In typography and lettering, a sans-serif, sans serif, gothic, or simply sans letterform is one that does not have extending features called "serifs" at the end of strokes. Sans-serif fonts tend to have less line width variation than serif fonts. In most print, they are often used for headings rather than for body text. They are often used to convey simplicity and modernity or minimalism.
Sans-serif fonts have become the most prevalent for display of text on computer screens. On lower-resolution digital displays, fine details like serifs may disappear or appear too large. The term comes from the French word sans, meaning "without" and "serif" of uncertain origin, possibly from the Dutch word schreef meaning "line" or pen-stroke.
Before the term "sans-serif" became common in English typography, a number of other terms had been used. One of these outmoded terms for sans serif was gothic, which is still used in East Asian typography and sometimes seen in font names like News Gothic, Highway Gothic, or Trade Gothic.
(serifs in red)
For the purposes of type classification, sans-serif designs are usually divided into three or four major groups, the fourth being the result of splitting the grotesque category into grotesque and neo-grotesque.
This group features most of the early (19th century to early 20th) sans-serif designs. Influenced by Didone serif fonts of the period and signpainting traditions, these were often quite solid, bold designs suitable for headlines and advertisements. The early sans-serif typefaces often did not feature a lower case or italics, since they were not needed for such uses. They were sometimes released by width, with a range of widths from extended to normal to condensed, with each style different, meaning to modern eyes they can look quite irregular and eccentric. Grotesque fonts have limited variation of stroke width (often none perceptible in capitals). The terminals of curves are usually horizontal, and many have a spurred "G" and an "R" with a curled leg. Capitals tend to be of relatively uniform width. Cap height and ascender height are generally the same to create a more regular effect in texts such as titles with many capital letters, and descenders are often short for tighter linespacing. Most avoid having a true italic in favour of a more restrained oblique or sloped design, although at least sans-serif true italics were offered.
Examples of grotesque fonts include Akzidenz Grotesk, Venus, News Gothic, Franklin Gothic and Monotype Grotesque. Akzidenz Grotesk Old Face, Knockout, Grotesque No. 9 and Monotype Grotesque are examples of digital fonts that retain more of eccentricities of some of the early sans-serif types. The term realist has also been applied to these designs due to their practicality and simplicity.
As the name implies, these modern designs consist of a direct evolution of grotesque types. They are relatively straightforward in appearance with limited width variation. Unlike earlier grotesque designs, many were issued in extremely large and versatile families from the time of release, making them easier to use for body text. Similar to grotesque typefaces, neogrotesques often feature capitals of uniform width and a quite 'folded-up' design, in which strokes (for example on the 'c') are curved all the way round to end on a perfect horizontal or vertical. Helvetica is an example of this. Others such as Univers are less regular.
Neo-grotesque type began in the 1950s with the emergence of the International Typographic Style, or Swiss style. Its members looked at the clear lines of Akzidenz Grotesk (1896) as an inspiration to create rational, almost neutral typefaces. In 1957 the release of Helvetica, Univers, and Folio, the first typefaces categorized as neo-grotesque, had a strong impact internationally: Helvetica came to be the most used typeface for the following decades.
As their name suggests, Geometric sans-serif typefaces are based on geometric shapes, like near-perfect circles and squares. Common features are a nearly-exactly circular capital "O" and a "single-story" lowercase letter "a". The 'M' is often splayed and the capitals of varying width, following the classical model. Of these four categories, geometric fonts tend to be the least useful for body text and often used for headings and small passages of text.
The geometric sans originated in Germany in the 1920s. Two early efforts in designing geometric types were made by Herbert Bayer and Jakob Erbar, who worked respectively on Universal Typeface (unreleased at the time but revived digitally as Architype Bayer) and Erbar (circa 1925). In 1927 Futura, by Paul Renner, was released to great acclaim and popularity.
Geometric sans-serif fonts were popular from the 1920s and 1930s due to their clean, modern design, and many new geometric designs and revivals have been created since.[a] Notable geometric types of the period include Kabel, Semplicità, Nobel and Metro; more recent designs in the style include ITC Avant Garde, Brandon Grotesque, Gotham and Avenir. Many geometric sans-serif alphabets of the period, such as those created by the Bauhaus art school (1919-1933) and modernist poster artists, were hand-lettered and not cut into metal type at the time.
A separate inspiration for many types considered "geometric" in design has been the simplified shapes of letters engraved or stenciled on metal and plastic in industrial use, which often follow a simplified structure and are sometimes known as "rectilinear" for their use of straight vertical and horizontal lines. Designs considered geometric in principles but which are less descended from the Futura/Erbar/Kabel tradition include Bank Gothic, DIN 1451, Eurostile and Handel Gothic, along with many of the fonts designed by Ray Larabie.
Humanist sans-serifs take inspiration from traditional letterforms, such as Roman square capitals, traditional serif fonts and calligraphy. Many have true italics rather than an oblique, ligatures and even swashes in italic. One of the earliest humanist designs was Edward Johnston's Johnston typeface of c. 1916, and, a decade later, Gill Sans (Eric Gill, 1928). Edward Johnston, a calligrapher by profession, was inspired by classic letter forms, especially the capital letters on the Column of Trajan.
Humanist designs vary more than gothic or geometric designs. Some humanist designs have stroke modulation (strokes that clearly vary in width along their line) or alternating thick and thin strokes. These include most popularly Hermann Zapf's Optima (1958), a typeface expressly designed to be suitable for both display and body text. Some humanist designs may be more geometric, as in Gill Sans and Johnston (especially their capitals), which like Roman capitals are often based on perfect squares, half-squares and circles, with considerable variation in width. These somewhat architectural designs may feel too stiff for body text. Others such as Syntax, Goudy Sans and Sassoon Sans more resemble handwriting, serif fonts or calligraphy.
Frutiger, from 1976, has been particularly influential in the development of the modern humanist sans genre, especially designs intended to be particularly legible above all other design considerations. The category expanded greatly during the 1980s and 1990s, partly as a reaction against the overwhelming popularity of Helvetica and Univers and also due to the need for legible fonts on low-resolution computer displays. Designs from this period intended for print use include FF Meta, Myriad, Thesis, Charlotte Sans, Bliss and Scala Sans, while designs created for computer use include Microsoft's Tahoma, Trebuchet, Verdana, Calibri and Corbel, as well as Lucida Grande, Fira Sans and Droid Sans. Humanist sans-serif designs can (if appropriately proportioned and spaced) be particularly suitable for use on screen or at distance, since their designs can be given wide apertures or separation between strokes, which is not a conventional feature on grotesque and neo-grotesque designs.
Due to the diversity of sans-serif typefaces, many do not fit neatly into the above categories. For example, Neuzeit S has both neo-grotesque and geometric influences, as does Herman Zapf's URW Grotesk. Other "trans-sans" designs include Whitney and Klavika. Sans-serif fonts intended for signage, such as Transport and Highway Gothic used on road signs, may have unusual features to enhance legibility and differentiate characters, such as a lower-case "L" with a curl or "i" with serif under the dot.
A particular subgenre of sans-serifs is those such as Rothbury, Britannic, Radiant and National Trust with obvious variation in stroke width. These have been called 'modulated' or 'stressed' sans-serifs. They are nowadays often placed within the humanist genre, although they predate Johnston which started the modern humanist genre. These may take inspiration from sources outside printing such as brush lettering or calligraphy.
Letters without serifs have been common in writing across history, for example in casual, non-monumental epigraphy of the classical period. However, Roman square capitals, the inspiration for much Latin-alphabet lettering throughout history, had prominent serifs. While simple sans-serif letters have always been common in "uncultured" writing, such as basic handwriting, most artistically created letters in the Latin alphabet, both sculpted and printed, since the Middle Ages have been inspired by fine calligraphy, blackletter writing and Roman square capitals. As a result, printing done in the Latin alphabet for the first three hundred and fifty years of printing was "serif" in style, whether in blackletter, roman type, italic or occasionally script.
The earliest printing typefaces which omitted serifs were not intended to render contemporary texts, but to represent inscriptions in Ancient Greek and Etruscan. Thus, Thomas Dempster's De Etruria regali libri VII (1723), used special types intended for the representation of Etruscan epigraphy, and in c. 1745, the Caslon foundry made Etruscan types for pamphlets written by Etruscan scholar John Swinton. Another niche used of a printed sans-serif letterform from in 1786 onwards was a rounded sans-serif script font developed by Valentin Haüy for the use of the blind to read with their fingers.
Towards the end of the eighteenth century Neoclassicism led to architects increasingly incorporating ancient Greek and Roman designs in contemporary structures. The architect John Soane commonly used sans-serif letters on his drawings and architectural designs. Soane's inspiration was apparently the inscriptions dedicating the Temple of Vesta in Tivoli, Italy, with minimal serifs. These were then copied by other artists. The lettering style apparently became referred to as "old Roman" or "Egyptian" characters, referencing the classical past and a contemporary interest in Ancient Egypt and its blocky, geometric architecture. The inappropriateness of the name was not lost on the poet Robert Southey, in his satirical Letters from England written in the character of a Spanish aristocrat. It commented: "The very shopboards must be... painted in Egyptian letters, which, as the Egyptians had no letters, you will doubtless conceive must be curious. They are simply the common characters, deprived of all beauty and all proportion by having all the strokes of equal thickness, so that those which should be thin look as if they had the elephantiasis."[c]
In London, 'Egyptian' lettering became popular for advertising, apparently because of the "astonishing" effect the unusual style had on the public. Historian James Mosley, the leading expert on early revival of sans-serif letters, has written that "in 1805 Egyptian letters were happening in the streets of London, being plastered over shops and on walls by signwriters, and they were astonishing the public, who had never seen letters like them and were not sure they wanted to." A depiction of the style was shown in the European Magazine of 1805. However, the style did not become used in printing for some more years.[d] (Early sans-serif signage was not printed from type but hand-painted or carved, since at the time it was not possible to print in large sizes. This makes tracing the descent of sans-serif styles hard, since a trend can arrive in the dated, printed record from a signpainting tradition which has left less of a record or at least no dates.) Around 1816, the Ordnance Survey began to use 'Egyptian' lettering, monoline sans-serif capitals, to mark ancient Roman sites. This lettering was printed from copper plate engraving.
Around 1816, William Caslon IV produced the first sans-serif printing type in England for the Latin alphabet, a capitals-only face under the title 'Two Lines English Egyptian', where 'Two Lines English' referred to the font's body size, which equals to about 28- points. No uses of it from the period have been found; Mosley speculates that it may have been commissioned by a specific client.
A second hiatus in interest in sans-serif appears to have lasted for about twelve years, when the Vincent Figgins foundry of London issued a new sans-serif in 1828. Thereafter sans-serifs rapidly began to be issued from London typefounders. Much imitated was the 1830 Thorowgood "grotesque" face, arrestingly bold and highly condensed, similar in aesthetic effect to the slab serif and "fat faces" of the period. Intended for advertising, these typefaces, often display capitals, became very successful. Sans-serif printing types began to appear thereafter in France and Germany.[e]
Sans-serif lettering and fonts were popular due to their clarity and legibility at distance in advertising and display use, when printed very large or small. Because sans-serif type was often used for headings and commercial printing, many early sans-serif designs did not feature lower-case letters. Simple sans-serif capitals, without use of lower-case, became very common in uses such as tombstones of the Victorian period in Britain. The term "grotesque" became commonly used to describe sans-serifs. The term "grotesque" comes from the Italian word for cave, and was often used to describe Roman decorative styles found by excavation, but had long become applied in the modern sense for objects that appeared "malformed or monstrous."
The first use of sans serif as a running text has been proposed to be the short booklet Feste des Lebens und der Kunst: eine Betrachtung des Theaters als höchsten Kultursymbols (Celebration of Life and Art: A Consideration of the Theater as the Highest Symbol of a Culture), by Peter Behrens, in 1900.
Throughout the nineteenth and early twentieth centuries sans-serif types were viewed with suspicion by many printers, especially those of fine book printing, as being fit only for advertisements (if that), and to this day most books remain printed in serif fonts as body text. This impression would not have been helped by the standard of common sans-serif types of the period, many of which now seem somewhat lumpy and eccentrically-shaped. In 1922, master printer Daniel Berkeley Updike described sans-serif fonts as having "no place in any artistically respectable composing-room." By 1937 he stated that he saw no need to change this opinion in general, though he felt that Gill Sans and Futura were the best choices if sans-serifs had to be used.
Through the early twentieth century, an increase in popularity of sans-serif fonts took place as more artistic and complex designs were created. As Updike's comments suggest, the more constructed humanist and geometric sans-serif designs were viewed as increasingly respectable, and were shrewdly marketed in Europe and America as embodying classic proportions (with influences of Roman capitals) while presenting a spare, modern image. While he disliked sans-serif fonts in general, the American printer J.L Frazier wrote of Copperplate Gothic in 1925 that "a certain dignity of effect accompanies...due to the absence of anything in the way of frills," making it a popular choice for the stationery of professionals such as lawyers and doctors.
In the post-war period, an increase of interest took place in "grotesque" sans-serifs. Writing in The Typography of Press Advertisement (1956), printer Kenneth Day commented that Stephenson Blake's eccentric Grotesque series had returned to popularity for having "a personality sometimes lacking in the condensed forms of the contemporary sans cuttings of the last thirty years." Leading type designer Adrian Frutiger wrote in 1961 on designing a new face, Univers, on the nineteenth-century model: "Some of these old sans serifs have had a real renaissance within the last twenty years, once the reaction of the 'New Objectivity' had been overcome. A purely geometrical form of type is unsustainable." Of this period in Britain, Mosley has commented that in 1960 "orders unexpectedly revived" for Monotype's eccentric Monotype Grotesque design: "[it] represents, even more evocatively than Univers, the fresh revolutionary breeze that began to blow through typography in the early sixties" and "its rather clumsy design seems to have been one of the chief attractions to iconoclastic designers tired of the...prettiness of Gill Sans".
By the 1960s, neo-grotesque fonts such as Univers and Helvetica had become popular through reviving the nineteenth-century grotesques while offering a more unified range of styles than on previous designs, allowing a wider range of text to be set artistically through setting headings and body text in a single font.
Sample use of early sans-serifs, Dublin 1848. Setting is caps only for titling, with the letters very bold and condensed. Reasonably conventional except for the crossed V-form 'W'.
Imago [is] a relatively obscure neo-grotesk released by Berthold in the early ’80s.
[T]he Figgins ‘Sans-serif’ types (so called) are well worth looking at. In fact it might be said to be that with these types the Figgins typefoundry brought the design into typography, since the original Caslon Egyptian appeared only briefly in a specimen and has never been seen in commercial use. One size of the Figgins Sans-serif appears in a specimen dated 1828 (the unique known copy is in the University Library, Amsterdam).…It is a self-confident design, which in the larger sizes abandons the monoline structure of the Caslon letter for a thick-thin modulation which would remain a standard model through the 19th century, and can still be seen in the ATF Franklin Gothic. Note that there is no lower-case. That would come, after 1830, with the innovative condensed ‘Grotesque’ of the Thorowgood foundry, which provided a model for type that would get large sizes into the lines of posters. It gave an alternative name to the design, and both the new features – the condensed proportions and the addition of lower-case – broke the link with Roman inscriptional capitals…But the antiquarian associations of the design were still there, at least in the smaller sizes, as the specimen of the Pearl size (four and three quarters points) of Figgins’s type shows. It uses the text of the Latin inscription prepared for the rebuilt London Bridge, which was opened on 1 August 1831.
Arial, sometimes marketed or displayed in software as Arial MT, is a sans-serif typeface and set of computer fonts. Fonts from the Arial family are packaged with all versions of Microsoft Windows from Windows 3.1 onwards, some other Microsoft software applications, Apple Mac OS X and many PostScript 3 computer printers. The typeface was designed in 1982 by Robin Nicholas and Patricia Saunders, for Monotype Typography. It was created to be metrically identical to the popular typeface Helvetica, with all character widths identical, so that a document designed in Helvetica could be displayed and printed correctly without having to pay for a Helvetica license.
The Arial typeface comprises many styles: Regular, Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic, Extra Bold, Extra Bold Italic, Light, Light Italic, Narrow, Narrow Italic, Narrow Bold, Narrow Bold Italic, Condensed, Light Condensed, Bold Condensed, and Extra Bold Condensed. The extended Arial type family includes more styles: Rounded (Light, Regular, Bold, Extra Bold); Monospaced (Regular, Oblique, Bold, Bold Oblique). Many of these have been issued in multiple font configurations with different degrees of language support. The most widely used and bundled Arial fonts are Arial Regular, Italic, Bold, and Bold Italic; the same styles of Arial Narrow; and Arial Black. More recently, Arial Rounded has also been widely bundled.Bitstream Vera
Vera is a group typeface (font) with a liberal license.
It was designed by Jim Lyles from Bitstream, and it is closely based on Bitstream Prima, for which Lyles was also responsible. It is a TrueType font with full hinting instructions, which improve its rendering quality on low-resolution devices such as computer monitors. The font has also been repackaged as a Type 1 PostScript font, called Bera, for LaTeX users.Vera consists of serif, sans-serif, and monospace fonts. The Bitstream Vera Sans Mono typeface in particular is suitable for technical work, as it clearly distinguishes 'l' (lowercase L) from '1' (one) and 'I' (uppercase i), and '0' (zero) from 'O' (uppercase o). Bitstream Vera Sans is also the default font used by the Python library Matplotlib to produce plots.Drogowskaz
Drogowskaz (Polish: Roadsign) is a geometric sans-serif typeface used in public signage in Poland. Originally developed in 1975 by Marek Sigmund for the Ministry of Transportation (to comply with its ordinance from 1960) and put into effect on April 1 of that year, it is currently used in accordance with the Ministry of Infrastructure regulation of July 3, 2003 on all types of road signs in Poland.
A free version of the font was developed in 2006 by Emil Wojtacki. Its capital letters show strong influence from Johnston, while its lowercase letters draw heavily from Spartan; its use of single-story lowercase a distinguishes the typeface from most other signage typefaces. Leading to type size ratio for this font equals 4:3, thus correct line spacing is, for instance, 12 pt for 9 pt text.Droid fonts
Droid is a font family first released in 2007 and created by Ascender Corporation for use by the Open Handset Alliance platform Android and licensed under the Apache License. The fonts are intended for use on the small screens of mobile handsets and were designed by Steve Matteson of Ascender Corporation. The name was derived from the Open Handset Alliance platform named Android.East Asian Gothic typeface
Gothic typefaces (simplified Chinese: 黑体; traditional Chinese: 黑體; pinyin: hēitǐ; Japanese: ゴシック体 goshikku-tai; Korean: 돋움 dotum, 고딕체 godik-che) are a type style characterized by strokes of even thickness and lack of decorations akin to sans serif styles in Western typography. It is the second most commonly used style in East Asian typography, after Ming.IBM Plex
IBM Plex is an open source typeface superfamily conceptually designed and developed by Mike Abbink at IBM in collaboration with Bold Monday to reflect the brand spirit, beliefs and design principles of IBM and to be used for all brand experiences across the company internationally. Plex will replace Helvetica as the corporate typeface after more than fifty years, freeing IBM from the extensive license payments that face required.As of version 1.0 the family has four typefaces, each typeface has 8 weights (Thin, Extra Light, Light, Regular, Text, Medium, Semi-bold, Bold) and true italics to complement them.
IBM Plex Sans – A grotesque sans-serif typeface with a design that was inspired by Franklin Gothic. Other sans-serif classifications were rejected on the basis of being too soft (humanist), inefficient (geometric) and overly perfected (neo-grotesque). Some of Franklin Gothic's features such as the angled terminals, a double-storey g and a horizontal line at the baseline of the 1 are used in IBM Plex Sans.
IBM Plex Sans Condensed – A condensed variant of IBM Plex Sans.
IBM Plex Mono – A monospaced typeface based on IBM Plex Sans. The italic design was inspired by the Italic 12 typeface used by the IBM Selectric typewriter, which is particularly evident with the italicised i, j, t and x letters.
IBM Plex Serif – A serif typeface with a design that was inspired by Bodoni and Janson. Other serif classifications were rejected for being too humanist and outdated (old-style) and too clunky and unrefined for long text (slab-serif). Some of Bodoni's features such as ball terminals and rectangular serifs are used in IBM Plex Serif.LLM Lettering
LLM Lettering is a set of sans-serif typefaces developed by the Malaysian Highway Authority (Lembaga Lebuhraya Malaysia, LLM) and used for road signage on expressways in Malaysia. The font was divided into two types: LLM Normal (Standard/Regular) and LLM Narrow (Condensed). The LLM Normal typeface is a modified form of the Transport Heavy and Highway Gothic Series D/E font. The lettering is special use for the Malaysian Expressway System.Microsoft Sans Serif
Microsoft Sans Serif is a TrueType font introduced with Windows 2000. It is a successor of MS Sans Serif (formerly Helv), a proportional raster font introduced in Windows 1.0. Both fonts are very similar in design to Arial and Helvetica.PT Fonts
The Public Type or PT Fonts are a family of free/libre fonts released from 2009 onwards, comprising PT Sans, PT Serif and PT Mono. They were commissioned from the design agency ParaType by Rospechat, a department of the Russian Ministry of Communications, to celebrate the 300th anniversary of Peter the Great's orthography reform and to create a font family that supported all the different variations of Cyrillic script used by the minority languages of Russia, as well as the Latin alphabet.Primarily designed by Alexandra Korolkova, the family includes sans-serif and serif designs, both with caption styles for small-print text, and a monospaced font for use in programming. They are available under the English-language SIL Open Font License; the original font, PT Sans, was also released under ParaType's own Free Font License. Additional styles, such as extended, condensed and extra-bold, are sold from ParaType as PT Sans Pro and PT Serif Pro.Panno (typeface)
Panno is a Latin sans-serif typeface designed by Dutch typeface designer, Pieter van Rosmalen. It is one of two typefaces specially designed for South Korean traffic signs. (The other being Hangil, the Hangul counterpart.)Product Sans
Product Sans is a geometric sans-serif typeface created by Google for branding purposes. It replaced the old Google logo on September 1, 2015. As Google's branding was becoming more apparent on a multitude of devices, Google sought to adapt its design so that its logo could be portrayed in constrained spaces and remain consistent for its users across platforms. A size-optimized version of Product Sans, called Google Sans, is also used as the display font of Google's customized and adapted version of Material Design, Google Material Theme.Roboto
Roboto is a neo-grotesque sans-serif typeface family developed by Google as the system font for its mobile operating system Android, and released in 2011 for Android 4.0 "Ice Cream Sandwich".Google developed the font to be "modern, yet approachable" and "emotional". The entire font family has been licensed under the Apache license In, 2014, Roboto was redesigned for Android 5.0 "Lollipop".Rotis
Rotis is a typeface developed in 1988 by Otl Aicher, a German graphic designer and typographer. In Rotis, Aicher explores an attempt at maximum legibility through a highly unified yet varied typeface family that ranges from full serif, glyphic, and sans-serif. The four basic Rotis variants are:
Rotis serif (antiqua) — with full serifs
Rotis semi-serif (semi-antiqua) — with hinted serifs
Rotis semi-sans (semi-grotesque) — with zero serifs but with stroke width variation
Rotis sans (lineale humanist sans-serif) — with zero serifs and with minimal variation on stroke widthSan Francisco (sans-serif typeface)
San Francisco is a neo-grotesque sans-serif typeface made by Apple Inc. It was first released to developers on November 18, 2014. It is the first new typeface designed at Apple in nearly 20 years and has been inspired by Helvetica and DIN.Serif
In typography, a serif () is a small line or stroke regularly attached to the end of a larger stroke in a letter or symbol within a particular font or family of fonts. A typeface or "font family" making use of serifs is called a serif typeface (or serifed typeface), and a typeface that does not include them is a sans-serif one. Some typography sources refer to sans-serif typefaces as "grotesque" (in German, "grotesk") or "Gothic", and serif typefaces as "roman".Tahoma (typeface)
Tahoma is a humanist sans-serif typeface that Matthew Carter designed for Microsoft Corporation. Microsoft first distributed it, along with Carter's Verdana, as a standard font in the initial release of Windows 95.
While similar to Verdana, Tahoma has a narrower body, smaller counters, much tighter letter spacing, and a more complete Unicode character set. Carter first designed Tahoma as a bitmap font, then "carefully wrapped" TrueType outlines around those bitmaps. Carter based the bold weight on a double pixel width, rendering it closer to a heavy or black weight. In contrast with some other sans-serif typefaces, including Arial, the uppercase "I" (eye) is distinguishable from lowercase "l" (ell), which is especially important in technical publications. Since 2010, Ascender Corporation has offered italic and small caps versions of Tahoma.
Tahoma is often compared with Frutiger, another humanist sans-serif typeface. In an interview by Daniel Will-Harris, Carter acknowledged that Tahoma has some similarities with his earlier Bell Centennial typeface.The Tahoma typeface family was named after the Native American name for the stratovolcano Mount Rainier (Mount Tahoma), which is a prominent feature of the southern landscape around the Seattle metropolitan area.Trafikkalfabetet
Trafikkalfabetet (English: the traffic alphabet) is a sans-serif typeface family for road signs and license plates for cars (until 2002) in Norway. Developed in 1965 by Karl Petter Sandbæk, it was digitised in 2006 by Jacob Øvergaard.Tratex
Tratex (earlier called GePos) is a geometric sans-serif typeface family for road signs in Sweden. It was developed for maximal readability in traffic, and designed by Karl-Gustaf Gustafsson (known as Kåge Gustafsson).Tratex also contains Sami characters. It is free to download and use for illustrations and prints.Ubuntu Titling
Ubuntu Titling or Ubuntu-Title is a rounded geometric sans-serif font. It was created by Andy Fitzsimon for use with the Ubuntu operating system and its derivatives. It is distributed under the GNU Lesser General Public License. Prior to the 10.04 release, the typeface was notably used in branding for the Ubuntu operating system and its related projects. Fitzsimon's design was created without any upper-case letters. A later release by Christian Robertson (who later created Roboto) added capitals and was released by Robertson at the 'release candidate' stage. This was called Ubuntu Titling.
Ubuntu Titling was ultimately replaced for branding use with a variant from the Ubuntu Font Family.