FF DIN® Round recreates one historical context of the face with a result that’s more sensitive to form than the more true-to-life Normalise DIN.
Sansa’s distinctive semi-spurless design came out of Fred Smeijers’ need for a good correspondence face.
The classic ‘typeface of the future’ as seen through the lens of the 1960s. URW’s recent adaptation of the Novarese masterpiece is out of sight.
Christoph Dunst’s phenomenal humanist sans closely matches the feel and dimensions of its serifed predecessor, Novel.
Mark Simonson’s Proxima Nova hits a sweet spot somewhere between the European geometric sans and American gothic models. Its rounded variants come in four weights.
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