So one typeface with 19 styles makes for a very versatile tool. (I’m not going to link here because I’ve seen different prices on various websites and as part of packages, so the advice is shop around for your fonts.) As well as the “regular” or medium font Futura has the following. For example, I’m a big fan of the Futura font. It can worth buying a couple of good sans serif fonts for your library. Some of the professional or commercial font families come in a variety of weights and styles. The look pretty similar don’t they? Helvetica and Geneva come with Macs, while Arial, Tahoma and Verdana come with Windows. You probably already have several sans serif typefaces on your computer. They are not quite as legible in print, so are used in headings, pull quotes and small tracts of text in magazines, books and brochures. Sans serif fonts are considered to be easy to read from a screen and so are very suitable for body text on web sites. And of course, there are no serifs anywhere. The characteristics which distinguish sans serif typefaces are that they are nearly always “monoweight.” This means that there no thick/thin transition in the strokes, they are the same thickness the whole way around. The first experiments with printed sans serif typefaces was in the mid 1700s, however their use in print really didn’t become more commonplace until the early 1800s. The fonts that fall into this category are most commonly known as sans serif but you might also see them referred to as Grotesque, Doric and Gothic (not to be confused with the Blackletter typeface). Arial is also the default font in Google Docs. If you studied French, you will know that “sans” means “without,” so naturally enough, sans serif fonts are those without serifs at the end of the strokes. Arial is the most widely used font for both online and printed media. Sprig Sans is the sans-serif sister of Sprig (/fonts/sprig), a Cheltenham-inspired serif typeface with round, organic letterforms. That is, their letter forms have a serif on the end of the stroke. All three of these font categories cover fonts that are described as Serif typefaces. TheSans is a low-contrast typeface i.e., the differences between thin. TheSans was also chosen as corporate typeface for one of North America’s major mobile telephone companies, Sprint.Over the past few weeks I’ve put up posts about Old Style, Modern and Slab Serif typefaces. to epitomize the useful-yet-friendly, all-purpose contemporary sans-serif. Lightbox poster for Spain’s major mobile telephone company, Movistar. TheSans in corporate design The Dutch road users organisation ANWB uses TheSans as a corporate typeface for its Wegenwacht motorists’ assistance service. The TrueType versions are manually hinted, giving them excellent reading quality on-screen in Microsoft’s Windows applications. These are linked, meaning they can be accessed through the “B” (Bold) and “I” (Italic) buttons in office programs. This four-font family has the structure that’s conventional on Windows: Regular, Italic, Bold, Bold Italic. OpenType allowed us to include more characters, and we created a system for package naming. These fonts supported Western European languages only. We also used to sell TheSans Caps, with small caps instead of lowercase. The fonts had Proportional Oldstyle figures, but TheSans Basic was created to offer Proportional Lining figures. In 1999, Luc(as) began selling licenses himself, renaming it TheSans (classic). Version historyįontFont published FF TheSans in 1994. Yet the italic forms themselves are very distinctive: they were not derived from the upright but were individually designed while perfectly complementing the roman forms. The roman letterforms tend to have some characteristics of an italic or written construction. Yet the reference to writing with the broad-nibbed pen is still present, giving the letters a diagonal stress and a forward flow that facilitates reading. TheSans is a low-contrast typeface – i.e., the differences between thin and thick strokes are not very pronounced. It aims to fill that gap by providing the user with three compatible styles – TheSans, TheMix and TheSerif – in an optically harmonious range of eight weights, including real italics for each weight. It grew out of a dissatisfaction with the limited range of good typefaces available for corporate identity projects. Thesis was conceived as a versatile typographic system of ambitious scope. It has become the face of thousands of organisations, publications and web sites, making it one of the most widely used sans-serifs world-wide. Over the subsequent decades, TheSans came to epitomize the useful-yet-friendly, all-purpose contemporary sans-serif. TheSans is part of the Thesis superfamily which Luc(as) de Groot first published in 1994.
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