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Fonts for Apps
Our lead designer Alexander Roth put together this smart collection of app fonts perfect for user interface work.
The same consistent typographic threads binding print, web, and email campaigns now extend to native apps. Our lead designer Alexander Roth put together this smart collection of app fonts perfect for user interface work.
Tablet Gothic from Veronika Burian and José Scaglione of TypeTogether makes brilliant harmony of two disparate grotesque models in a... Read More
Burlingame® typeface takes the best of the square tech sans genre, and updates its forms for better handling on screen as well as at small sizes. The result is a bright, linear family prepared to represent forward-thinking ideas. Nine weights in two widths: normal and condensed.
Bookish, full of subtle and unexpected delights, Jens Kutílek’s typeface FF Hertz™ was made for long text. Its finely graduated weights allow the designer to dial in just the right page density. This can be done, by the way, without danger of reflowing the text as it’s a uniwidth design.
Low stroke contrast, generous spacing, and fine-grained weights from Light to Extra Bold make FF Hertz a workhorse text typeface which... Read More
This graceful humanist sans was developed as a companion to Jos Buivenga’s popular Calluna, drawn in five compatible weights, each with italics. And thanks to exljbris who offers free weights of all of its typefaces, you can experience a full version of Calluna Sans Regular right away.
A popular choice within the FontFont library, FF Clan is an extensive family from Polish designer Łukasz Dziedzic. A contemporary sans with modestly squared curves, FF Clan comprises seven weights across an astonishing six widths. Dziedzic’s strong, readable types feature a large x-height, short descenders, and small caps for all weights. The thin weight is delicate but impactful, ideal for... Read More
Matthew Carter’s Verdana was made for screen reading and works brilliantly within that medium. FF Basic Gothic is a response to Verdana in print, where its forms leave generous room for improvement. Influenced by the early sanses of the 19th century and developed for today’s print standards, FF Basic Gothic is a sans serif optimized for maximum legibility. With its functional, basic look, it is... Read More
The Akko™ typeface family is the first new design from Akira Kobayashi in a very long time - and it is well worth the wait. Early in his career, Kobayashi drew original typefaces for the likes of Adobe, ITC, FontFont, Linotype and TypeBox. In the spring of 2001 he joined Linotype as type director and for the next several years collaborated with Adrian Frutiger and Hermann Zapf in the... Read More
During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon... Read More
Developed over a ten year period, FF Balance is an experimental sans serif that subverts the conventions of the style. Its horizontal strokes are heavier than the verticals and its top strokes appear slightly heavier than the bottom. Another unusual feature is the family’s uniwidth metrics. All weights and numerals of the family... Read More
The branding agency's client wanted an "ultra modern" typeface that was "futuristic without being gimmicky or ephemeral," according to the design brief. Designer Sebastian Lester took on this intriguing custom font assignment, but soon, a bureaucratic decision cancelled the project."I was left with a sketchbook full of ideas and thought it would be a shame not to see what came of them," says... Read More
TypeTogether 2012
Monotype 2013
FontFont 2015
exljbris
FontFont 2007
FontFont 2010
Linotype 2011
Linotype 2009
Shinntype 2014
René Bieder
FontFont 1993
Alias 2003
TypeTogether 2014
Monotype 2004
Monotype 2014
Monotype 2015
Tablet Gothic’s fully loaded. In seven complete weights that stretch across each of its six (!) widths from Compressed to Wide, you’d be hard pressed to find a space where the ebullient sans isn’t a natural fit. Its intermediate weights are comfortable for long reading, with lighter and heavier cuts better suited to larger headline or other display settings.