akzidenz: the tail of ‘a’ and the top of ‘1’ are much less rounded, ‘G’ is formed without a spur, the arms of ‘K’ join at the stem, the tail of ‘Q’ runs along the baseline, the tail of ‘R’ is curved, the top of ‘t’ is angled, ‘y’ has a straight descender.

univers 55 romAn 10/12

univers was released in 1957, along with folio and helvetica. All three faces are based on the 1896 typeface Akzidenz-Grotesk. these typefaces figure prominently in the Swiss Style of graphic design.


univers was released in 1957, along with folio & helvetica. All three faces are based on the 1896 typeface Akzidenz-Grotesk. these typefaces figure prominently in the Swiss Style of graphic design.


univers was released in 1957, along with folio & helvetica. All three faces are based on the 1896 typeface Akzidenz-Grotesk. these typefaces figure prominently in the Swiss Style of graphic design.


Univers was released in 1957. All three faces are based on the 1896 typeface Akzidenz-Grotesk.

univers 75 blAck 10/12

Univers was released in 1957. All three faces are based on the 1896 typeface Akzidenz-Grotesk. These typefaces figure prominently in the Swiss Style.

univers 45 liGht 10/12

Univers was released in 1957. These typefaces figure prominently in the Swiss Style.

univers 55 oblique 12/10

univers Roman

univers pAGe 36

univers RomanFor fun I read quotes by Albert Einstein.univers 39 thin ultrA condensed 30pt

For fun I read quotes by Albert Einstein.univers 49 liGht ultrA condensed 30 pt

For fun I read quotes by Albert Einstein.univers 67 bold condensed 24 pt

For fun I read quotes by Albert Einstein.univers 47 liGht condensed 24/26

For fun I read quotes by Albert Einstein.univers 57 condensed 24/26

For fun I read quotes by Albert Einstein.univers 53 extended 24/26

fOR fun i REAd QuOtES By AlbErt EInstEIn.univers 55 romAn And 75 blAck All cAps 24/26

For fun I read quotes by Albert Einstein.univers 65 bold oblique 24/26

Univers was released in 1957, along with Folio and Helvetica. All three faces are based on the 1896 typeface Akzidenz-Grotesk. These typefaces figure prominently in the Swiss Style of graphic design.

univers 39 thin ultrA condensed 10/12


univers 49 liGht ultrA condensed 10/12

Univers was released in 1957, along with Folio and Helvetica. All three faces are based on the 1896

univers 67 bold condensed 10/12


univers 47 liGht condensed 10/12


univers 57 condensed 10/12

Univers was released in 1957, along with Folio and Helvetica. All three faces are based on Akzidenz-Grotesk.

univers 53 extended 10/12

UnIvErS wAS rElEASEd In 1957, AlonG wITH FolIo And HElvETIcA. All THrEE FAcES ArE bASEd on THE 1896 TypEFAcE AkzIdEnz-GroTESk.

univers 57 condensed All cAps 10/12

univERS wAS RElEASEd in 1957, AlOnG with fOliO And hElvEtiCA. All thREE fACES ARE BASEd On AKzidEnz-GROtESK.

univers 55 romAn All cAps 10/12

Univers was released in 1957. All three faces are based on Akzidenz-Grotesk.

univers 55 romAn All cAps 10/12

SanS Serifzobel.weebly.com/uploads/1/0/0/9/10097150/font_book_sans_new.pdf · It was the first sans...

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